4. BioChromes¶

Research¶

Cover Art- Nadia Attmore

For this week, I explored different biomaterials I could use to dye my fabric choices. I knew I wanted to work with the color red for my final project, along with a muted stone, bone yellow, or mushroom tone to potentially dye leather in a similar palette. During class, I discovered that madder (rubia tinctorum), hibiscus, or safflower would work best for achieving the shade of red I wanted. I also learned about using bacteria as a natural dyeing agent, though that process is still in testing.

Originally, I wanted to use madder root for this experiment, but it wouldn’t have arrived in time since it has to be ordered in powder form. Because of that, I decided to try a secondary process using beets instead. My inspiration came from wanting to start early prototyping to see which method would yield the most vibrant and lasting color.

This was my first time dyeing with sustainable and natural resources, which made the process both experimental and educational. It was interesting to see how natural materials react differently from synthetic dyes, there’s a slower rhythm to it, and the color payoff depends on how much patience you have and how well you prepare.

References & Inspiration¶

My inspiration came from my desire to use red as a symbolic color in my final project, representing vitality, energy, and the visceral nature of creation. I wanted to test different natural dyeing processes to find which one could provide both the vibrancy and depth I envisioned. My exploration also aligns with my interest in circular fashion and sustainability, emphasizing how natural materials can produce beauty without relying on chemicals.

This week's motivation went beyond material experimentation; it also had something to do with the larger luxury fashion sustainability trend. In an effort to lessen their influence on the environment, several luxury and designer businesses are starting to adopt more ethical techniques. They are investigating plant-based dyes, recycled textiles, and biofabrication. This supports my objective of understanding how conventional fashion processes may transform into more circular, sustainable systems.

Stella McCartney is one designer who embodies this idea, long before sustainability was a popular issue, her company was the first to employ non-leather materials, organic fibers, and cutting-edge bio-based textiles.

Stella McCartney

Process and workflow¶

I began by visiting a local orchid farm to source fresh beets, then gathered leftover scrap muslin and cotton cloth to serve as my test fabrics. I experimented with three different dyeing methods:

Beet Paste Method: Mash raw beets into a thick paste. Apply the paste directly to the fabric, rubbing it into the fibers by hand. Let the fabric sit overnight to allow the pigment to absorb. Rinse lightly the next day to reveal the final color. Result: The paste produced the most vibrant and long lasting red tone, especially where beet skins made contact with the fabric.

Boiled Dye Bath: Chop beets into small pieces and add them to a pot of water with a 3 TSP of white vinegar. Bring to a boil and let simmer for 30–45 minutes until the water becomes a deep red. Strain out the beet pieces and place muslin or cotton fabric into the dye bath. Allow the fabric to soak for 2–3 hours, stirring occasionally. Rinse and hang to dry. Result: This method produced a softer, more muted red that leaned toward pinkish tones.

Beet Powder Method: Dehydrate beets completely in an oven or dehydrator until all moisture is gone. Grind the dried beets into a fine powder. Mix half the powder directly into water to create a strong pigment solution. Soak muslin and cotton fabrics in the solution for 2–3 hours. Rinse and let dry. Result: The powdered beet dye produced subtle color variations but less intensity than the paste method.

By the next morning, the fabric smeared with the beet paste and beet skins held the strongest color. The others faded slightly after drying. Even though the result wasn’t the deep red I envisioned, the experiment gave me a better understanding of how natural dye materials interact with different fibers and how I can adjust my process for stronger results next time.

Ingredients & Recipes¶

*  Ingredients:

    Fresh beets
    Water
    White vinegar
    Lemon Juice
    Muslin fabric scraps
    Cotton fabric scraps

    Tools:
    Pot for boiling
    Blender or mortar and pestle
    Strainer or cheesecloth
    Gloves
    Dehydrator or oven for drying beets
    Bowls for soaking fabric

* measure
* add
* simmer
* mix
* remove
* strain
* repeat

Documenting experiments¶

TEST 01 - MUSLIN¶

Material name	Fabric composition	Breathability	Moisture-wicking abilities	Heat retention abilities	Stretchability	Washing temperatures
Muslin	Plant-based fibers – cotton origin	High	High	Low	Low	Cool or warm

NOTES¶

For my first dye test, I chose muslin as my base fabric because of its lightweight and absorbent qualities, which make it ideal for experimenting with natural dyes. Muslin easily takes on pigment but can fade quickly if not treated or fixed properly. This test helped me understand how organic materials such as beets interact with natural fibers and how the fabric’s breathability affects dye absorption.

The natural tone of muslin also provided a neutral canvas to see the full range of pigment from the beet paste and beet-vinegar mixtures.

TEST 02 - 100% COTTON¶

Material name	Fabric composition	Breathability	Moisture-wicking abilities	Heat retention abilities	Stretchability	Washing temperatures
Silk	Plant-based fibers – cellulose origin	High	Medium	Medium	Medium	Cool or warm

NOTES¶

In my second dye experiment, I compared the absorption rate of 100% cotton fabric to that of muslin. Both are plant-based, however when beet-based dyes were used, the cotton's tighter weave produced a smoother surface and a somewhat slower absorption period. To get deeper tones, the material needed to soak for a longer period of time (about two to three hours).

Cotton's ability to adapt helped it to pass several dye tests, such as paste, boiling, and powder dying techniques. However, like muslin, it had softer pink and mauve undertones instead of the bold red saturation I had hoped for.

RESULTS¶

Two ways of showcasing and comparing results with images below

On the left an image of a sample made by boiling (Bottom Left Swatches) with powder. The dye is more natural. Whereas the top two (The strip and the cotton square on top right) were the paste dye. On the right, an image of a sample made by smearing the beet mash on the muslin and cotton swatch.

BEET DYE RESULTS¶

After experimenting with all three approaches, the paste method worked best, getting a fuchsia color with slight depth . Although the results from the boiled and powdered processes were softer, each approach demonstrated how dyeing can be exploratory.

RED CABBAGE DYE TESTS¶

Process and Workflow¶

Learning how varied pH levels and modifiers affect natural pigments was the main goal of my research. Because red cabbage's anthocyanin pigments clearly change color in response to acidic and alkaline elements. I looked into using red cabbage as an ink making material in addition to fabric dyeing. This broadened my knowledge of biochromes beyond textiles to include more general uses like surface treatment, and drawing.

In order to extract the pigment and create a deep purple dye bath, I started by cutting red cabbage and boiling it in water. The liquid was used as my foundation color and ink once it cooled and was filtered out.

I then experimented with a number of modifiers to see how the pigment responded:

As acidic modifiers, vinegar and lemon juice were added, causing the dye to change to pink and ruby colors.

As an alkaline modifier, baking soda produced blue to greenish tones.

As a fixative, salt was tested to determine if it would improve the dye's ability to adhere to the fabric.

I left smaller quantities of the color aside and slightly thickened for ink testing, fabric samples were immersed in various solutions.

CABBAGE INK TESTS¶

    Step 1:

    Gather flour, honey and your dye solution. The flour and the honey act as a binder allowing your pigment to show up on paper.

    Step 2:

    Portion your mixture into smaller batches.

    Step 3:

    Add in your modifiers such as lemon juice, baking soda, vinegar, etc.

    Step 4:

    Allow the pigments to dry, after drying you will be able to use as a watercolor paint.

Ingredients & Recipes¶

    - Red cabbage
    - Water
    - Stove
    - Fabric samples (cotton and muslin)
    - Salt
    - Baking soda
    - Lemon juice
    - Vinegar
    - Pots, strainers, and containers

RESULTS¶

Compared to synthetic dyes, the red cabbage dye was less stable but very reactive. Although the color changes were visually noticeable, the modifier and soaking time had a significant impact on how long the pigment lasted.

Alkaline solutions created more subdued tones, whereas the acidic solutions produced the most vivid and rapid color changes. The limits of natural dyes without mordants were highlighted by the fact that salt did not considerably fix the color on its own.