FLUX: Design Education in a Changing World

DEFSA International Design Education Conference 2007

First Author’s name Sandra Heffernan Old Museum Building Private Bag 756 Wellington New Zealand S.L.Heffernan@massey.ac.nz

Eco Dye: Simply SustainableAbstract

Textile designers, like other product designers, face many changes in the shift to sustainability. The use of natural dyes has regained significance and a revival of interest as increasing worldwide awareness of the pollution resulting from the production and use of some synthetic colorants. Dye plants can/could be renewable resources, unlike fossil materials-oil and coal used to produce synthetic dyes. Inspiring projects for sustainable and environmentally friendly dyeing have developed throughout the world over the last decades. In France, a Euro research and development project Spindigo investigates the industrial revival of natural dyes and pigments; indigo production has revived in El Salvador and in the Netherlands Rubia Pigmenta Naturalia has focused on madder development, to mention a few (Cardon, 2006).

The question remains: how does sustainability sit in a business that prides itself on consumer desire for the new and whether eco-design can match the high levels of style, glamour and excitement the consumer has come to expect. Sustainable products cannot compete with the economies of scale on offer today, but the market is more ready for eco-products than ever before. Fast throwaway items at ridiculous prices will not be easy to give up.

The natural dye approach allows a holistic view from the beginning of the design process aiming to include sustainability in material design, use and aesthetics. Thus function, user needs, durability and environmental impacts and resource use can be considered and addressed. This paper presents an alternative approach to textile design colouration, whereby natural dyes were promoted in the context of contemporary concerns for sustainable economic and cultural development. The challenge was to see how the art of natural dyeing could be taught effectively at tertiary education level and inspire a research programme towards the sustainable use of natural dyes. Carefully managed experimentation and directed successful results produced contemporary design solutions. The students developed an enhanced appreciation of environmental concerns and dye processes that provide a foundation for sustainable contemporary design. Empowered to broaden their horizons they explored a variety of processes. Multiple benefits from this pedagogical project choosing natural dyes as the common theme were achieved. Innovative natural dyeing processes and strategies were implemented into the curriculum combining the dynamism of traditions and contemporary creation.

As Bruce Sterling claims the large scale production methods today are unsustainable as they use archaic forms of energy that are finite and toxic (Sterling, 2005). There is the possibility to include sustainability in studio practice for all textile design students. A shift in thinking that embraces variations in dye colour and altering light and wash fastness is required.

Textile design, sustainable, environment, natural dyes

References

Cardon, D. (2006). Natural Dyes Today: Why? 'naturally' International Symposium-Workshop on Natural Dyes. Hyderabad, UNESCO. UNESCO/CCI/SYMP/DOC/6: 4-10.

Sterling, B. 2005. Shaping Things. London, MIT Press.

Introduction Textile designers today are constantly being challenged to think smart about the ways in which to apply their skills to many different surfaces and environments (Design Institute of Australia, 2007).

The above statement alludes to the current climate offering opportunities for textile designers to adopt new processes for smarter textile solutions, such as environmentally sustainable dye practices. For centuries natural dyes from plants such as Isatis tinctoria (woad), Reseda luteola (weld-yellow) and Rubia tinctorum (madder) had an important role for everyday colouration of cloth. Then in 1856, during the industrial revolution Sir William Henry Perkins invented mauveine and established the pathway for

the subsequent widespread development of synthetic dyes. For reasons of technique and economy natural dyes were replaced by synthetic. Even though commercial dyeing and printing of textile materials has concentrated on the use of synthetic dyestuffs, the interest in natural dyestuffs has not waned. Today the list of dye sources grows as experimentation with waste products such as compost and grape pomace develops (Raja & Kala, 2005: 118).

An increasing awareness of the damages wreaked on the environment by chemical dyes, the destruction of plant life and pollution of soil and water resources, gradually stages a come back fornatural dyes. The role of natural dyes and their potential contribution to our culture and economy gains relevance (Cardon, 2006). In many countries the analysis and application of natural colourants is continuing, the revival is spear-headed by groups of scientists, artists, designers, educationists and environmentalists. Leaves fruits, seeds, flowers, barks and roots from plants offer a vast array of natural dyes/colourants (Bhuyan & Saikia, 2004: 2).

Contemporary concerns Increasing world wide awareness of the pollution resulting from the production and use of some synthetic dyes inspires a significant revival of interest. Natural dyeing symbolizes craft practices which reflect a harmonious, sustainable relationship with the eco system and the local plant reservoir. In the past potentially toxic chemicals were added to natural dye baths to improve the fastness of dyes, named as mordants, a derivation from the Latin word ‘bite’ or ‘fasten’. Most natural dyestuffs were fixed to material through a bond between the two that permanently fixed the dye to the fibre. Both the dye practitioner and environment were exposed to the potentially toxic chemicals as in the past dyeing with plant materials involved the use of mordants, including sodium chloride (table salt), copper sulphate (copper), ferrous sulphate (iron), stannous chloride (tin), and potassium dochromate (chrome) (Flint, 2006: 78). Today it is widely recognised that the use of less harmful mordants increases both the safety and colour range. Australian artist, India Flint, renowned for her eucalyptus leaf eco-print designs, experiments widely with alternative safe mordants, and recommends the use of sea water, soybean protein, whey protein, eggs, rice four paste and plants, such as rhubarb leaves (Flint, 2006: 78).

While issues with natural dyes remain, global concern of over-use of synthetic dyes with a certain hazardous nature related to carcinogenic effects is increasing. Eco-friendly and bio-degradable material alternatives are explored (Sewekow in Bhuyan & Saikia, 2004). Synthetic chemical dyes cause asthma and allergy whereas natural dyes help in reducing the toxic effects of synthetic colours by avoiding allergy inducing toxins, hormone disrupting chemicals and residual heavy metal waste (Sumi, 2006: 174). Besides the health issues concern in industry is growing as tighter environmental laws are introduced in Europe and China. In June 2007, Arthur Xie, Managing Director of Argus, the largest distributor of dyestuffs in China advised Australian textile industry representatives that supplies of dyestuff were becoming critical (Australian Textiles Publishers, 2007). New strict antipollution laws are impacting on supply and investment in the synthetic dye industry. Xie warns that supply shortages will result in increased prices. This may create an increased market for natural dyes and the probable increased use of natural dyes may exert pressure on the natural environment. The cultivation of dye plants will require research and development to avoid a threat to the environment (The Crafts Council of India, 2006).

Many new projects for sustainable and environmentally friendly development of dye plant production are underway, as plants, carefully cultivated and harvested, can be renewable resources unlike fossil fuels. Recent progress in industry indicates the potential for natural dye applications and within Europe the development of alternative crops is encouraging the re-introduction of natural dyes. Traditional dye sources like indigo provide the inspiration for the revival of production in El Salvador India, and Thailand (Cardon, 2006: 8). Projects aiming to improve dye processes and eliminate problems associated with the use of heavy metals are under way. In India studies for the Council of Scientific and Industrial Research (CSIRO) explored the relationship between dye concentration and the mordanting process of five different plant species and revealed post-mordanting to be most effective (Bhuyan & Saikia, 2004).

Opportunities for the dissemination of findings from new projects like Spindigo (discussed later) have been facilitated by agencies as powerful as the United Nations Cultural Organization (UNESCO). In November 2006 they presented a joint international symposium with The Crafts Council of India. Titled ‘naturally’ to stimulate interest and disseminate knowledge of natural dyes. Contributions by some of

the seven hundred participants represented current knowledge and practices of natural dyeing in traditional and contemporary textiles worldwide. The symposium considered the environmental impact of an increased use of natural dyes with sustainable development, new sources of natural dyes and new or improved techniques allowing larger scale applications of these colorants in textile arts, crafts and industries (The Crafts Council of India, 2006). Increasing use of natural dyes places pressure on the environment and needs to be considered in the context of the environment and cultivation of plants.

Traditional craft based projects rediscovered In the quest for environmental sustainability dyes used in specific traditional craftworks are now considered as appropriate for rediscovery (The Crafts Council of India, 2006: 3). In 1978 Dr. Harald Bhmer, a German chemist living in Turkey used chromatography to compare the dyes in old rugs to hundreds of plant sources (McDonnell, 2007). A dye process was developed and re-taught to a group of weavers in a profit-sharing cooperative known as the Natural Dye Research and Development Project, or DOBAG (the acronym for the Turkish translation). This raised the living standards of the weavers from four hundred families in Turkey, who are now able to buy land, houses and have piped water and live in a situation of relative prosperity. The project uses substantially less destructive dyes and improved environmental situation, while the introduction of mandatory schooling has helped to eliminate child labour. DOBAG rugs have received international recognition, renowned worldwide and are included in the British Museum of London Collection. ���Today, in Santiago del Estero in northern Argentina, women extract dyes based on traditional processes. South America possesses a rich dye heritage that developed with infusion from Incas, Spanish Conquistadors and Jesuits. A yellow colour is made from balda and blue from azuki root, a small plant that grows in the hills. Other sources include pata root or bark of the carob tree and grana fungus that grows on cacti to create colours for woven blankets for the European market (de Estrada, 2007: 124). More recently cochineal production has gained importance and indigo is cultivated again. Ricardo Paz and Belén Carballo have establish a weaving school in the hills to ensure traditional knowledge is passed down and they market the textiles in their Chelsea, London emporium.

On the Isle of Skye in Scotland the Shilasdair (gaelic for flag iris) Yarn Company derives dye from local plants. Flag iris, heathers, meadow sweet, tansy, bog myrtle and lichens are augmented with madder, cochineal and logwood and indigo to colour wool from their own Gotland/Shetland sheep (Williams, 2002). Eva Fleg Lambert’s sweaters, knit kits, felted textiles, accessories and knitting yarns are available for purchase in their croft dyehouse, popular with American tourists, and through a mail order service.

Recent industry initiatives Environmental concern has led to the introduction of alternative development models exploring the use of natural colours in an industrial way. A traditional dye source Rubia tinctorum (madder) inspired the development of a project in the Netherlands in the mid-1990s. Initiated by Professor Ton Capelle, who researched the extraction of dye from the madder. Supervised by Capelle, Dorien Derksen’s doctorate project "Red, redder, madder", focussed on madder development, isolating anthraquinones from madder roots. Since January 2005, Derksen has continued her research while managing Rubia Pigmenta Naturalia. Originally a co-operative led by the founder Capelle, it is now commercially active in the market, led by Anco Sneep, manufacturing and selling vegetable dyes (Rubia Pigmentia Naturalia, 2006). Using an environmentally friendly process Rubia manages and guides the production process from plant propagation to cultivation through to powder production for dyeing wool and leather and producing pigments for paint and lacquer for forty percent of the colour spectrum, but aims to cover the entire colour spectrum (Rubia Pigmentia Naturalia, 2006).

In Italy in 1955, Alfredo Mello Rella developed a family dye firm, Tintoria di Quaregna in Italy, that recently turned to natural dye use in view of the tough European Union environmental requirements for dyers and finishers (Wool Record, 2004: 50). This company developed modern technological processes for commercial scale production of dyes from a range of herbs, plants and shrubs in a completely natural environmentally friendly process for wool, silk and cashmere. No chemical auxiliaries, products or mordants are used in the processing of more than thirty plants, including alkanet, sandalwood, henna, blackberry, turmeric, tansy, tormentil, walnut, onion skins, all sourced from specialist suppliers (Wool Record, 2004: 50). These plant extracts are heated to certain

temperatures to impart the colours and extracts that maybe used more than once. The dye technique provides excellent colour fastness, washing fastness, light and repeatability. This natural dye process costs twenty percent more than chemically-based methods, although if used on expensive cashmere the cost is similar (Wool Record, 2004: 51). Tintoria di Quaregna are working with an Italian organic certifying body and a with an American agency to draw up processing standards for natural dyes. In 2004 Tintoria di Quaregna presented its latest developments to the commercial market at Pitti Filati. Then in 2006 they presented uneven dye effects, spray dyes, and mutli-coloured yarns.

Another recent wide ranging research project, Spindigo (sustainable production of plant derived indigo) was generously supported by the European Commission for 3.4 million euros. It covered plant breeding to dyeing to satisfy market demand for naturally sourced indigo in Spain, Italy, Germany, UK and Finland (John, 2003). Methods to purify products and to minimize losses during production were developed. Research and technological development by several universities and contractors, contributed findings for natural indigo production for textile, fashion and cosmetic industries, over a four year period. The indigo was derived from crops of Isatis tinctoria (woad), Isatis indigotica (Chinese woad) and Polygonum tinctorium (polygonum) to provide extracts for large scale production. Indigo from the Spindigo project featured in Boudicca’s 2000 London Fashion Week collection, then in 2003 Italian knitwear designer Mely Magliera used it in their KOS collection, and it featured in a Berlin exhibition Grüne Woche in 2004.

In response to demand of European markets for dyes and pigments for cosmetics, textiles and paintings Couleurs de Plantes was established in 2005 after a 10 year research and development project in Rochefort, France, (de la Sayette, 2006: 173). The diversification of French agriculture and preservation of traditional knowledge of dyeing played important roles while aiming to care for the preservation of the environment. Manufacturing dye-plant extracts, plant pigments, pigments pastes and other coloring matter from plants, grown under contract by their own farmers respecting the principles of sustainable agriculture (Coleurs de Plantes, 2007). The plants or natural dyes are suitable for colouration of silk, wool, cotton, linen, hemp, wood, bamboo or synthetic fibres. A wide range of dye plants grown in France includes Rubia tinctorum (madder), Reseda luteola (weld), Genista tinctoria (Dyer’s broom, Solidago Canadensis (Golden Rod), Cosmos sulphurous (Cosmos), Coreopsis tinctoria Coreopsis, Isatis tinctoria (woad) and Sorghum bicolor (Dyer’s sorghum) (Coleurs de Plantes, 2007). Couleurs de Plantes source plants from either tropical regions or natural dyes from retailers who protect resources. A method of selective extraction and drying producing rich, standardized water soluble powders is used to obtain dye extracts. Crop development and improved dye and pigment processes in the laboratory are transferred to specialized production partners (de la Sayette, 2006: 173). Furthering their commitment to sustainable practice they undertake an international programme for the preservation of pernambouc (redwood). All of their colouration products receive a code for quality, evaluation, control and tracking system from field to batches. The business of Couluers de France provides a model that emphasizes the shift from collecting to cultivating.

New sources of dyestuffs produced from different bacteria and fungi are now available and increase the range and spectrum of natural dyes for different fibres. New methods using enzymes and ultra sonic dyeing makes the dye process more effective without the usual high costs (Mamidipudi, 2006: 171). These projects indicate the level of interest at industry and commercial levels and the apparent resurgence of interest in natural dyeing processes.

Fashion and consumer movements Consumer movements within the fashion and interior industries are mobilized towards their social, cultural and political paradigms. In the 1970s natural dyes were popular within the hippy culture as an alternative choice factor rather than fashion. The more recent ecological conscience development is towards eco compatible consumption leading to the emergence of several fashion labels that guarantee both the product and garment process (Panconesi, 2006: 165). The renaissance in the natural dye market places a high premium on such goods.

Responses to allergies have encouraged new commercial initiatives, as ecological dyes for underwear are used in preference to chemically dyed fabrics that may cause allergies (Hood, 2007). The CSIRO reports that international standards for next to skin garments are being co-ordinated. It is recommending these garments contain neither synthetic materials nor toxic dyes and are

manufactured in acceptable environmental processes (Hood, 2007). Akihiko Izukura leads Hinaya Co, Ltd., a Japanese muti-facteted business established by his grandfather (Clark, 2005). Reacting to a skin allergy Ahihiko developed natural dye processes for hand made garments and large textile lengths. Using madder, betel palm, persimmon and chestnut, his textiles have been enthusiastically acclaimed at The Museum at the Fashion Institute of Technology, New York, and International Textile Symposium in Graz, Austria. Izukura’s exquisite cloths epitomize his conviction that textiles embody the finest and best union of man and nature (Clark, 2005: 58). He markets these works through his flagship store in Kyoto and a boutique in the hip Ginza area of Tokyo.

Role of education Education has an important role to inform the textile industry, scholars and general public about the special qualities of natural dyes. Today the art of dyeing using natural colourants, emphasizing close links between ecological education and natural dye is taught in some schools. Courses on environmental awareness based on dyeing with natural materials can be introduced into school programmes. In 2002 a Colour Congress was held at Iowa State University to promote interest, scholarship and understanding of natural dyes in art, commercial enterprises, and self expression. Ninety papers on natural dye use from north, south and central America, Europe and Japan were presented. The esteemed academics Sara Kadolph and Diane Casselman presented their development of a natural contact dye process as a practical alternative to immersion dyeing (Kadolph, 2002). Bundles of dyestuff and goods are compressed and heated to create complex, random patterns. Colours are developed on cloth without the use of chemical mordants and with less water usage than immersion dyeing (Kadolph, 2002: 16).

Varied approaches to natural colouration are developing, for instance in Finland, at the Evtek Institute of Art, Vantaa, near Helsinki a natural screen printing process is presented to students. It involves cochineal, alum and a thickening agent plant is used in the classroom. A rich colour palette of blues, yellows, bright red, deep lavender, pink, olive green and earth tones are mordanted with alum, an environmentally friendly mordant (Malarchar, 2003: 16). Rika Raisanen confirms the multiple benefits of a pedagogical project that used natural dyes as a common theme for teaching the different scientific and technical disciplines in Helsinki (Raisanen, 2006).

In Wellington, New Zealand in 2006, students were provided with the opportunity to participate in a summer workshop with India Flint. Titled ‘Arcadian Alchemy’, they experimented with a wide variety of ecologically sustainable dye and colouration approaches and techniques. Some traditional cultural principles were shared with the students as well as methods for assessing plants for dye potential, responsible harvesting, extraction of colour, and options for mordants without using harmful salts. New Zealand Maori have traditionally used plants such as Coprosma Australis (Raurekau) for its vibrant colour (Ngarimu, 2006: 35-36). Today, it is harvested from the bush and home gardens and continues to be an important colourant. Coprosma Australis is gathered on hot summer days, with scrapings taken from the eastern side of the tree (Ngarimu, 2006: 35). Also, tanekaha dye is derived from bark shavings, boiled and mordanted with kanuka (Sykes, 2005). A paste is produced mixing tanekaha with ash from an open fire for use on muka (flax) fibres.

Figure 1: Angela Kilford, 2006. Harakeke dye on wool.

A cultural dimension was developed through trials with indigenous New Zealand plants, such as Metrosideros excelsa (Pohutakawa) and Harakeke (flax) (Fig. 1). The students experimented with natural dyes sourced from genuine renewable resources and invasive creepers and climbers, and bad berries (Berberis darwinii) (Fig. 2). Plant identification, process notes, experimental findings and evaluations were documented in workbooks, while a range of samples were developed. Carefully managed experimentation and directed successful results produced produce a range of both experimental and finished contemporary design solutions. The students were required to identify the likely substantive, fugitive, light fastness and wash quality of dyes in their sample fabrics.

Figure 2: Laura Newton-King, 2006. Berberis dye on silk

The students developed an enhanced appreciation of environmental concerns and dye processes that provide a foundation for sustainable contemporary design. They were empowered to broaden their horizons and were encouraged to exploit a variety of processes. Multiple benefits from this pedagogical project choosing natural dyes as the common theme were achieved. Innovative natural dyeing processes and strategies were implemented into the curriculum combining the dynamism of traditions and contemporary creation. Staff and students continue with in research sustainable processes (Fig. 3).

Figure 3. Sandy Heffernan, 2007. Belladonna. Berberis, elderberry and inkweed dyes on silk.

ConclusionNatural dyes connect with their source and produce results in many variations and standardization of colour need not be the goal. Generally natural dyes appear less saturated than synthetic, but have inherent harmony and appear bright if away from synthetics. The down sides of natural dyeing is the use of poisonous mordants and over gathering of plants, especially lichens, barks and roots. The choice of slow growing plants is not advocated. Another key issue identified is the need to address the problem of sustainability and adequate supply of raw colourant materials, and particularly to ensure natural dyes are sourced from genuine renewable resources. Concerns remain for the use of slow growing plants like lichen, and the continuing use of heavy metal mordants. Major dye cultivation in some countries provides a means of crop diversification, including varietal selections and improved extraction processes (Cardon, 2006: 7).

The potential exists for the development and implementation of education tools for schools and communication with general public. Global ethical concerns ensure research, training, marketing and promotional activites are all required for a holistic relationship for partnerships between producers, researchers, NGOs, governments and the market. It is possible to use a practical set of colours for well executed results. The growing importance of dyes in the context of contemporary concerns, including biodiversity and renewable resources has promoted joint efforts in international networks, such as ‘Spindigo’ to inspire research programmes towards the sustainable production of natural dyes and common global marketing efforts and communication campaigns (The Crafts Council of India, 2006). The sustainable-minded industries and research organizations, recognize natural does not necessarily mean sustainable and environment impact statements are drawn up to back up sustainability plans (John, 2003).

The informed consumer values garments labeled with both the provenance and characteristics such as dyes. Fashion labels will benefit from these new approaches if introduced in stores in an image context that will be valued and the garments will reflect the philosophy of life of the wearer. Trading practices will need to engage the public and create an economic market for natural dyed and printed textiles to flourish (Cardon, 2006: 7). Natural dyes made from plants specially cultivated for that purpose, might become viable alternatives to synthetic dyes. To ensure natural dyes remain economically viable the consumer market could be expanded to include more cosmetics, food and paint products (The Crafts Council of India, 2006: 9). In the midst of increasing environmental concerns regarding water contamination, natural dyes with improved mordant processes, exist as an alternative to chemical dyes for consumers with sustainable resource awareness.

References

Australian Textiles Publishers. 2007. Dyestuff supply shortages for ANZ- Real risk because of strict antipollution laws being implemented in China. www.textileb2bcentral.com. [8 June 2007]. Bhuyan, R. and Saikia, C. 2004. Isolation of colour components from native dye-bearing plants in northerneastern India. http://www.sciencedirect.com. [8 June 2007]. Cardon, D. 2006. Natural Dyes Today: Why? Natural Dyes Today: Why? Hyderabad, 30 March 2006. http://portal.unesco.org/culture/en/ev.php. UNESCO. Cardon, D. 2006. International Symposium/Workshop on Natural Dyes. Natural Dyes Today: Why?, Hyderabad. UNESCO. http://portal.unesco.org/culture/en/ev.php. Clark, L. 2005. Akihiko Izukura: Living and Breathing Textiles. Ornament, 28(4):56 - 59. Coleurs de Plantes. 2007. Coleurs de Plantes. www.coleurs-de-plantes.com. [11 June 2007]. de Estrada, I. 2007. The Road to Santiago. World of Interiors, March(120 -125. de la Sayette, A. 2006. naturally: International Symposium-Workshop on Natrural Dyes. Production Industrielle de Colourants et Pigments Vegetaux, Hyderabad. UNESCO. http://portal.unesco.org/culture/en/ev.php. [30 March 2006]. Design Institute of Australia. 2007. Student Design Awards. http://www.dia.org.au/content.cfm. [15 February 2007]. Flint, I. 2006. Alternative (and safer) mordants for plant based dyes Sustainability and Eco-Friendliness of Natural Dyes. naturally: International Symposium-Workshop on Natural Dyes.Hyderabad, 5-12 November 2006. http://portal.unesco.org/culture/en/ev.php. UNESCO/The Crafts Council of India. Hood, L. 2007. Eco-friendly undies. http://www.news.com.au/adelaidenow/story. [17 June 2007]. John, P. 2003. Spindigo Project Progress Summary Spindigo Project Progress Summary. Reading, UK. http://www.spindigo.net. The University of Reading. Kadolph, S. 2002. Colour Congress 2002.http://www.aeshm.hs.iastste.edu/tc/news/colourcongress/default.htm. [17 June 2007]. Malarchar, P. 2003. Screenprinting with natural dyes. Surface Design Journal, winter(16-17. Mamidipudi, A. 2006. Locating the practise of natural dyes in institutional frameworks: producers vis-a-vis state and market naturally: International Symposium-Workshop on Natural Dyes. Hyderabad, 5-12 November 2006. http://portal.unesco.org/culture/en/ev.php. UNESCO/The Crafts Council of India. McDonnell, B. 2007. The DOBAG Rug Project.http://www.returntotradition.com/html/dobag_project.html. [19 June 2007].

Ngarimu, R. 2006. naturally: International Symposium-Workshop on Natrural Dyes. Naturally Maori-fibres and dyes of Maori, Hyderabad. UNESCO. http://portal.unesco.org/culture/en/ev.php [30 April 2007]. Panconesi, S. 2006. Natural Dyeing: Trends in Italy and Europe naturally: International Symposium-Workshop on Natrural Dyes. Sustainability and Eco-Friendliness of Natural Dyes. Hyderabad, http://portal.unesco.org/CCI/SYMP/DOC/6. UNESCO. Raisanen, R. 2006. Natural Dyeing in Teaching-a Problem Based Learning Project which Integrates Science Classes with Arts, Craft and Design International Symposium-Workshop on Natural Dyes.Hyderabad, 5-12 November 2006. http://portal.unesco.org/culture/en/ev.php. UNESCO/The Crafts Council of India. Raja, N. and Kala, J. 2005. Dyeing of jute cotton blends with grape skin waste. World Textiles,66(3):117-119. Rubia Pigmentia Naturalia. 2006. Rubia Pigmentia Naturalia.http://www.rubiapigmentanaturalia.nl/uk/index.htm. [18 June 2007]. Sterling, B. 2005. Shaping Things. London: MIT Press. Sumi, H. 2006. Protecting Natural Dye Plants and the Traditional Dyeing Technique in Japan Protecting Natural Dye Plants and the Traditional Dyeing Technique in Japan. Hyderabad, 5-12 November 2006. http://portal.unesco.org/culture/en/ev.php. UNESCO/The Crafts Council of India. Sykes, M. 2005. Traditional Dyeing Wananga. http://www.wananga.ac.nz. [18 May 2007]. The Crafts Council of India. 2006. Sustainability and Eco-Friendliness of Natural Dyes Sustainability and Eco-Friendliness of Natural Dyes. Hyderabad, http://www.craftscouncilindia.org/activities/naturally.html. UNESCO. Williams, H. 2002. Natural Dyeing on the Isle of Skye. Wool Record, 161(3695):57. Wool Record. 2004. Dyer Turns to Natural Dyes. Wool Record, 163(3715):50-51.

SANDRA HEFFFERNAN

QUALIFICATIONS

PhD 2004 Design from Artefacts: Innovate or Imitate: Issues of Aesthetics, Collecting, Education, Making and Marketing in J & P Coats’ Needlework Development Scheme: 1934-1962. Glasgow School of Art: Glasgow, Scotland.

AWARDS

Massey University Womens Award (UWA) 2007 Massey University Research Award (URA) 2006 Asia 2000 Higher Education Exchange Programme 2005Glasgow School of Art PhD Scholarship 2000-03

TEACHING AND RESEARCH INTERESTS

Interested in Fashion and Textile Design theory and practice; researching and exhibiting internationally. Recent research focuses on the development of theory to practice processes in design, design history, and cultural exchange in design through material culture studies. Student centred research facilitated cross-cultural collaborations, providing students with the opportunity to design and critique globally.

PUBLICATIONS

Politics and Trade in Design: Emmy Zweybruck-Prochaska’s Influential Textile Designs in Needlework Development Scheme Collections. 2007. Textile, Berg: UK. vol. 5, Iss. 1, pp. 50-65.

Visual Splendour: Liturgical Robes in Colonial New Zealand, 2006. ‘Unleashing Collections: Cloth, Costume and Culture’, NZ Costume and Textile Section of the Auckland Museum Institute Conference, Massey University: Wellington. ISBN 10: 0-473-11420-8

EXHIBITIONS

ARCHIVE ARTIFICE ARTFACT 2002Iparmueseti Muzeum, (Museum of Applied Arts) Budapest & Atrium Gallery Glasgow School of Art-group show

Sandy HeffernanMassey University

Eco Dye: ‘Simply’ Sustainable

Isatis tinctoria (woad) Rubia tinctoria (madder)

Environmental awareness

Holistic approach

Sustainability

Renewable resources

‘Conscious fashion’

Contemporary Concerns

Fuan Fountain Set Dye mill, Duangdong

Synthetic dyes

Pollution

Anti-pollution laws

Fossil fuels: oil and coal

Natural Dyes

Student eucalyptus dye pot

From toxic chemicals as mordantsto safe mordants:

Sea waterSoybean proteinWhey proteinEggsRice four pasteRhubarb leaves

Traditional craft based projects rediscovered

Santiago del Estero

Traditional processes

Yellow from Balda root

Blue from Azuki root

Pata root, Grana fungus

Carob tree bark Woven blankets for Chelsea, London Emporium

New projects

Spindigo

Sustainable production

Plant derived indigo

Euro funded

Plant breeding to production Mely Maglieria KOS Nino Grohn, Finland

Recent industry initiativesRubia Pigmentia Naturalia

Rubia Pigmentia NaturaliaMadder

Dyes for wool and leatherPigments for paint and lacquer

Fashion and consumer movements

Akira Izukura using madder, betel palm, persimmon and chestnut,for hand made garments and textile lengths

Role of education

Esther Bryant

Link ecological education and natural dye

Ecologically sustainable dye and colouration approaches

Inform textile industry, scholars and general public

Student notes

Plant identification, process notes,experimental findings and evaluations

Pattern

Cultural principles

Plant assessment

Identification

Responsible harvesting

Colour extraction

Safe mordants Harakeke (flax)

Native Plants

Esther Bryant wrapping, Rosy morn dye

Leaves and berries

Jessica Nutting, 2006. Pohutakawa leaves, cotton Maddy McGregor, 2006. Cotton, Blueberry

Student Samples

Kelly Borst Hanna Cox

Pest Plants

Laura Newton-King, cotton, linen, silk, Berberis berry dye

Waste Plants

Sandy Heffernan Wellspring IIBerberis, elderberry, inkweedrecycled silk, stitch

Sandy Heffernan Wellspring IIBerberis, recycled silk, stitch

• Current climate offers opportunities for sustainable dye practices• Informed consumers value garment labeling with provenance and

characteristics such as dye• A shift in thinking that embraces variations in dye colour and altering

light and wash fastness is required• Cultivation of dye crops • Innovative dye processes including use of safe mordants

Sustainable Dyeing