4. BioChromes¶

Research and Inspiration¶

In a world driven by speed and mass production, the work of natural dyers and slow fashion pioneers offers a counterpoint: a practice rooted in ecology, locality, and intentionality. Using plant-based pigments and sustainable methods, artists and designers like Sasha Duerr, Azūr, and Atelier Aletheia create textiles that carry the essence of place and time. Their work redefines beauty as a dialogue with nature, where slowness becomes a radical act of care and creativity.

Sasha Duerr¶

Sasha Duerr is an artist, designer, and educator whose work exists in the poetic space between ecology and color. Based in California, she has spent years researching the possibilities of plant-based dyes and developing seasonal color palettes made entirely from natural and local materials — avocado pits, onion skins, walnut husks, pomegranate rinds. Her process transforms what we often consider “waste” into a rich visual language of renewal and care.

New batch of the Loquat Bundle tee, dyed by Sasha Duerr. Photo by Sasha Duerr

Through her teaching and writing — in books such as Natural Color and Natural Palettes — Sasha invites artists and designers to slow down and observe how nature itself creates color. For her, dyeing is not a technical process but a living relationship with the land and the seasons. Each hue holds a memory of the place it came from: the temperature of the air, the time of harvest, the life of the plant.

Sasha Duerr

Her work inspires by showing that color can be an act of ecology, a way of caring for the world. In her practice, the aesthetic and the ethical merge — sustainability becomes not a constraint but a creative language of belonging.

Photo by Sasha Duerr

Azūr¶

Azūr is a French slow fashion label rooted in the landscapes and light of Marseille. Founded by Sonia Laudet and Camille Seaman, the brand creates garments that seem to hold the memory of the sea and the Mediterranean sun. Their fabrics are dyed with local plants — olive leaves, pomegranate skins, rosemary — and then shaped into pleated silks and cottons that move with a quiet, organic rhythm.

https://azur.world/

What makes Azūr so captivating is the way it translates the philosophy of slow living into form and color. Each dress carries subtle variations of tone and texture — no two are identical. The imperfections of natural dyeing become marks of individuality, traces of time and handwork.

https://azur.world/RTS-coral-plisse-tank-long-dress

In Azūr’s vision, fashion is not about speed or novelty but about resonance and place. Their work is an actទ: act of tenderness toward materials and the people who wear them. Through their practice, they remind us that slowness can be a kind of luxury, and that nature itself can be couture.

Atelier Aletheia¶

Atelier Aletheia, a Spanish ethical brand, approaches clothing as a form of quiet truth. The name itself — Aletheia, meaning “truth” in Greek — speaks to their philosophy of transparency and integrity. Their textiles are hand-dyed exclusively with natural pigments, sourced from plants like madder root, avocado skin, oak gall, and onion peel.

Each garment is made slowly, in small ateliers, where the rhythm of production follows the natural rhythm of color extraction. The result is clothing that feels timeless, minimal, and alive. The shades are never fixed; they evolve gently with sunlight and wear — a reminder that beauty can be impermanent, just like everything in nature.

https://atelier-aletheia.com/en/shop/

Atelier Aletheia’s work inspires because it is both philosophical and deeply tactile. Their commitment to purity and locality transforms each piece into a meditation on material honesty. Color, here, is not decoration — it is the quiet voice of the earth itself.

Natural Dyeing Process¶

This week we explored natural dyeing using a variety of cellulose fibres (cotton, linen, rayon), protein fibres (silk, wool) and man made fibers (rayon). The process was inspired by traditional dyeing practices and guided by contemporary eco-textile techniques. What began as a technical exercise turned into a deeply inspiring creative experience — full of discovery, teamwork, and color transformation.

Step One – Weighing the Fibre¶

We started by carefully weighing all fibres while dry to calculate the Weight of Fibre (WOF).
This number guided every following step, ensuring correct proportions for scouring, mordanting, and dyeing.
Accurate measurement is essential in natural dyeing — it keeps the process balanced and repeatable.

Photo by Mariam Baghdasaryan

Step Two – Scouring¶

To prepare the fabrics for even dye absorption, we scoured them to remove oils, waxes, and production residues.

Cellulose fibres (cotton, linen) and Man made fibres (rayon) were scoured with soda ash and neutral soap in hot water (around 90°C) for about an hour.
Protein fibres (wool, silk) were treated more gently with neutral soap at a lower temperature to avoid damage or felting. Water temperature should be equal to the room temperature.

After rinsing thoroughly, the fabrics became clean, slightly matte, and ready to absorb the mordants and dyes evenly.

Step Three – Tannin for Cellulose and Man Made Fibres¶

For cellulose fibres, we prepared a tannin bath using gallo tannin at 7% WOF.
The fabrics were soaked and stirred occasionally, allowing the tannin molecules to bond with the cellulose.
After a light rinse, we noticed a soft beige tone — a good sign of even tannin absorption.
This step is essential, especially for rayon, which, like cotton, benefits from the extra binding layer of tannin.

Photo by Mariam Baghdasaryan

Step Four – Mordanting with Alum¶

Next, we mordanted both cellulose and protein fibres using aluminium sulphate at 8% WOF.
We heated the bath to 70°C and maintained the temperature for about 1–2 hours, stirring gently every 15 minutes.
This step allows aluminium ions to attach to the fibres, creating strong molecular bridges between the fabric and natural dyes.

Photo by Mariam Baghdasaryan

After mordanting, we let the fibres cool slowly in the bath, then rinsed them lightly before dyeing.

Step Five – Dyeing Process¶

Photo by Mariam Baghdasaryan

We worked with five natural dye sources, all chosen for their local availability and seasonal beauty:

Marigold flowers – bright yellows and golds, abundant in late Armenian summer.
Red onion skins – surprising shades of deep olive, easily collected from everyday kitchen scraps.
Walnut husks – rich browns and deep earthy shades, a classic Armenian autumn dye.
Pomegranate peels – warm golden hues, reflecting the fruit’s cultural symbolism in Armenia.
Madder roots – strong reds and pinks, deeply rooted in Armenian textile traditions for centuries.

Photos by Lilit Barseghyan

by Lilit Barseghyan

To achieve rich colors we use 150% of natural dyes (when they are dry) from WOF.

Each dye was simmered gently in water to extract pigment, then strained before immersing the fibres.
We kept the temperature around 60–70°C for about 2 hours, stirring from time to time to ensure even color distribution.

Protein fibres absorbed colors more intensely, while cellulose and rayon created softer, pastel-like tones — together forming a harmonious natural palette.

Step Six – Transformations¶

With iron modifier

Photo by Mariam Baghdasaryan

After completing the dye baths, we explored color modification using an iron after-bath — a traditional method to alter tones and increase light- and wash-fastness.

We prepared an iron solution by dissolving 2 g of iron powder (ferrous sulfate can also be used) in hot, previously boiled water. The solution was stirred until fully dissolved and then cooled slightly before use.

We then dipped small swatches from each dyed fabric. The samples were immersed for only a few minutes, as iron acts quickly and can dull or darken colors if left too long. Gentle stirring ensured even contact with the modifier.

by Lilit Barseghyan

Marigold shifted from bright yellow to olive-green.
Red onion skin moved towards soft greyish-pink tones.
Walnut husk deepened into a cooler, darker brown.
Pomegranate peel turned from golden yellow to muted khaki.

After the modification, the fabrics were thoroughly rinsed in clean water and air-dried away from direct sunlight.

This step beautifully demonstrated how a small chemical change — in this case, the addition of iron — can transform the entire palette, revealing the hidden complexity of natural color chemistry.

With Chalk Modifier

For madder-dyed fabrics, we applied a second modification using chalk (calcium carbonate) to observe how mineral composition and pH can influence color.

We prepared a soft alkaline bath by dissolving 5g of chalk in warm water, stirring until the mixture turned slightly cloudy and smooth. The madder-dyed samples were then immersed for about 10–15 minutes, with gentle stirring to ensure even contact.

Photo by Mariam Baghdasaryan

Unlike the iron modifier, which deepens and darkens hues, chalk subtly shifts the tone by affecting the dye’s acidity balance.
After this treatment, the madder reds became cooler and less orange, revealing more violet and bluish undertones.
The transformation was delicate yet visible — the warm brick reds turned into richer, cooler shades reminiscent of raspberry or plum.

After modification, we rinsed the fabrics thoroughly and allowed them to dry naturally.
This experiment clearly showed how even small variations in pH and mineral content can dramatically alter the character of natural colors.

Step Seven – Finishing and Reflections¶

After dyeing, we rinsed the fabrics lightly and let them air-dry naturally, away from direct sunlight.

Photo by Svetlana Khachatryan

The final results were stunning: every fibre reacted uniquely, producing a range of tones that reflected both the material and the plant’s chemistry.

The marigold yielded golden warmth, madder brought depth and red energy, while the walnut husks gave the richest browns — as if they carried the memory of Armenian soil itself. Colors, blue sky and sun are as from paintings of Martiros Saryan.

Photos of swatches by Lilit Barseghyan, paintings by Martiros Saryan

This was not only a technical exploration, but a creative and emotional journey.
Working with natural dyes connected us to local landscapes, seasonal rhythms, and ancient traditions of textile craft.
It was fascinating to watch raw fibres transform into something full of life and color — through simple materials, patience, and care.

We are incredibly grateful to Svetlana Khachatryan, who shared her expertise, enthusiasm, and deep knowledge with us.
Thanks to her generosity and guidance, we were able to step into this amazing world of natural dyeing — a world of chemistry, art, and nature coming together in color.

Photo by Mariam Baghdasaryan

Making Natural Ink from Walnut Husks¶

We transformed our walnut dye into a rich, natural ink.
Using a traditional method adapted from botanical ink recipes, we followed a seven-step process that combined patience, precision, and a touch of alchemy.

1. Prepare the Base Color Ingredient¶

We began by using the ready-made walnut dye that we had previously prepared for fabric dyeing.
The dye was already rich in tannins and natural brown pigments — perfect for transforming into ink.

We measured about 600ml of the existing walnut dye bath and placed it in a pot.

2. Intensify the Color¶

To strengthen the pigment, we added:

2 tablespoons vinegar
1 tablespoon salt

We then heated the mixture just below boiling and let it simmer for about 2 hours, stirring occasionally.
This step helped deepen the brown tones and improve the ink’s staying power.
We periodically dipped a strip of paper into the liquid to test the intensity. Once we reached a rich, dark walnut tone, we removed the pot from heat and let it cool.

3. Filter the Color¶

After cooling, we filtered out any remaining plant matter.
First, we poured the liquid through a coffee filter for purification.
This filtration created a clean, smooth ink.
If any sediment remained, it could be filtered again later.

Photo by Mariam Baghdasaryan¶

4. Make It Permanent¶

To make the ink stable and prevent flaking, we added gum tragacanth as a natural binder.
For 60 ml portion of ink, we mixed in about 1 teaspoon of gum tragacanth.

Photo by Mariam Baghdasaryan

This ensured the pigment adhered well to paper and created a smooth flow for writing or painting.

I tested with drawing my pears.

Photo by Mariam Baghdasaryan