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This presentation was given by Charllotte Kwon, Tim McLaughlin, and Pankaj Shah at the Indigo Sutra event held in Kolkata, India on November 10, 2017.

Blue Ideals:

Overcoming Artisan Challenges to the use of Natural indigo

Charllotte Kwon, Tim McLaughlin, Pankaj Shah

Download as a PDF

[Charllotte Kwon]

Introduction

Thanks to Amrita Mukerji for starting this journey. And thanks Jenny Balfour Paul for keeping us on the journey. And thanks deeply to Ruby Ghuznavi for inspiring so many of us so very long ago that the journey was worth taking.Thanks to all those who have worked tirelessly behind the scenes to make Indigo Sutra happen.

Welcome to everyone. We have three people on stage, here’s why.

My name is Charllotte Kwon - I have practical experience working with indigo vats. I also have considerable experience working with artisan groups helping to bring their work to the world market.

Tim McLaughlin has a background in chemistry and philosophy of science and has been working on understanding the complex reactions that take place inside the indigo vat. This information has proved very useful in identifying good organic substitutes for the ingredients used to build a vat. I have worked together with Tim as co-director of 4 documentary videos and co-author of a recent Thames & Hudson publication on Banjara embroidery.

Pankaj has a background in artisan development and he has a keen understanding of the many challenges facing artisans and artisan groups. He is a co-founder of Qasab in Kutch, he is formerly of Khamir (which he also co-founded). For over twenty years Pankaj, along with his wife Meena, has been a facilitator and artisan liaison for Maiwa Handprints working with traditional tribal communities in Kutch and Central and Southern India.

The three of us have worked together for a very long time. We have committed our lives to working with artisans and natural dye farmers and to understanding their challenges - and their desire to reach markets.

In addition to running my business Maiwa, I also teach the use of natural dyes. Through this teaching I build and maintain natural indigo vats for use by 16 students in a week-long workshop. I do this twice a year. In addition I oversee the maintenance of production vats for both cellulose and protein yarns.

In my opinion, building and maintaining the vats for students is a bit more tricky than for production dyers. Students have not perfected the technique of dyeing - usually they add too much oxygen while dyeing, and they occasionally collapse a vat through dying a cloth which has not been prepared properly. Reviving vats under these conditions has taught me many skills. I have learned a great deal about how far vats can be pushed and what can be done to keep them alive.

In this conference we would like to focus on natural indigo use by artisan dyers and small-scale growers in India.

Natural Indigo

Natural indigo has the potential to become the centre of a network of artisan and dye-grower relationships. Many regions of India (especially Bengal) have the perfect conditions to grow high-quality indigofera tinctoria which, when processed, will yield an exceptionally good proportion of indigotin (the active component of indigo dye).

This capacity represents a natural resource which was heavily exploited with disastrous results during colonial times. Today, the hope is to encourage a revival of natural indigo growing, extraction and use, to empower small-scale artisan communities.

Types of Indigo - Types of indigo vats

We want to draw a clear distinction between the indigo dyestuff as either natural or synthetic.

The vat used in the dyeing process is either a chemical vat or an organic vat. A chemical vat uses sodium hydrosulphite or thiourea dioxide as a reducing agent. An organic vat uses a natural reducing agent which we will explain in a moment.

Clearly there are three possibilities of interest:

1. Use synthetic indigo in a chemical vat

2. Use natural indigo in a chemical vat

3. Use natural indigo in an organic vat

There is no dispute that using natural indigo in an organic vat would be best. Let’s look at how an indigo vat works.

[Tim McLaughlin]

We are indebted to Michel Garcia for his clear explanation of indigo vats as having three distinct components. All indigo vats, regardless of how they are made need three things.

1. Indigo dye

2. A reducing agent

3. A base

Let’s look at these:

The Indigo dye contains indigotin - the active component of indigo. Indigotin does not dissolve in water. It behaves like a very fine sand. If we want to dye with it we need to dissolve the indigotin.

The reducing agent is what we add to the vat to dissolve the indigotin.

BUT - the reducing agent will only be effective in a basic environment - so we must also add a base to the vat.

All indigo vats contain these three parts: Indigo, a reducing agent, and a base.

Indigotin: indigotin is dissolved into a yellowy-green solution. Cloth or yarns are placed into that solution. The dissolved indigo known as leuco-indigo or indigo white permeates the fibres. When they are taken out, the oxygen in the air turns the indigo back into its insoluble (blue) form.

The raw ingredients of chemical vats are dangerous and require careful handling. The disposal of the remains of a chemical vat can be a pollution problem. An organic vat can be made by replacing the chemicals, with organic matter and selecting an appropriate base.

The recommended base is Calcium Hydroxide - known as calx or lime. When the vat is exhausted the calcium hydroxide can be converted to Calcium Carbonate - which is just chalk. This is accomplished by whipping air into the vat.

A large number of possibilities exist for organic reducing agents, after all, indigo dyeing has been done by artisans for thousands of years - for most of this time artisans had no access to chemical supply stores. Sugars, fruits, sweet vegetables, even spent dye matter such as madder or henna can be used.

These organic vats all have different personalities and require a certain sensitivity on the part of the artisan. In return for cultivating this sensitivity, the artisan works in a much more healthy environment and keeps the workplace free from hazardous materials.

Moving to an organic vat, however, represents a challenge to artisans in terms of knowledge and experience. So we suggest an incremental change. First - replacing synthetic indigo with natural indigo, that is, indigo which has been extracted from plants. Second, once this transition is established, replacing the chemical vat with a natural vat, one of the vats that uses sugars or organic matter to accomplish the reduction.

The spent organic vat is a compost containing plant matter, indigo pigment and chalk. And it can be easily be thrown away as a nitrogen and calcium-rich compost.

Let’s look at the switch from using synthetic indigo to using natural indigo extracted from the indigo plant.

[Charllotte Kwon]

The goal of reviving natural indigo and getting artisans to switch from synthetic to natural indigo presents a number of challenges to both growers and artisans.

I purchase natural indigo for Maiwa. Recently I was shocked when artisans told me that there was no natural indigo left - Maiwa has purchased it all! I asked myself “How can this be so?” Maiwa does not purchase THAT MUCH indigo. The number of artisans claiming to use natural indigo, and the number of large companies which claim to support traditional techniques, require a far greater volume of dyestuff than Maiwa could ever use.

So I asked myself “How is this possible?” It seemed that it could only be possible if artisans or merchants that say they are using natural indigo are not using natural indigo. Either they are being sold synthetic indigo and being told it is natural. Or they are receiving a blend of synthetic and natural.

We want to present these issues here, because this audience represents possibly the most knowledgeable and active indigo community in the world, This conference takes place at the centre of what was once the best land to grow indigo in the world. If these problems are solvable this is the place and the time to solve them.

[PANKAJ SHAH]

I would like to look at the issue of indigo use from the artisan’s perspective. What challenges face artisans in the use of natural indigo? We have broken this question down into five points:

Five Challenges facing artisans:

1. Technical Challenges: Dyeing skills needed to produce quality results with natural indigo.

2. Design Challenges: Creating products using natural indigo.

3. Sourcing Challenges: Availability of natural indigo on regular basis at consistent prices.

4. Costing Challenges: Setting prices for natural indigo products.

5. Marketing Challenges: Competition and market position for artisan products.

Let’s explore these.

1. Technical Challenges:

Dyeing skills needed to produce quality results with natural indigo.

[CHARLOTTE KWON]

Fortunately this challenge can be overcome. A skilled indigo dyer who already knows how to use synthetic indigo should have little difficulty in transitioning to natural indigo.

The use of natural indigo and organic vats needs to be demystified to help those who are not confident. There are many myths about indigo, which have kept artisans from using natural indigo dyeing or making an organic vat.

Natural Indigo behaves differently in the vat than synthetic indigo. Synthetic indigo is strong and immediate. For an artisan to get the same depth of shade from natural Indigo multiple dips are necessary. A deep colour in the block printing process is difficult because the physical resist, dabu mud, for example, weakens when dipped repeatedly. In ikat, bleed is more likely when a skein of tied yarns are repeatedly immersed.

Conversely a light clear shade can be more difficult with synthetic Indigo but may be obtained with ease when working with natural. In fact, a single dip that produces a deep shade raises suspicion that an artisan is not working with natural indigo.

Organic vats also behave differently than chemical vats. Chemical vats are quicker to make but often have a shorter life than organic vats.

The Organic vat often works best when a gentle heat is applied from time to time. There are some low-tech options for providing the heat needed to revive a vat – such as immersion heaters (many of which now have small solar panels). I will be teaching the technicque of building and maintaining vats in our “Vat Mechanic” workshop.

Timelines and work schedules may need to be adjusted for the use of natural vats.

A chemical vat can be prepared in a few hours. A vat based on fructose may take about 24 hours to reach its best. Vats based on sweet fruits and vegetables or henna may take two to three days to reach optimal dyeing strength. Fermentation vats may take a week or longer to establish themselves based on size of the vat and process used.

If work falls off or there is down-time in the studio, craftspeople need to know how put a vat to sleep and wake it up, that is, how to maintain vats during dormant times.

Natural vats need to be adjusted to meet different craft methods. Techniques such as Ajrakh, Dabu, Kalamkari, Bandhani, Shibori, Plain fabric dyeing, yarn dyeing etc. all bring their own requirements. The skilled dyer knows this and can adjust the vat to meet these requirements.

However - the synthetic indigo with the chemical vat has de-skilled artisans and it s a myth that it is very difficult to learn the process of working with natural indigo. As Tim mentioned - we highly recommend that artisans first learn to work with natural indigo (rather than Synthetic indigo) using a chemical or hydros vat. Get confident with that. Then work alongside these vats with a small vat made with natural indigo and various organic agents. Explore what is cheaply and easily available in your local area. Once you are confident, scale up to larger production vats for your process.

2. Design Challenges:

Creating products using natural indigo.

[TIM MCLAUGHLIN]

It is necessary to educate the public about how indigo behaves on a textile. After final washing indigo dyed textiles should not show rub off on a white cloth with a light rubbing. But there is long term rub-off and wear. The public does not necessarily connect the love of textiles they already know — like faded blue jeans — to the behavior of indigo dye on a shawl or jacket.

More specifically, it is necessary to design products that take advantage of the unique character of natural Indigo.

Actually, indigo is in a privileged position. Few dyes or fabrics could lay claim to the wealth of traditions that indigo can. It has been used wherever it grows. It is used throughout Asia, and through trade it arrived in Europe. Indigo clothing traditions span all classes. Indigo can be used on prestige textiles and on “blue collar” textiles. Historic uses are everywhere. It is simply a matter of tapping into these rich traditions in an authentic way. Innovation, modification and incorporation of traditional cloth into contemporary products is the next logical step.

3. Sourcing Challenges:

Availability of natural indigo on regular basis at consistent prices.

[CHARLLOTTE KWON]

Artisans may find it difficult to obtain a supply of natural indigo. Prices may not be stable throughout the year — Indigo prices are tied to the success of the crop and so depend on each season.

Additional challenges to small-scale artisans purchasing from extractors include:

Knowledge of purity of the natural indigo. Usually a skilled dyer would have to make a test vat and dye a familiar cloth. Ideally, this takes place before a large amount of indigo is purchased.

Deception is possible, however, this is an age-old problem of trade (the old bait and switch) and there are no qualities of natural indigo which make it either more or less problematic than any other raw material being used in a production process.

Natural Indigo suppliers are saying they do not have enough clients. Their main sales are powdered leaf indigo for hair dye - not extracted indigo for dyers.

4.Costing Challenges:

Setting prices for natural indigo products.

[Pankaj Shah]

Generally speaking, effective costing requires the experience of one full production run of product. Small-scale producers require training in flexible costing strategies. Strategies that can take into account real costs of training, infrastructure, and materials. More importantly the models used for costing need to be appropriate for small-scale artisan producers who often use family members in production. Costing models based on factory production are worse than no costing models, as such models will dictate how small scale craft “should” be organized.

Here are some figures for costs:

Using Natural indigo is more expensive than synthetic indigo, however, using natural indigo in an organic vat can be less expensive than synthetic indigo in a chemical vat if the vat is in constant production.

Artisans should be able to offer clients a schedule of options with pricing. If the artisans knows confidently how to build all types of vats then they can offer the client synthetic indigo with a chemical vat or natural indigo with a chemical vat or natural indigo with an organic vat. It is in the hands of the clients: what they wish to pay for, what they wish to say on their label, how they choose to market, and if they wish to be truthful.

5. Marketing Challenges:

Competition and market position for artisan products featuring natural indigo.

Charllotte has proposed that producers establish labeling whereby the process is announced to the buying public:

“Only natural indigo extracted from plants was used to dye this item.”

“This item was dyed with natural indigo using an organic vat technique.”

We would like to see the market reinforce the use of natural indigo. If an artisan is dyeing with natural indigo, the client should be able to visit the artisan and see the work going on. The client needs to pay the proper rate for natural indigo. The use of natural indigo can be marketed to the buying public as a value added step - in the same way the use of natural dyes and organic cotton are marketed as value-added steps.

These are the 5 challenges facing artisans when they consider using natural indigo.

To conclude we would like to correct some false assumptions about the use of natural indigo. These often come up when we talk to artisans and dyers and ask them why they are using synthetic indigo and not natural indigo.

Objection #1 The natural indigo vat is too difficult to make.

[CHARLLOTTE KWON]

Although natural vats can be temperamental, with experience there is no reason that the artisan dyer cannot have have the same success with natural vat as they have with the chemical vat. Many chemical vats can be built very quickly - but they also are exhausted quickly.

A natural indigo vat is like other artisan processes such as the manufacture of cheese or curd.

The manufacture of curd is a fermentation process which has the same sensitivity to temperature, pH and starting ingredients as a natural indigo vat.

In fact, the perfection of technique gained through working with a natural organic indigo vat can lead to artisans being able to manage very fine fabrics like pashmina and fine wools and silks that can be weakened and compromised in the synthetic/hydros vat.

Objection #2. Production dyers say- our large, deep indigo vats contain up to 3 kilos of indigo - It is too much of a risk to attempt an organic vat.

[TIM MCLAUGHLIN]

Established artisans who are concerned about managing a larger vat should begin with smaller vat and use these to become familiar with the process. We have had very satisfying experiences working alongside traditional dyers. Often there is an “ah-hah” moment, an epiphany, when they master the vat. At this stage they are reluctant to return to a chemical vat. It IS an investment to make a large deep vat. Yes. But it a rewarding investment.

Objection #3. Using items like dates for an indigo vat would take food out of the mouths of artisan families.

[PANKAJ SHAH]

This is an interesting argument which calls up the ghosts of famine and the troubled history of indigo in Bengal. However, it does not reflect the truth of working with organic vats. If dates are expensive or needed for food, a variety of other materials can be used. It is never the case that people need to go hungry in order to feed an indigo vat.

Moreover, fruits may be used for an indigo vat that are not suitable for eating. Items such as over-ripe bananas and over-ripe mangos.

In addition, unusual items such as madder or henna which has already been used for dyeing can be used. In some parts of India henna is inexpensive and readily available because of mehndi - and henna is a fabulous reducing agent.

Moreover, artisans always need to purchase raw materials for their craft. This is always the case. It is only because some of the raw materials for an organic vat are also foods that the confusion arises. But for an organic indigo vat there are many many choices and they do not have to compete or have impact on the local markets for foods.

[TIM MCLAUGHLIN]

The criteria for reducing agents is really rather simple. For fruits and vegetables they must have a lot of single sugars (monosaccharides). Either glucose or fructose. Chemically speaking, the aldahyde functional group on these molecules makes them reducing sugars. The sugar molecules are only useful when they are not in a ring form. For this reason sucrose will NOT work. Sucrose is one molecule of fructose and one molecule of glucose linked together in ring formation — so that this sugar will not work as a reducing agent.

Even jaggery will work - because even though it has a high percentage of sucrose, it also has a high percentage of fructose and glucose.

The other quality that fruits and vegetables must have is that they must NOT be acidic. Acidic fruits like apples, pineapples, or the pulps of oranges and other citrus fruits will not work. The acids in these fruits will collapse the vat. However, sometimes the citrus peels will work. Sugar beets and sweet onions will also work.

The real test of what will work is in making a working indigo vat.

Conclusion

{CHARLLOTTE KWON}

What Maiwa brings to the table with our participation in Indigo Sutra 2017 is a deep desire to get farmers in India growing natural dyes. As the market becomes more enthusiastic for natural colour, as we educate more people towards “slow clothes”, as consumers become prepared for the expense; the extra care required, and the beauty of cloth coloured with natural dyes, there is a real opportunity for artisans and farmers to work together to create new networks.

The networks are everything. Artisans need to be be able to find a vital, value-added market for environmentally friendly processes to preserve the cleanliness of their local water and land.

All we need to get started is some artisans who are prepared to start dyeing with natural indigo and some farmers who are prepared to grow that indigo and sell it to the artisans.

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From the Maiwa Archive. This story was originally published in the Vancouver Sun ten years ago on May 1, 2000. We are proud to say that we are still dealing with artisans the same way. The text of the article is reprinted here or click on the images for a PDF version.

by Alan Daniels
Sun Business Reporter, Vancouver Sun

[Photo caption] THREADS of HOPE: Charllotte Kwon works tirelessly to improve the lot in life for Indian workers who make cloth such as this.

Charllotte Kwon spent $250,000 buying textiles in India last year for her Granville Island stores, but could have paid 30-40 per cent less if she hadn’t been so determined to drive prices higher.

In a complete reversal of conventional wisdom, she thinks globally and acts locally, and her business philosophy is the antithesis of the traditional bottom-line mantra to buy low and sell high.

Instead, she believes in paying above the going rate for the complex weaves, botanical dyes and collector-quality embroidery that she purchases.

On buying missions to remote Third World villages, she convinces artisans to raise their prices, because she believes they should be paid more like professionals than subsistence workers.

Traditional textiles are her passion, she says and she believes improving living standards of people who produce them is the only way they will survive.

“It appalled me how much was disappearing at a fast pace,” she says. “I love being part of this age of technological advances, but I can’t bear to see what the world is losing in the collective, creative energy of cultures and all of their history.”

She says the first time she tried to get artisans in India to raise their prices, they reacted with amazement and distrust.

“’She’s going the wrong way. She’s bidding up. She doesn’t know how to negotiate.’”

She deals with that by showing local people the actual price stickers from her store, translating Canadian dollars into rupees.

“I tell them. ‘This is what I sell for. This is what it costs me to move it from your village to Mumbai. This is what it costs to ship it to Vancouver. This is how much I pay Canada Customs. This is what I pay my employees, this is my rent on the store, this is what I pay in tax and this is what I can pay you.”

In most cases it is substantially more that the artisans previously were getting.

“They have been stepped on so much under the Indian system,” she says. “Crafts people are really low on the respectability totem pole, yet society places art at a high level. They need to see themselves that way.”

Dismissing any suggestion that she is a charitable institution, Kwon says she operates a profitable business, employing a dozen people in Vancouver.

Maiwa Handprints, which includes two retail stores selling clothing and bedding with a production studio in East Vancouver, and an office and warehouse in Mumbai grosses $1 million last year.

“I’m doing this because I want to prove to myself it’s possible,” she says. I am not going to pay minimum wage, I am going to see where my maximum is. I live okay. I don’t need anything more.”

Kwon insists she is a business woman, not a benefactor, although she concedes that whole families – even villages – in India depend on her orders.

“We don’t just drop in somewhere and say, ‘Do you weave? Anything happening here?,’” she says. “Careful research happens first. We will visit and area, get a feeling for it, talk to people, see if there’s a market, assess whether we would upset the balance.

“Only then do we get product samples done. Once we have established a working relationship as professionals – say two or three orders a year – we will not leave them. They will make the decision that they want us to leave.”

When she started her business a decade ago, Kwon, a weaver and silk-screen artist, travelled widely in Asia to learn about her art and find materials – in China, Thailand, Japan, Indonesia – but India became her passion.

“I am a high-energy person; I have incredible drive,” she says. “India was the first country that used all my energy and creativity. I was really exhausted there.”

She goes four times a year, usually travelling by jeep to villages in which she deals directly with the artisans.

“I won’t deal with co-operatives run by the Indian government and I don’t deal with governments here,” she says. I am very single-minded about that.

“I have hired a local man and his mother in Mumbai. We have established an export company and we have an export number that crafts people can use.”

Kwon refuses to deal with agents, because that’s where the corruption begins. Dealing directly with the artisans guarantees they get full payment and ensures continuity of supply.

In a village called Ntuma, in the northeastern state of Nagaland, production for Maiwa has grown from three weavers to 30. Yet it took three years before any product reached her store because initially it didn’t meet her standards.

Kwon says she persevered because she could see the potential and she paid for every shipment she rejected.

Finally she was rewarded with what she describes as “absolutely perfect product” a complex weaving produced on a backstrap loom with supplemental weft, which she uses for pillow covers, place mats, table runners and bedding.

In some cases, she has taken photographs of traditional weavings from London’s Victoria & Albert Museum, or the Textile Museum in Washington, D.C and persuaded artisans in the areas in which it originated to recreate it.

“It eats at you when you love certain things the way I do,” she says.

In Vancouver, Susanne Summersgill, owner of Some Piece of Work, a store which sells naturally-dyed clothing for children, and is a teacher in the textile department at Capilano College, says Kwon is a frequent guest-lecturer.

“She talks not only on the technical side of weaving, but also about her business, which is inspirational,” Summersgill says. “The students are just in awe of her at the end.

“It’s about ethical business. It’s about making a difference in the world. It’s about stepping lightly and it’s about fulfilling her passion. She is an amazing person.”

Kwon, of British background, married to a Chinese, notes that originally she had no ambition to open a retail store. She applied to open a studio in Granville Island and found she had space for both. Soon the retail side took over.

“When I realized there was an extraordinary number of talented people in the world who couldn’t continue because they couldn’t find a market in their country, my business started to have an identity beyond my own work,” she says.

It was a huge realization when I realized I could be quite happy creatively in ways that didn’t require me to produce anything. I could be a link or bridge to people that were producing work that just astonished me.”

Kwon says she has great respect for the artisans she works with to the point of paying for all product that was destroyed in a recent cyclone in the state of Orissa on the Bay of Bengal. In return, she expects loyalty and quality.

“There has to be a responsibility an liability on both sides,” she says. “I am not going to put a product in my store that isn’t going to show its worth as absolutely the best.”

Kwon credits teamwork and the enthusiasm of her staff for Maiwa’s success and for spreading it’s credo.

“I truly believe there’s a need for economic trade in the way that Maiwa trades. There can be different ways of trading. It can still happen in a global economy. There isn’t just one model. There can be lots of different ways and lots of people can make a living from it.

She says she is sure there are others who share her philosophy.

“I would love to have a conference of this type of business,” she says. “We could all get together and see how each other is doing. There’s definitely room for that.

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These extracts are the result of a collaborbation between Maiwa and the French natural-dye research team Couleurs de Plantes. After years of research into dye plants, colour yields, extracts, and ecology, Couleurs de Plantes has perfected organic cultivation techniques and a sophisticated eco-friendly extraction process. We are happy to add the Couleurs de Plantes extracts to our own line of natural dyes and extracts.

Extracts easily dissolve in water and are so concentrated
that only small amounts are needed. They extend the art of natural dyeing into new realms giving the dyer both versatility and control. Here's what we have added:

Buckthorn species are native to the Middle East, and Mediterranean. Also known as Persian berries since the warm yellow colour comes from the unripe berries. Use cream of tartar along with mordants. Dyeing: Use extract on mordanted fibre at 2-6% WOF.

Chestnut trees grow in many parts of the world and contain a great source of tannin. They dye a warm brown colour. This dye is also well known for it’s ability to dye silk black with the addition of logwood and an iron mordant. Dyeing: Use extract on mordanted fibre at 5-10% WOF.

Cochineal is a parasitic insect that lives on the nopal cactus native to Central and South America. This dye has excellent light and washfastness and produces a powerful range of fuchsias, reds and purples mainly depending on mordents used and the dyes sensitivity to pH. Dyeing: Use extract on mordanted fibre at 0.5 - 2 % WOF.

Coreopsis has an abundant variety of plant species that are widespread throughout North and Central America. The dye is located in the flowers, which give a warm yellow - orange colour Dyeing: Use extract on mordanted fibre at 5-10% WOF. A reddish colour can be achieved when the pH level is more alkaline.

Dyer’s Broom or Greenweed is a small shrub that originates in the dry woodlands of Europe and has a long history of use for yellows. It contains the same colourant as weld, which is very lightfast. Dyeing: Use extract on mordanted fibre at 7-10% WOF.
Golden Rod is a wild flower found in North America and Europe where it continues to be a well known source of yellow. Dyeing: Use extract on mordanted fibre at 7-10% WOF.

Logwood is a bushy, thorny tree grown in Mexico, Central and South America and parts of Africa. The purple dye is concentrated in the heartwood of the tree. Dyeing: For a medium to dark colour use extract at only 1-2% WOF on mordanted fibre. Dye at temperatures no higher than 180 F and for no longer then 60 min or the colour will lack clarity and luminosity.

Madder (standard & rich) Madder is one of the oldest dyestuffs. It is most frequently used to produce turkey reds, mulberry and in combination with other dyes can yield crimson, purple, rust and browns. The primary dye component is called alizarin, which is found in the roots of the plant. Two concentrates of extracts are available giving a standard and a rich madder colour. Dyeing: Use madder standard on mordanted fibre at 5-10% WOF. Use madder rich at 2-5 % WOF. Do not allow the dye bath to go above 180ºF as this brings out the brown colour also found in madder.

Quebracho dye comes from a tree native to South America, which is very high in tannins. The dye can vary in colours from coral, warm red brown, yellow or green depending on the species. Dyeing: Use extract on mordanted fibre at 5-10% WOF. To deepen the quebracho colours add an alkali or iron mordant.

Weld or Dyer’s weed has been used as a dyeplant for many centuries in the Mediterranean, Europe and North Africa. It has been a long time favourite yellow due to its intense colour which has excellent lightfastness. Dyeing: Use extract on previously mordanted fibre at 7-10% WOF.

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[Update: Our appologies! In our excitement to tell this story we neglected to mention the prices of the Ajrakhs:
60 x 60" - $59.95
60 x 90" - $69.95
90 x 90" - $89.95
90 x 108' - $98.95
Queen Duvet - $159.95
King Duvet - $179.95
all prices Cdn.]

Our first shipment of Ajrakh blockprinting made from certified organic cotton has arrived from India. This is a moment that has been many years in the making.

We started by finding reliable organic certification. Our cotton is certified by SKAL and Solidaridad, two independent groups based in the Netherlands. In order to purchase organic cotton we must buy the crop while it is in the field. After harvest, ginning, spinning, and weaving the yardage is ready. Bolts of organic cotton were then shipped to the Khatri community of blockprinters in the Kutch desert. They took the organic cotton and put it to the test by printing a range of samples in different patterns and colours. They liked it so much they made over 50 samples in traditional Ajrakh designs. The craftspeople were impressed: the cotton received the dyes very well and gave magnificent crisp lines. We looked at the results and chose a series of our favourites to bring into the store. Here is a photo of the results - but to really appreciate them we encourage you to come into the shop, open one up and feel the cotton.

(click on the image for a larger version)

There is another side to this story which many of our regular readers will know. Last year the Maiwa Foundation did a series of fundraising auctions to fund the relocation of the blockprint studio. Falling water tables, impurities and salt in the water meant that the blockprinting that has been going on in Dhamadka for generations would soon be gone. Through the generosity of those who attended our events the relocation was made possible. Here Charllotte Kwon, director of the Maiwa Foundation stands with Ismail Khatri on the new land. Below, the new washing tanks are design to reuse water four times before letting it out to irrigate the fields.