SUSTAINABLE DEVELOPMENT GOAL (SDG) No. 12: Responsible Consumption and Production is probably one of the reasons creators and producers are advocating green practices; these can go from adopting eco-friendly materials (raw and supporting materials) to using green production mediums, techniques, processes, eco-packaging, etc. The same trend can be observed among textile artisans who live as “ambassadors” for the environment.

A study[1] by researchers from Universiti Malaysia Kelantan (UMK) highlights the resurgence of local knowledge in textile dyeing using colourants/pigments extracted from natural resources, including insects/invertebrates (e.g. sea snails), plants (e.g. fruits, leaves, flowers, barks, roots, fungi, rhizomes, etc.), and soils and minerals (e.g. mud, orpiment, graphite). Figure 1 summarises the findings on the general process flow of natural textile dyeing, indicating the common techniques employed.

The mordant (a fixative to improve colour fastness) may be sourced from eco-friendly solutions such as turmeric, henna, orange peel, lemon extract and pomegranate peel. However, many practitioners opt to use metal/mineral-based variants like aluminium potassium sulphate (commonly known as “alum”), calcium acetate, copper sulphate and iron sulphate.

During “IKAT 2023: Immersive Knowledge and Textile” held in Penang, Nawwal Abdul Kadir, a member of the research crew, shared about natural textile dyeing practices in Kelantan. To achieve vibrant colours with natural dyes, “Preprepare the fabric by washing it in water with the addition of one litre of peanut oil and a cup of Dettol to loosen the fibres.” She added that this “enhances colour absorption when the fabric is immersed in the dye multiple times”. The fabric must then be continually squashed to further loosen the fibres and to allow the dye to penetrate even more electively.

Adopting natural textile dyeing methods and techniques, Elizawati Ellias, from Taiping, Perak, pioneered eco-print batik craft production by setting up Ghomah Batik in 2020 in Manjung, Perak. Constantly testing the potential of botanical resources, she uses different species of leaves and petals as her core design materials when crafting batik wearable and decorative pieces that range from fashionable blazers, shawls, patterned t-shirts, tote bags, cushions and fabric decorations.

Eliza furthers her passion by generously sharing her crafting journey and entrepreneurial experiences with local artisans. She is engaged in local youth and women’s communities involving single mothers or underprivileged groups through eco-print batik-making workshops, and encouraging them to explore eco-printing so as to add value to their existing practices or to develop their own local craft practices.

“I encourage them to start locally: to source materials locally, to craft something feasible and learn to market their creations, not only within Malaysia but also in the outside market.”

With support from United Nations Development Programme (UNDP) Malaysia, Ghomah Batik Productions has created job opportunities in Manjung, Perak. Eliza invites interested people to co-create or collaborate on projects promoting eco-print batiks as a distinctive product for the Manjung district. Ghomah Batik’s creations are now frequently featured by Tourism Perak and Kraftangan Perak as unique local products.

Indigo Dye Art

Drawn to the traditional Lanjiaxue (蓝夹缬) textile dyeing technique (one of the four primary inherited methods of natural indigo dyeing originating from the Dong ethnic minority in Guizhou and Zhejiang Provinces in China), Kam Woei Yann picked up crafting techniques and its processes from a Dong master artisan during her visit to Guizhou. Her immersive 10-day mentorship brought her on an artisanal journey in handcrafting fine wearable and home decorative masterpieces using natural indigo dye.

As she honed her skills, she began exploring different techniques such as the Japanese shibori (e.g. katazome shibori and hachinosu shibori) and tie-dye. “Different techniques, including folding, tying/binding, stitching, masking, twisting or compressing fabric to resist-dye, may result in different intricate designs with different shapes/patterns; from circular, spiral, symmetrical patterns to various possible shapes or visuals on naturally dyed fabric,” Yann explained.

According to Yann, of the 750 or so species of indigo plants found in tropical and subtropical regions, Indigofera tinctoria (木蓝), commonly called pokok nila/tarum in Malay, is the most well-known. It can be found in India, Thailand, Taiwan and Malaysia.

She started Yann Indigo Dye Room to share her artisanal practice and to promote natural indigo dye art through hands-on experience workshops. Yann explained the process of transforming the indigo plant into vibrant dye: “First, the leaves with stems from Indigofera plants are bundled and placed in a vat/fermentation pit to convert glycoside indican into blue dye (indigotin). The fermented solution is then gently mixed with lime (Ca(OH) 2 ) and continuously beaten until it becomes frothy and attains a navy hue—a result of oxidation during the process. Finally, the dye solution is decanted or filtered to yield a concentrated indigo dye paste.”

It Takes Commitment

When it comes to commitment to sustainable crafts, Yann commented that “It takes more time and greater e !ort to source and process quality, ready-to-craft, eco-friendly materials—which are not readily available. As additional steps and specific expertise may be required, costs can get relatively higher. Green practices in production demand attentive care and execution. Lastly, competing with mass-produced cheaper alternatives is another big challenge for artisanal products.”

Despite the challenges, Eliza hopes to inspire eco-friendlier crafting practices. “The more practitioners adopt natural or eco-friendly materials and techniques, the better we can protect and preserve our environment, which is crucial for future generations.” Nevertheless, Yann emphasised the importance of greater consumer awareness and appreciation for the values and significance of sustainable artisanal products.

FOOTNOTE

[1] Mat Hussin, N.S., Ismail, A.R., Abdul Kadir, N., Hasbullah, S.W., Hassan, H. & Jusoh, N. (2020) Resurgence the Local Knowledge: Environmental Catalysis Practiced in Local Textile Dyeing. IOP Conf. Series: Earth and Environmental Science 616 (2020) 012043. doi:10.1088/1755-1315/616/1/012043