4. BioChromes¶
Research & Ideation
Inspiration: Artists and Projects
Objective:
Research on artists and projects utilizing biochromes and sustainable dyeing methods in fashion and textiles.
Biochromes and Natural Dyeing:
Elena Garcia:¶
A textile artist who specializes in natural dyeing using plant materials. Her work focuses on creating vibrant colors from local flora, promoting the use of indigenous plants and sustainability in textile practices.
Indigofera:¶
This project explores the traditional methods of indigo dyeing (Extracted from organic Indigofera tinctoria leaves harvested in a nearby villages, the indigo arrives in the traditional form of "cakes", which are ground into a fine powder and added to vast dyeing vats with lime and fermentation 'food'.), emphasizing the cultural significance and sustainable practices of using natural indigo. The artisans involved in the project highlight the importance of preserving these ancient techniques while promoting environmental responsibility.
Picture: art meseum garden
Sophie Rutschmann:¶
An artist who incorporates the use of biochromes derived from living organisms. Her work highlights the potential of algae-based dyes, showcasing how these bio-based materials can be integrated into modern fashion while emphasizing their low environmental impact.
Sustainable Dyeing Practices:
Ellen MacArthur Foundation:¶
This initiative focuses on circular economy principles and emphasizes sustainable dyeing methods that minimize water use and pollution. The foundation supports research into bio-based dyes and eco-friendly production processes.
Rita P. Coelho:¶
A designer and researcher working on dyeing textiles with mycelium and mushroom-based dyes. Her work addresses the need for sustainable alternatives to synthetic dyes and promotes the use of fungi in creating a diverse color palette.
Relevant Projects:
Color of Nature:¶
A collaborative project that documents the use of natural dyes in contemporary textiles. It connects artisans, designers, and researchers to explore the revival of traditional dyeing techniques, aiming to reduce environmental impact through education and shared resources.
picture: Colors of nature project
References:
• Elena Garcia's Natural Dyeing Techniques • Indigofera's Traditional Indigo Dyeing • Sophie Rutschmann’s Algae-Based Dyes • Ellen MacArthur Foundation's Circular Economy Guidelines • Rita P. Coelho's Mycelium Dye Research • Color of Nature Project Documentation • The Living Dyes Project Overview
4. BIOCHROMES
Objective:
The objective is to integrate technology, biology, and design to create sustainable, innovative, and aesthetically unique fabrics.
DYEING:
The objective of dyeing in the Biochromes is to explore and experiment with natural and biological dyes, focusing on sustainable and eco-friendly approaches to textile coloring. Biochromes typically involve the use of: 1. Natural dyes: Extracted from plants, insects, minerals, and other organic sources, these dyes offer an alternative to synthetic dyes, reducing environmental impact. 2. Bacteria-based dyeing: Leveraging microorganisms like bacteria to produce pigments that can be applied to textiles. This method explores biodesign principles and sustainability by harnessing the power of biology in textile creation. 3. Eco-conscious practices: Participants investigate ways to minimize water usage, chemical waste, and the carbon footprint of textile dyeing processes.
Materials (with quantities):
• Avocado pits: 5 pits (use more pits if dyeing larger pieces of fabric) • Water: Enough to fully submerge the pits and fabric in the pot. Typically, 3 liters for a medium-sized batch. • Stainless steel or enamel pot: A 5 quart capacity works well for dyeing small to medium fabric samples.
- Linen: 40 grams
- Cotton: 34 grams
- Type 3: 39 grams
- Mordant: Alum: 8% weight of fabric
• Heat source: Stove or any burner that allows simmering.
• Gloves: Protects your hands while handling the dye or mordants.
• Strainer or sieve: To remove avocado pit solids.
• Timer: To track dyeing and simmering time.
Process:
Step 1:Preparing the Avocado Pits¶
To begin the dyeing process, I collected 5 avocado pits and thoroughly washed them to remove any remaining fruit residue. After washing, I let the pits dry for 2 days. This drying step is essential as it helps concentrate the tannins, which are the key components responsible for the color in the dye.
Step 2: Breaking the Pits¶
Once the pits were dry, I used a hammer to break them into smaller pieces. This increases the surface area of the avocado pits, allowing for better dye extraction later. It’s important to break them down well so that the color is more evenly released during the boiling process.
Step 3: Extracting the Dye¶
Next, I placed the broken avocado pits in a large pot and added enough water 3liters to fully submerge them. I brought the water to a boil and then reduced the heat to a simmer. The pits simmered for 3 hours, during which I stirred the mixture occasionally to ensure an even extraction of color. As the process continued, I noticed the water gradually turning into a rich pink or reddish hue, a sign that the tannins were being released.
Step 4: Straining the Dye¶
After 3 hours of simmering, I strained the dye liquid through a sieve to remove the pieces of avocado pits. At this stage, the dye was ready to be used for the fabric, with a vibrant pink color visible in the liquid.
Step 5: Pre-washing the Fabric¶
While the dye was simmering, I prepared the fabric by pre-washing it in warm water with mild soap. This step is necessary to remove any dirt or chemicals that might interfere with the dye absorption. Once cleaned, I rinsed the fabric and set it aside, ready for the next stage.
Step 6: Mordanting the Fabric¶
To improve dye absorption and color fastness, I used a mordant. I dissolved alum in hot water, using 8% of the fabric’s weight. I soaked the fabric in the mordant solution for 1 hour, then rinsed it with cold water.
Step 7: Dyeing the linen Fabric¶
Once the fabric was pre-washed and mordanted I submerged it into the dye bath. I simmered the fabric in the dye bath for 1 hour, stirring occasionally to ensure the color was evenly distributed. To achieve deeper hues, I left the fabric to soak for an additional 30 minutes to 1 hour after I had turned off the heat.
Step 8: Rinsing and Drying¶
After the linen dyeing was complete, I removed the fabric from the dye bath and rinsed it in cold water until the water ran clear. Finally, I hung the fabric to air dry, making sure it was away from direct sunlight to preserve the color.
Results and Discussion:
The dyeing experiment produced a range of pinkish hues on the linen material, with some variations depending on the type of fabric and the duration of dyeing. The use of alum as a mordant resulted in more intense and vibrant colors. The mordant also improved the color fastness, ensuring that the color remained vivid over time. These results align with previous studies that highlight the high tannin content of avocado pits, making them an effective natural dye source.
LINEN¶
COTTON¶
ZARA¶
Conclusion:
This experiment demonstrated that avocado pits can be used as a sustainable natural dye source, capable of producing soft pink and reddish hues on natural fibers. The tannins present in the pits, along with the use of mordants like alum or vinegar, help enhance the color absorption and durability of the dye. This eco-friendly approach showcases how common waste materials, like avocado pits, can be repurposed for textile dyeing.