PLANT-BASED COLOUR

NATURAL DYEING IN THE STUDIO

Natural dyeing gives me a way to create colour around the reclaimed cotton and linen already in the studio. I test different plant dyes, record what happens and decide where each result could work best.No two batches are exactly alike. Shifts in colour and texture often become the starting point for the patchwork, quilting and construction of the finished piece.

SEE NATURALLY
DYED WORK LEARN ABOUT
NATURAL DYEING

WHY I WORK WITH NATURAL DYES

I began natural dyeing because I wanted more control over the colours available in reclaimed natural fibres, but I quickly became fascinated by the materials, methods and long history behind the process. I have yet to find synthetic colours that hold my attention in quite the same way.

I use dyes such as madder, onion skins, indigo and local rock rose. Each produces colour with its own depth, variation and response to light. Even when the fabrics come from different dye baths, the colours tend to complement one another, which makes them particularly well suited to patchwork.

Flatlay of several acorn natural dye swatches, shades of brown and gray.

HOW I WORK WITH NATURAL DYES

Natural dyeing is a labour-intensive process that requires time, patience and careful attention at every stage. The exact method changes with the fibre, dye material and intended colour, but most fabric follows the same general route through the studio.

READ THE NATURAL DYEING BEGINNER SERIES

white folded cotton on a scale showing the weight

STAGE 1

SELECT & IDENTIFY

I assess the fabric’s fibre, condition, weight and previous use. I mainly work with cellulose fibres such as cotton and linen. They can be more challenging to dye, but developing strong, lasting colour on these fabrics is a part of the process I really enjoy.

Pot of soapy water with white cotton fabric soaking inside

STAGE 2

WASH & PREPARE

The fabric is washed and thoroughly scoured to remove dirt, oils, finishes and residues that could prevent the dye from bonding evenly. Careful preparation takes time, but it gives the colour a clean and reliable foundation.

Stack of pink, blue, and green fabrics pressed and prepared for accurate cutting and sewing.

STAGE 3

TANNIN, MORDANT & DYE

I treat the fabric with tannin and apply a mordant before dyeing to help the colour bond properly and achieve the best possible colourfastness. The preparation method is adjusted to suit the fibre and dye material.

Rock Rose naturally dyed fabric swatches and stacks

STAGE 4

RECORD & USE

Each result is labelled and recorded before the fabric joins the fabric stash. From there, I can compare it with other fabrics and decide how it might be cut, combined and used in a project.

TURNING NATURALLY DYED FABRIC INTO TEXTILE WORK

There is something deeply satisfying about sewing with fabric I have dyed myself. I have watched the colour develop from the first test swatch to the final cloth, and then I get to decide what that fabric will become.Naturally dyed pieces find their way into quilts, wall hangings, pouches and smaller household textiles. Patchwork also allows limited lengths and smaller sections to become part of a larger composition. Seeing those colours work together in a finished piece is often what makes me want to begin the next dye experiment.

DYEING WITH KITCHEN SCRAPS

Use tested recipes and colour references to dye cellulose fabrics with common kitchen materials.

VIEW THE GUIDE

NATURAL DYE PROJECTS

Find sewing projects that turn naturally dyed fabric into useful finished pieces.

VIEW NATURAL DYE PROJECTS →

QUILTS & WALL HANGINGS

See finished textile pieces that use naturally dyed and reclaimed fabrics in patchwork and hand-quilted surfaces.

VIEW QUILTS & WALL HANGINGS →

LIVING COLOUR

WHAT TO EXPECT FROM
NATURALLY DYED TEXTILES

Naturally dyed fabric can contain shifts in shade, small marks and differences between batches. These are normal results of working with plant dyes and varied reclaimed fibres.

I prepare and mordant fabrics according to their fibre and intended use, but natural dyes are generally more sensitive to strong sunlight and harsh washing than many synthetic dyes.

Finished pieces include care information suited to their materials and construction.I describe the dyes and fibres used whenever that information is known. I also avoid promising permanent, perfectly uniform colour.

LEARN THE PROCESS OR SEE THE FINISHED WORK

The materials available influence the size, colour, construction and number of pieces that can be made. Explore the two main material pathways used throughout Aleatorio Designs.