Making colour is a process that effects and involves the entire world. Many communities, waterways and environments are feeling the impacts of toxic fashion and arts practices.
The majority of artists and designers are separated from the environments and communities affected by the materials they use. As traditional craft artist Ben Richardson explains, the consequence is that we never see our raw materials in situ – in place. We become alienated from nature, each other and the immediacy of life. By creating ‘living colour’ from waste and renewable sources, fashion and craft practice can sustain the environment and enrich our relationship with place.
Alana’s colour process connects her to the landscape & community - visiting people, chatting, collecting raw materials - the family’s garden trimmings, leaves from friends at the Botanic Gardens, kitchen waste at the corner restaurant, walnut husks collected by local farmers, ochres falling from roadside cuttings, the neighbour’s pomegranate stash. It takes time, but, colours that have never before, and will never again be created, are able to be made. Each colour is one-of-a-kind, depending on the season and the unique combination of materials.
native cherry | exocarpos cupressiformis
iron | ferrous sulphate
onion skin | allium cepa
ironwood eucalyptus | sideroxylon
box mistletoe | amyema miquelii
olives | olea europaea
pomegranate | punica granatum
cochineal | dactylopius coccus
brittle gum | eucalyptus mannifera
citrus leaves | rutaceae
flowers | all sorts of
woad | isatis tinctoria
indigo | indigofera
ochre | ferric oxide + clay / sand