Theatre Design & Technology - Summer 2017 - Public - 57

Making the Case for Natural Dyes
By Leslie Stamoolis, MFA, Costume Designer and Technician

I

n the world of costumes, the need to dye arises
on almost every show. We are all indebted to Deb
Dryden for our current practices and especially
her emphasis on safety. But the fact remains, we are
dealing with volatile chemicals every time we dye.
Even if we can be relatively safe with protective gear
like respirators-though they are not impenetrable-
what about the water down the drain? It is not only my
personal safety that leads me to ask these questions,
it is also the health of the environment. How can I in
good conscience flush dye chemicals down the drain
and into my local river?
My journey with natural dyes began with necessity.
My current shop does not have adequate dye facilities,
and though I managed to avoid dyeing for a time because of it, soon it became limiting. I began to investigate alternatives to synthetic dyes, and I discovered the
world of fiber artists-weavers, spinners, and dyers-
through the Handweavers Guild of America. A special
grant from my dean allowed me to attend the HGA's
biennial conference, Convergence, and learn from the
leading expert in the U.S. on natural dyes, the creator of
the woven shibori technique, Catharine Ellis.
The experience led me to realize that the entire fiber community has little to no overlap with the costume
technology community, and that is something we must
remedy. Dryden acknowledges this in her seminal text,
Fabric Painting and Dyeing for the Theatre, and writes in
1993 that she was "gratified to see an increase in communication between the theatre artist and the surfacedesign artist." Nevertheless, we can communicate more.
When it comes to the fiber community specifically, we
are all working in fiber and/or fabric as our chief medium and we both have vast stores of knowledge about it.
In this case, I found that the fiber world is far advanced
in its use of natural dye.
So, the reasons to use natural dyes seem clear-safer
for the environment and the dyer. So many pros, but
what about the cons? Catharine Ellis is the first to point
out that if natural dyes cannot achieve what synthetic
dyes can, then no one will use them. That list includes
colorfastness, lightfastness, and brilliance. In short, are
natural dyes as good?
Let us remember that until William Henry Perkin
accidentally discovered the first aniline dye in 1856,
all dyes were derived from natural sources. And rather
than dull, many ancient textiles are still incredibly vi-

Figure 1 - Madder root and Rit cocoa brown dye test strips

brant. For example, 500-year-old Persian rugs are testament to the beauty and long life of natural pigment. The
difference between the 16th century and the 21st is not
a lack of access to the ancient dyes, but rather a lack of
knowledge about techniques. Thanks to textile scholars,
that is no longer the case. We are reclaiming the proS u m m e r   2 0 1 7

theatre design

& technology

57



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2017 - Public

Contents
Theatre Design & Technology - Summer 2017 - Public - Cover1
Theatre Design & Technology - Summer 2017 - Public - Cover2
Theatre Design & Technology - Summer 2017 - Public - 1
Theatre Design & Technology - Summer 2017 - Public - 2
Theatre Design & Technology - Summer 2017 - Public - Contents
Theatre Design & Technology - Summer 2017 - Public - 4
Theatre Design & Technology - Summer 2017 - Public - 5
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Theatre Design & Technology - Summer 2017 - Public - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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