TECHNIQUES
I USE A RANGE OF ARTISAN NATURAL DYE SURFACE APPLICATION TECHNIQUES:
My processes use only natural organic plant materials, minerals, and natural unbleached fibres, grown and processed without toxic synthetic chemicals or heavy metals. Occasionally, I use insect dyes, such as Cochineal and Lac.
NATURAL DYEING - IMMERSION DYEING
AIM: TURNING AGRICULTURE WASTE INTO SUSTAINABLE DYED TEXTILES AND OBJECTS
I am passionate about using locally-grown, chemical-free, and seasonal plants for dyeing fabrics, yarn, and clothing. We only work with unbleached and undyed fibers that are locally grown and manufactured without synthetic materials.
I extract natural dyes from agricultural by-products, such as vineyard and oak leaves and bark, to produce eco-friendly dyes that can be used in the textile industry. Just like in winemaking, naturally occurring tannins in plant, fruit, and vegetable-derived dyes enhance colorfastness and staining power.
I provide small-scale dyeing runs for designers, as well as large-scale yarn-dyeing productions. For large-scale productions, we prefer to use organic extracts instead of handling large quantities of plants.
If you're interested in having your collection naturally dyed by us and your fibers meet our requirements, please don't hesitate to contact us for more information. You can also book a sampling service to begin the process.
BUNDLE DYEING
Bundle dyeing is a captivating and magical sensorial experience that celebrates nature's beauty and diversity. We can transform kitchen waste, agricultural waste, and fresh plant matter into breathtaking botanical impressions on cloth paper or bamboo sheets with a simple bind and steam process that uses minimal water.
Utilizing fresh, dried, or frozen flowers and plant materials, we create stunning and unique abstract repeat patterns that inspire and delight. I take pride in My ability to up-cycle pre-loved or stained garments, turn wedding bouquets into beloved amulets, and transform waste foods into an exciting range of products.
I share this passion for this technique through classes and workshops and love creating unforgettable group experiences that stimulate multiple senses. Join Me and discover the wonders of bundle dyeing!
The best gift to our young generation!
INKS + PAINTS - KALAMKARI
PLANT INKS FOR WOODBLOCK PRINTING AND SCREEN PRINTING
I specialize in creating beautiful colour palettes by using local plants, waste foods, and traditional plant and mineral pigments.
For Black, Did you know that a number of wasp species inject oak trees with chemicals that disrupt the normal growth processes in small sections of the tree? This results in oddly shaped growths called galls, which serve as nurseries for the wasps' larvae. Interestingly, some of these galls can be crushed and mixed with iron sulphate, gum Arabic, and water to create an effective indelible ink.
In fact, some of the most significant texts in Western history, such as the Magna Carta, Newton's scientific theories, Leonardo da Vinci's drawings, and Mozart's music, were all written using ink derived from oak galls.
At my practice, we use a variety of inks and paints for art prints, Textile silk painting, packaging, labelling, journals, and paintings.
I transform our natural dyes into inks with our handmade, natural, non-toxic plant starch binders.
All kinds of colours and surface designs are possible and I love to work with local print houses to create artisan ranges of printed products for designers.
ORGANIC INDIGO "NELLA"
Fermented Indigo vat
Indigo is a natural dye that is known for its mysterious properties. It is the only source of natural blue that is colorfast. Extracting indigo involves a complex fermentation process on green-leaved holy basil plants.
To create the dye, I use a traditional fermentation vat process that involves natural ingredients like organic homegrown indigo leaves, organic indigo powder, oakwood ash water, tamarind pulp, and wheat bran. This process produces ten stunning shades of blue, and to ensure the bacteria remain healthy and alive, I conduct daily checkups and feed them accordingly.
The Indigo vat, named Neela, is designed with a closed-loop system that ensures proper disposal. I store it in large clay pot containers in my studio and add more ingredients to balance the dye as we use it.
Creating this dye is more complex and requires more expertise than other dye processes. I follow the technique developed by masters of alchemy to ensure the quality of my indigo vat product. My method is inspired by the Indian indigo master, Sufiyan Khatri. He recently called my vat as a Fusion of Japan and India!
Tie Dye: Shibori and Bandhani
Tie Dye: Shibori and Bandhani are two traditional dyeing techniques from Japan and India, respectively. Each technique has a unique identity in its respective culture. Bandhani derives from the Sanskrit word "banda, " meaning "to tie". It is an essential indicator of identity in many communities. Similarly, the Shibori technique involves manipulating fabric to resist dye and spreading unique patterns. Each country has developed several methods to carry out the process.
The choice of colour is also significant as it often indicates the occasion. For instance, red symbolizes marriage, and yellow marks the start of spring.
I enjoy using Indigo and Madder to tie-dye and experiment with other plant dyes. This process requires a lot of handwork and manipulation of the fabric. The timeline of one project takes from 1 week to 1 month.
Indian Ajrakh / Clay Or Mud resist
Ajrakh is a technique used in textile block printing that involves resist dyeing. The resulting fabric is typically made of cotton and has floral and geometric patterns printed in darker colors like indigo and red. The word ajrakh may have originated from the Arabic word azraq, which means "blue" or "indigo", or from the Hindi phrase "aaj rakh", which means "keep for today".
The creation process for Ajrakh is time-consuming and demanding. The fabric is washed, beaten, and rinsed to remove impurities and make it soft. It is then treated with a mixture of castor oil, camel or goat dung, and soda ash in a process called saaj. After drying, the fabric is dyed using harda, which gives it a yellow tinge. It is then printed on low tables using a resist made of lime and natural gum. The resist acts as a barrier that is resistant to Madder as well as indigo, appearing as white in the finished product. I use exact same method in my creation with single colours.
If the cloth is to be printed on both sides, the resist is also applied to the reverse side.
