#Textile Chemical Dyes

[textile-chemical-dyes]

How Textile Chemical Dyes Impact the Environment?

In the vibrant world of fashion and textiles, colors play a pivotal role in capturing our imagination and defining our sense of style. The captivating hues of our garments owe their brilliance to a significant yet often overlooked aspect of the industry: chemical dyes.

These dyes have revolutionized the textile sector, making it possible to produce a wide array of colors and patterns that appeal to consumers' ever-changing tastes. However, amidst this rainbow of possibilities lies a dark truth - the environmental impact of textile chemical dyes.

In this blog, we delve into the consequences of using chemical dyes in textile production and explore sustainable alternatives that can help mitigate the ecological footprint of the fashion industry.

Water Pollution

One of the most significant environmental concerns associated with chemical reactive dyes in textiles is water pollution. Conventional dyeing processes often involve large amounts of water, which is used to rinse and treat fabrics. As a result, vast quantities of chemically-laden wastewater are discharged into rivers and water bodies, contaminating aquatic ecosystems. Many of these dyes are non-biodegradable and can persist in the environment for decades, disrupting the natural balance and threatening the health of aquatic organisms.

Energy Consumption

The process of digital textile sublimation inks requires substantial energy inputs, primarily during the dye application and fixation stages. Traditional dyeing methods may involve high-temperature dye baths and extended processing times, adding to the industry's carbon footprint. The energy-intensive nature of these processes contributes to greenhouse gas emissions, accelerating climate change and its devastating consequences.

Toxic Chemical Exposure

Chemical dyes used in textile auxiliaries manufacturers often contain hazardous substances such as heavy metals, formaldehyde, and volatile organic compounds (VOCs). Not only are these substances harmful to the environment, but they also pose significant health risks to the workers in the textile industry who are exposed to them daily. Moreover, consumers may experience allergic reactions and skin irritations when in contact with garments containing residual dye chemicals.

Biodiversity and Land Contamination

When dye wastewater finds its way into the soil, it can have severe consequences for terrestrial ecosystems. The toxic substances from the dyes can leach into the soil, affecting soil quality and disrupting the delicate balance of local flora and fauna. Moreover, the disposal of waste from dyeing processes can lead to the accumulation of harmful chemicals in landfills, further exacerbating the environmental impact.

 Scarce Resource Consumption

Many chemical dyes rely on non-renewable resources for their production. For instance, some synthetic dyes use petroleum-based derivatives, placing additional strain on dwindling fossil fuel reserves. As these resources become scarcer, the textile industry must find more sustainable alternatives to safeguard the planet's future.

 Embracing Sustainable Solutions

As we confront the ecological consequences of chemical dyes, the textile industry is gradually recognizing the urgent need for change. Embracing sustainable solutions can help mitigate the impact of dyes on the environment:

Natural Dyes: Traditional plant-based dyes, such as indigo, turmeric, and madder, offer a biodegradable and eco-friendly alternative. They can be sourced sustainably, reducing the strain on the environment.

Waterless Dyeing Technologies: Innovative technologies, like air dyeing and digital printing, minimize water usage and eliminate the discharge of wastewater, significantly reducing water pollution.

Biodegradable Dyes: Researchers are developing biodegradable dyes that break down naturally over time, circumventing the issue of persistent chemicals in the environment.

Eco-Friendly Dyeing Processes: Manufacturers can adopt low-impact dyeing techniques that consume less energy and minimize toxic chemical usage, ensuring a cleaner and safer environment for all.

The use of chemical dyes offers by textile printing ink exporter in the textile industry has undoubtedly made fashion more colourful and accessible. However, this innovation comes at a high cost to our environment. From water pollution to biodiversity loss, the impact of chemical dyes on the planet is far-reaching.

To ensure a sustainable future, it is imperative for the industry to embrace eco-friendly alternatives and implement responsible dyeing practices. By taking steps towards a more environmentally conscious approach, we can paint a brighter, greener canvas for the fashion world, where creativity and conscience coexist harmoniously.

[ivandiaz26623]

Textile Dye Chemicals Manufacturer|Chemical Distributors in Iran

If you are looking for high-quality textile dye chemicals, reach out to suppliers from Chemical Iran, a leading manufacturer and global distributor in Iran.

[chemicalmarketwatch-sp]

The Synthetic Dyes Market: Trends, Analysis, and Future Outlook

The synthetic dyes market is experiencing significant evolution, driven by a variety of industries that depend on colorants for their products. As demand continues to grow across sectors such as textiles, food, and cosmetics, it becomes essential for stakeholders to understand the prevailing trends and future forecasts. This article explores the current landscape of the synthetic dyes market, providing insights into market trends, analysis, expert opinions, and future predictions.

Market Overview

Synthetic dyes, derived from synthetic sources primarily based on petroleum, are utilized in a wide array of applications, including textiles, plastics, cosmetics, and food. In 2023, the global synthetic dyes market  is Projected to Reach USD 9.1 billion by 2029, at a CAGR of 5.0% From USD 7.1 billion In 2024, This growth is largely attributed to the increasing need for vibrant and high-performance dyes across various applications.

Key Trends Influencing the Synthetic Dyes Market

Sustainability Focus: The synthetic dyes sector is witnessing a growing emphasis on sustainability as environmental concerns rise. Manufacturers are investing in eco-friendly dyeing methods and developing bio-based dyes to meet the demands of environmentally conscious consumers. Innovations such as waterless dyeing technologies are becoming increasingly popular.

Expansion of the Textile Sector: The textile industry is the largest consumer of synthetic dyes. Following the recovery of fashion and textile production after the pandemic, the demand for synthetic dyes has surged. The rapid production cycles associated with fast fashion require a constant supply of vibrant fabrics, fueling market growth.

Growth in the Food and Beverage Industry: The food and beverage sector is increasingly employing synthetic dyes to enhance product appearance. As consumers become more particular about the aesthetics of food products, the demand for consistent and vibrant colors is expected to rise, driving market growth.

Advancements in Digital Printing: The advent of digital printing technology is transforming the application of synthetic dyes, particularly in textiles. This technology allows for intricate designs and customization, leading to an increased need for specialized synthetic dyes tailored for specific printing techniques.

Evolving Regulatory Standards: Regulatory bodies globally are tightening rules concerning synthetic dye usage, especially in food and textiles. This evolving landscape compels manufacturers to innovate and produce dyes that are not only effective but also comply with safety standards.

Market Analysis

The synthetic dyes market is highly competitive, dominated by major players such as BASF SE, Huntsman International LLC, Clariant AG, and DyStar Group. Companies are engaged in rigorous research and development (R&D) efforts to enhance their product offerings and capture a larger share of the market.

Regional Insights: The Asia-Pacific region leads the market, accounting for nearly 45% of the global synthetic dyes consumption. This dominance is largely due to the robust textile manufacturing capabilities in countries like China, India, and Bangladesh. Europe and North America are also significant markets, driven by stringent regulations that promote sustainable practices alongside high-quality dye demands.

Market Share and Competitive Landscape

The competitive environment of the synthetic dyes market is marked by strategic collaborations, mergers, and acquisitions aimed at expanding product portfolios and geographic reach. For instance, BASF has significantly invested in the development of sustainable dye solutions, positioning itself as a pioneer in eco-friendly products. Likewise, Clariant has introduced a variety of natural and organic dyes to address the rising demand for sustainable alternatives.

Expert Insights

Industry experts highlight the importance of innovation in the synthetic dyes market. Dr. Emily Chen, a leading expert in dye chemistry, asserts, "The future of synthetic dyes hinges on achieving a balance between performance and sustainability. Companies that prioritize eco-friendly methods while delivering high-quality products will likely lead the market." As consumer preferences shift towards transparency and sustainability, brands that effectively communicate their sourcing and production processes are expected to gain a competitive advantage.

Download PDF Brochure : 

Future Outlook

Looking ahead, the synthetic dyes market is well-positioned for substantial growth. Ongoing advancements in dye technology, coupled with an increasing emphasis on sustainability, will continue to drive market evolution. Stakeholders are encouraged to embrace these changes by investing in sustainable practices and innovative solutions to maintain relevance in this competitive landscape.

The synthetic dyes market is a vibrant and essential component of the global economy, influenced by diverse applications and evolving consumer preferences. As sustainability becomes a key focus, the industry must adapt and innovate to navigate the challenges and opportunities that lie ahead.

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 1/3)

Adinkra - a flat, cotton textile that is stamped with symbols which create the meaning of the garment; produced by the Asante peoples in Ghana

Agal - a rope made from animal hair which wraps around a keffiya (square cloth) on the head and is worn typically by Bedouin men

Akwete - a decorative cloth with complex weave designs, creating intricate geometric patterns, made with many vibrant colors; it is usually made into wrappers for women to wear and it is made by the Igbo women of Nigeria

Aniline Dyes - synthetic, chemical dyes for garments first invented in the 19th century

Anorak - a jacket that typically has a hood, but not always, which was originally worn by the indigenous peoples of the Arctic designed to keep them warm and protected from harsh weather

Back Apron (Negbe) - an oval-shaped decorative pad worn by Mangbetu women over the buttocks in Central Africa

Backstrap Loom - a lightweight, mobile loom made of wood and a strap that is wrapped around the back; it only needed to be attached to a tree or a post for stability and to provide tension

Banyan - a loose-fitted informal robe or gown typically worn by men in the late 17th to the early 19th centuries

Barbette - a piece of linen which passes under the chin and is pinned at the sides, usually worn in conjunction with additional head coverings during the Middle Ages

Bark Cloth - fabric made out of bark from trees

Beadnet Dress - a decorative sheath dress made of beads worn in ancient Egypt

Bloomers - a bifurcated garment that were worn under dresses in the 19th century; they soon became a symbol of women’s rights because early activist Amelia Bloomer wore drawers long enough to stick out from under her dress

Bogolanfini - (bogolan- meaning cloth; fini- meaning mud) a cotton cloth made from strips of woven fabric, which are decorated with symbolic patterns using the mud-resist technique, sewn together at the selvage to create a fabric that is utilized during the main four stages of a West African Bamana woman’s life: puberty, marriage, motherhood, and death

Bombast/Bombasted - the padding used to structure clothing and create fashionable silhouettes in the 16th and 17th centuries

Boubou - an African robe made of one large rectangle of fabric with an opening in the center for the neck; when worn it drapes down over the shoulders and billows at the sleeves

Buff Coat - a leather version of the doublet that was often, but not exclusively, worn by people in the military in the 17th century

Bum Roll - a roll of padding tied around the hip line to hold a woman’s skirt out from the body in the late 16th and early 17th centuries

Burqa - an outer garment worn by Muslim women that covers the entire body, often with a cutout or mesh at the eyes

Busk - a flat length stay piece that was inserted into the front of a corset to keep it stiff from the 16th century to the early 20th century

Bustle - a pad or frame worn under a skirt puffing it out behind

Cage Crinoline - a hooped cage worn under petticoats in the 19th century to stiffen and extend the skirt

Caraco - 18th century women’s jacket, fitted around the torso and flared out after the waist

Carrick Coat - an overcoat with three to five cape collars popular in the 19th century and mostly worn for riding and travel–sometimes called a Garrick or coachman’s coat

Chantilly Lace - a kind of bobbin lace popularized in 18th century France; it is identifiable by its fine ground, outlined pattern, and abundant detail, and was generally made from black silk thread

Chaperon - a turban-like headdress worn during the Middle Ages in Western Europe

Chemisette - a piece of fabric worn under bodices in the 19th century to fill in low necklines for modesty and decoration

Chiton - an ancient Greek garment created from a single piece of cloth wrapped around the body and held together by pins at the shoulders

Chlamys - a rectangular cloak fastened at the neck or shoulder that wraps around the body like a cape

Chopines - high platform shoes worn mostly in Venice in the 16th & 17th centuries

Clavus/Clavi - decorative vertical stripes that ran over the shoulder on the front and back of a Late Roman or Byzantine tunic

Clocks/Clocking - decorative and strengthening embroidery on stockings in Europe and America during the 16th-19th centuries

Cochineal Dyes - come from the Cochineal beetle that is native to the Americas and is most commonly found on prickly pear cacti; when dried and crushed, it creates its famous red pigment that is used to dye textiles

Codpiece - originally created as the join between the two hoses at the groin, the codpiece eventually became an ornate piece of male dress in the 16th century

Cuirass Bodice - a form-fitting, long-waisted, boned bodice worn in the 1870s and 1880s–almost gives the appearance of armor as the name suggests

Dagging - an extremely popular decorative edging technique created by cutting that reached its height during the Middle Ages and Renaissance

Dalmatic Tunic - a t-shaped tunic with very wide sleeves; worn by both men and women during the Byzantine empire

Dashiki - a loose-fitting pullover tunic traditionally worn in West African cultures that was adopted by African diasporic communities as a symbol of African heritage in the 1960s and then more widely worn as a popular item of “ethnic” fashion

Dentalium Cape - or dentalium dress is a garment worn by Native American women that is made from the stringing together of dentalium shells in a circular pattern around the neck and across the chest and shoulders

Doublet - an often snug-fitting jacket that is shaped and fitted to a man’s body–worn mostly in the 15th to 17th centuries

Échelle - a decorative ladder of bows descending down the stomacher of a dress; worn during the late 17th and 18th centuries; sometimes spelled eschelle

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[20dollarlolita]

Quick tip to people with brightly colored hair:

You know how harsh shampoo, especially dandruff shampoo, will absolutely strip the color out of your hair? Well, it'll strip the dye transfer out of the collars on your nice blouses, too.

My laundry room sink has had a very hard life and I would appreciate it if you didn't judge it openly and to my face. It's about to get knocked down and replaced, so the stains are going to go away soon.

Anyway, left is before. This shirt has already been washed, and this is the color transfer that did not come out in the washing machine. Right, the bottom half of the collar has been scrubbed, but the top half has not. I put more work into scrubbing after these pictures, and got all the pink transfer off.

Why does this work? I have zero science but I do have two suspicions. First is the obvious, some shampoos will already strip unbonded dye molecules out of anything they can. However, synthrapol/professional textile detergent does the same, and I've never found it to be as effective.

The second thing is that there's a lot of staining that can't be chemically removed. It's got to be taken out with manual scrubbing. The fact that shampoo works up into a very thick lather makes it a lot easier to mechanically remove things, because it's just easier to manipulate the fabric.

Anyway, I know that shampooing garments to remove dye transfer is a strategy we've been using in EGL fashion for over a decade now, but there's a lot of people here who weren't in the EGL live journal scene of 2012, so if you ask me, it's time to bring the old resources back.

[theambitiouswoman]

Hormone disrupters are chemicals 🧪 that interfere with your body’s endocrine system, which regulates hormones. They can be found in a lot of every day products like:

Plastic bottles and food containers

Pesticides in agriculture

Cleaning supplies

Chemicals used for clothing

Personal care products like lotions, shampoos & makeup

❌ These are hormone disrupters found in common every day products that you should stay away from ❌

- Bisphenol A (BPA) (plastics and can liners)

- Phthalates (personal care products, fragrances, flexible plastics)

- Parabens (makeup & personal care products)

- Triclosan (antibacterial soaps and cleaning products)

- Polychlorinated Biphenyls (older electrical equipment and industrial products)

- Flame Retardants (furniture, textiles, electronics)

- Pesticides (agriculture)

- Perfluorinated Chemicals (stain resistant treatments, non-stick cookware)

- Dioxins (industrial processes, combustion byproducts)

- Lead (older paints, pipes)

- Dye chemicals (textiles and clothing)

- Water repellents (outdoor clothing, upholstery)

- Stain repellents (carpets, fabrics)

- Formaldehyde (wrinkle free and anti-shrink treatments for fabric)

- Mercury (fish, some thermometers, dental amalgams)

- Cadmium (batteries, some fertilizers)

- Atrazine (herbicides)

- Glyphosate (weed killers)

- Perchlorate (rocket fuel, fireworks, fertilizers)

- Arsenic (contaminated water, pesticides)

- Styrene (plastics, rubber, insulation materials)

- Phosphates (detergents, fertilizers)

- Nonylphenol ethoxylates (industrial detergents, cleaners)

- Organotins (PVC plastics, marine antifouling paints)

- Benzophenone (sunscreens, plastics)

- Octinoxate (sunscreens, makeup)

- 4 Methylbenzylidene camphor (sunscreens, makeup)

‼️ Exposure to these can lead to health issues like reproductive problems, developmental issues and cancer.

🌿 Needless to say, that in order to protect our hormones 🫶 it’s important to recognize these risks and take measures to reduce our exposure them.

[materialsscienceandengineering]

Researchers at Imperial College London have genetically engineered bacteria to grow animal- and plastic-free leather that dyes itself. In recent years, scientists and companies have started using microbes to grow sustainable textiles or to make dyes for industry -- but this is the first time bacteria have been engineered to produce a material and its own pigment simultaneously. Synthetic chemical dyeing is one of the most environmentally toxic processes in fashion, and black dyes -- especially those used in colouring leather -- are particularly harmful. The researchers at Imperial set out to use biology to solve this. In tackling the problem, the researchers say their self-dyeing vegan, plastic-free leather, which has been fashioned into shoe and wallet prototypes, represents a step forward in the quest for more sustainable fashion.

Read more.

[sapphicteaparty]

i've NEVER seen a single good faith discussions about pleather on this website and i want ppl to think critically for one second about the way businesses talk about their products. "vegan leather" is purely a marketing term and nothing else. it was invented by the fashion industry and it has nothing to do with vegans or veganism.

"vegan leather" is basically made of polyester (a type of plastic), but crucially a lot of clothes nowadays are made of polyester either fully or partially because it's cheaper to produce. so of course clothing companies are going to be producing and marketing things that make them more money.

these products are not even targeting vegans, they're making an average customer feel better about their purchases, same way they are now putting "eco" labels on some of their organic cotton clothing. it's just greenwashing. NOTHING in fast fashion is eco friendly in any way - this whole industry is extremely wasteful an exploitative on every level. when are ppl going to realize that these companies just say anything they can to make it seem like they care about anything other than their profit margins. because they don't.

my wish is that ppl that talk about how bad pleather is and how vegans are apparently responsible for all of the microplastic pollution in the world also talked or cared even a little bit about the absolutely horrific abuse and exploitation that happens in the clothing and fast fashion industry. talk about how this industry consistently fails (or outright refuses) to pay its workers a living wage or how they don't provide them humane working conditions - and how that led to thousands of garment workers dying and getting injured when a garment factory collapsed in Bangladesh (and that's not the only tragedy this industry is directly responsible for).

also microplastics are only the tip of the iceberg if you want to talk about the pollution that the clothing industry is responsible for (toxic chemicals and pesticides used in cotton production, garment dyes, the disposal of textile waste etc) - all of which has direct human costs tied to it.

but if your only concern ever was microplastics that clothes can shed then great! avoid all polyester and plastic clothing. but did you know textiles aren't even the primary microplastic contaminants? it's plastic bags, bottles and fishing nets by far. most ppl can't always avoid these plastic items in daily life. but do you eat fish? vegans don't.

i'm just so tired of the pleather discussion focusing on the wrong thing (vegans) when there are so many more aspects about the clothing industry and plastic pollution that never get addressed when they should. and the amount of misinformation on these topics is just laughable at this point. ppl sure enjoy reblogging posts that confirm their biases and free them from having to critically engage with complicated issues because it's so easy to just blame a group of ppl for it.

anyway if you're concerned about ethical clothing (i hope you are) then basically these are your best options:

wear what you already have and don't buy new clothes unless necessary

get second hand clothes

get upcycled clothes

this may seem a bit extreme but these are the only options that don't result in new clothes and textiles being produced because there is an overproduction issue in the clothing industry which is why over 80% of clothes end up in landfills. obviously these options aren't viable for everyone all the time but if the goal is sustainability then that's just the reality of things for now.

you can also do things like mend your clothes so they last longer, learn to sew to make your own clothes etc all of that is better than buying new clothes. donating clothes to a thrift store is also not ideal since they get so many donations that a lot of it ends up in a landfill anyway and recycling clothes is also not straightforward or even possible in a lot of cases. so not buying new/more clothes is the most environmentally friendly option. and before you go no ethical consumption under capitalism blah blah yeah we know. doesn't mean you are powerless and have no choices in anything ever.

please learn more about microplastics, the clothing/textile industry and veganism before you uncritically reblog another misinformed post about "vegan leather" or microplastics. also please don't uncritically believe what i wrote here either. if you're seriously interested in these topics then your source for this information shouldn't be some tumblr post in the first place. there are lot of studies, documentaries and articles about all the things i mentioned. i'm not a researcher or a scientist, so don't ask me. i'm just tired.

[mysimsloveaffair]

We grab food from the breakfast buffet and sit at the table with the guy who checked us in last night. All the tables are communal, just like the bathroom. I run an idea past Maia on how to deal with the wedding.

Wade: Maybe we can purchase something to wear here or in Tartosa.

Maia: Sounds expensive

Wade: I’m willing to pay for whatever we need. 

Maia: Wouldn’t we need several outfits? It just doesn’t sit well with me to purchase new stuff when I have things I could wear at home.

Wade: So you’re saying we should wear something we’ve already been seen in?

Maia: Is that a bad thing?

It is to me. Unless it’s jeans, I never wear the same thing twice. But Maia looks insulted by the idea, so I try to make it sound better.

Wade: I mean, it might be nice to wear something different, just in case -

The guy sitting with us finishes his meal and gets up as if he knows what’s coming next.

Maia: Do you know how much clothing waste harms the environment? Tons of textile waste already exist, and the dye, chemicals, and fibers from it all are polluting our waters and streams, harming animals and the Sims that make them- so that we can try to impress people we barely know.

The look on her face tells me that I’ve come close to backing myself into a corner I won’t quickly get out of if I keep pushing the issue. She’s come at me with the facts, so I know this is an argument I’m not about to win.

Wade: Let’s put a pin in it for now. Maybe we can come up with something else a little later.

We eat in silence for the rest of the meal.

[charmingdisaster]

Charming Disaster - Paris Green

A song inspired by poisons, pigments, and painting. 

Paris Green was a crystalline form of arsenic invented in the 19th century, widely used in rural areas as an insecticide and rodenticide (and the cause of many deaths by poison during that period due to its easy accessibility). The chemical compound also produced a brilliant green color that was used as a pigment in fabric dyes, paints, and wallpapers (all, it turned out, highly toxic). Paris Green's name evokes another pigment color related to poison: Prussian Blue, a compound produced when iron salts are added to a tissue sample containing cyanide in post-mortem examinations—which is also used as a paint pigment. 

Recommending reading: 

Wisconsin Death Trip by Michael Lesy: a book of photographs and text fragments, largely newspaper clippings, that together create a chilling account of life in rural Wisconsin the late 19th century: murder, suicide, arson, violence, religious mania, darkness, obsession, contagion. https://bookshop.org/p/books/wisconsin-death-trip-michael-lesy/10756193?ean=9780826321930

The Poisoner's Handbook by Deborah Blum: the thrilling history of forensic medicine in Prohibition-era New York City. https://bookshop.org/p/books/the-poisoner-s-handbook-murder-and-the-birth-of-forensic-medicine-in-jazz-age-new-york-deborah-blum/16656190?ean=9780143118824

Bitten by Witch Fever: Wallpaper and Arsenic in the Victorian Home by Lucinda Hawksley: a catalog of arsenic-dyed textiles and wallpapers, with accompanying accounts of madness and toxicity. https://www.lucindahawksley.com/books/bitten-by-witch-fever/

More recommended reading: https://bookshop.org/shop/charmingdisaster

[couturetrendsblog]

Fast Fashion vs. Slow Fashion: A Comparative Analysis-

In the last two decades, the world of fashion has been witnessing an important shift by really underlining the huge chasm between fast and slow fashion. Such styles define not only how clothes are produced and consumed but have deep implications on our environment and society.

Fast Fashion

The Quick Turnaround

Fast fashion actually means rapid production of inexpensive clothes that reflect the latest trends from the runway. Brands like Zara and H&M benefit from the speed in which they put out new collections every few weeks. Of course, the model does make fashionable items available to a much greater public, but at an enormous cost. All of this waste from fast fashion creates issues like using much water, chemical pollution from dyeing and bleaching processes, and insane textile waste. But the business model that supports cheap wages in foreign countries always generates several ethical concerns about labor rights, and not to mention working conditions.

Slow fashion advocates sustainable and ethical production. It delivers quality over quantity from timeless designs made with more eco-friendly materials, with brands maintaining fair wages, ethical labor practices, and environmentally friendly processes. Thus, the final encouragement to fast move toward this mindset is to buy less and choose wisely - that also helps to make less waste and smaller carbon footprint.

The Consumer Role

Indeed, as consumers, we will hold considerable power in the future of fashion. Selecting to support the slow fashion brands increases the demand for better practice and makes fast fashion retailers rethink their ways of doing things. Instant gratification offers fast fashion stores, but slow fashion promises a more sustainable future.

Conclusion

Is fast fashion or slow fashion better? Ultimately, it comes down to our consumer values. Knowing what our purchases mean can bring us closer to a sustainable fashion industry that promotes ethics and responsibility on Earth. When we embrace slow fashion, not only is the planet better off, but so are we-thoughtful, intentional consumption brings more richness to our lives.

[pattern-recognition]

so i’ve been searching for actual un-dyed (as opposed to just white, which are usually still chemically treated during the manufacturing process which is typically fine) 100% cotton jackets in a chore/work coat style so I can easily dye it myself, and the fucked up thing is the two most sure fire sources to find something like that, which are almost identical, are either A) a very expensive “environmentally conscious” textile brand that touts its ostensibly progressive business politics at every opportunity, or B) a reenactment suttler that makes reproduction Wehrmacht HBT uniforms. also the Wehrmacht issue is less than half the price of the luxury option

[handweavers]

when i took a dye workshop on bali last year i worked with a traditional dye, ceriops tagal (indian mangrove), made from the heartwood and bark of the tree. it's been used as a very strong orange through russet through brown dye for thousands of years across the indian ocean world (so coastal eastern africa through south and southeast asia) and is notably used for dyeing orange through brown in indo-malay batik. it's a difficult dye to access now, though, especially if you're trying to do so ethically because the indian mangrove is endangered. there are some orgs that have sustainable grow ops across indonesia that harvest the dye only every few years and do so as a by-product of local industry, because ceriops tagal is an important tree for many villages across the region for wood and other necessary purposes. not harvesting the wood at all isn't helpful as a solution, so these orgs harvest at a sustainable pace and use as much of the trees as possible to reduce waste (and i believe they run as workers co-ops, so all workers are paid fair wages and decide their working conditions)

all that is to say that i got my hands on some of the dye extract from one of these orgs and made a dye vat a few days ago and left it to sit so the colour can improve while i prepare some cotton and silk yarns to be dyed. i started doing the actual dyeing today, and the process is a lot like working with indigo, in the sense that the dye sits cold in a large bucket and you dip the fiber for five minutes before wringing and letting it hang to dry. successive dips in the vat deepen the colour, and the vat can be used until it's exhausted (ie no more colour comes out of it). it gets stronger with age, and a unique characteristic of the ceriops dye is that the dye gets darker in the sun. the chemicals in the plant that cause this unique uv-darkening aspect are also found in unripe fermented persimmons, which have been used as a dye in japan (kakishibu) for centuries. both dyes also have a unique feature in that they create a textile that is water resistant, so the dyes have been used to create waterproof stencils and the sails of ships.

the ceriops bark is in the right cup in the top left photo; the orange dye in the other two photos is the colour typical of ceriops tagal.

[solarpunkbusiness]

When it comes to sustainability innovation, seaweed has become a hero on many fronts: From its carbon-sequestration ability to its potential as next-generation packaging materials, methane-reducing livestock feed, sustainable dyes and more, the marine superplant offers innumerable environmental benefits and practical, circular applications.

Thalasso — a Norwegian startup whose Ocean Harvester technology and micro-biorefineries offer a circular solution for both harvesting sargassum from affected coastal areas and transform it into valuable products.

Thalasso’s autonomous Ocean Harvester is being developed to harvest sargassum in a way that is both sustainable and applicable. Powered by electricity and equipped with battery-driven systems, the harvester will integrate solar panels into its design to partially fuel its energy needs. The harvester will be equipped with the technology to detect nearby sargassum, tracking its movement, and is also designed to minimize harm to marine life, incorporating features to prevent bycatch. Each harvester boat will be able to collect 20-40 tons per hour.

After the Ocean Harvester has collected the sargassum, Thalasso's network of mobile micro-biorefineries can convert the unwelcome seaweed into valuable chemical compounds for industries including agriculture, pharmaceuticals, cosmetics, food, feed, fashion, textiles and bioplastics.

Unlike traditional biorefineries, Thalasso's micro-biorefineries are easy to install — making them suitable for remote seaweed farms. By enabling on-site conversion of seaweed into high-value products, these refineries promote sustainable utilization of marine resources while mitigating transportation emissions.

“The pilot refinery currently processes 1.5 tons of sargassum per day, but we’re hoping to scale it in terms of capacity and amount of refineries very soon. Plus, the sun-drying protocol is expected to dry and store many more tons,” Sønstebø explained.

Along with the environmental benefits of removing the invasive algae from the affected ecosystems, the micro-biorefineries will support economic growth and job creation in the affected areas. By engaging local communities, Thalasso aims to create jobs in harvesting, processing and research — driving inclusive, sustainable economic development in affected coastal regions.