Better than Beige: Sustainable colour for Lyocell

Abstract

Commentary in the area of sustainable textile design suggest that all forms of colour either natural or synthetic are environmentally detrimental. Research suggests that the most sustainable way to produce garments is to use unbleached, un-dyed organic fabrics (Black, S. 2011). We are programmed to react to colour on a psychological and physiological level and by removing colour from sustainable textiles we are suggesting a world full of beige is enough. However, from the perspective of both designer and consumer this conclusion though environmentally focused sacrifices any textile design influence. Colour-less textiles would not be enough to stimulate our psychological and physiological needs to meet our human desire for colour. The paper raises the importance of exploring the environmental impact of creating colour for textiles through ‘how we use and design with colour’ which is rarely addressed within sustainable design.

The paper illustrates a textile designers approach to these specific colour associated issues which were carried out in collaboration with Lenzing, global fibre manufacturers. The emphasis of the project was to explore innovative ways of colouring textiles that would lead to methods for sustainable coloration. The research was under-pinned by textile and coloration technology to work in parallel with the design approach in establishing the most sustainable options for coloration.

The use of Lyocell fibres (Tencel) enabled exploitation of their strong environmental credentials and provided a cyclical model for sustainable colour based on life cycle design thinking. The model is focused on the ‘Lyocell process’, the manufacturing process of Tencel. Natural colour was extracted from the leaf and bark, by-products of the sustainably forested Eucalyptus. No harmful chemicals were used at any point and only water was used in the extraction process. Colour was applied to fabrics by screen-printing using gum tragacanth as a natural thickening agent for the print paste; fabric was then tested with and without mordants. Technical evaluation of the printed fabrics demonstrated a remarkable set of fastness properties, at a level comparable with those provided by many synthetic dye classes for samples printed without the need for mordant.

The research has highlighted that for sustainable design to be truly successful it must incorporate and balance aesthetic value with environmental value, not sacrifice one for the other. The collection of textile design samples produced using a cyclical (life cycle) method conclude eucalyptus dye to be suitable for commercial use. The process presents potential for future innovative design development and illustrates how the incorporation of traditional craft knowledge within current production processes can create solutions for sustainability. The paper will conclude by suggesting future applications of this research.