Following nature’s cycle…
Biodegradability as a Guiding Principle
In a world overwhelmed by the need of permanence, I turn to impermanence as a quiet act of resistance. Guided by nature’s wisdom, I believe that every material we create must one day return to the earth—softly, silently, without harm. Biodegradability is not just a feature, but a philosophy: to design with the end in mind, where nothing lingers longer than it should.
Choosing What Returns to Earth
If design begins with intention, it must also end with care. In seeking materials for this project, I chose only what could gracefully return to the soil—biomaterials and bioplastics made not to last forever, but to serve their time and then disappear without a trace. Refusing the use of fossil-based materials for both my base fabrics as well as my embellishments, all with the learned sustainable design principles in mind. Whether textile or form, every element was selected for its ability to decompose, to become part of nature’s quiet cycle once again.
Rethinking Material Value
A study on materials (fabrics)
To design responsibly, we must first understand the true cost—and potential—of the materials we choose.
“Technology is a human enabler.”
-Roberto Battistoni, IBM’s consumer products solutions lead
With technology, we now have so many different inventions and innovations to better reduce the impact of the fashion industry to the environment.
How has technology been involved within the global materials (fibres) production?
Upcycled orange fibre utilizes by-products from the production process, leaving no room for waste. On the other hand, recycled orange fibre is made from post-consumer waste, further reducing the need for raw materials. In conclusion, orange fibre is a remarkable sustainable alternative in the world of fashion.
Source: Orange Fiber
After learning about Orange Fiber’s innovative use of citrus waste, I looked into whether others had attempted making similar orange-based fabrics independently. This search led me to Suvetah, a women led company based in the Himalayan valleys of India, where I found not only orange fibre fabric but also a wide selection of other biomaterial fabrics. If you're interested, my thesis further explores the scalability of orange fibre fabric and its potential with natural dyeing in future industry applications
Fibre Testing
To determine the most suitable options for my project, I did fibre testing using natural dyeing methods to observe their behavior and responsiveness. The selection of fabrics are all sourced from Suvetah, India.
A dye test using a natural dye was conducted for the fibre testing. The test looks into colour fastness and absorption, colour uptake consistency, and fabric durability (fraying proneness).
Final Chosen Fabrics (lead time, origin, price in SGD, width, weight)
Sheer lightweight:
Light-medium weight:
Shirting fabrics:
Heavy weight:
Devore fabrics:
Sheer lightweight:
Silk Organza (opaque): 1 day; Aziza Silk House, SG; $20.00/m; 58” >> no stock
Tussar Silk: 7-10 days; Suvetah, India; ±$10.15/m; 44”; 35gsm
Silk Organza: 7-14 days; Guangzhou, China; ±$9.00/m; 55”
Silk Organza: 1 day; Bobby Fabrics, SG; $15.00/m >> too soft
Light-medium weight:
Orange Fibre: 7-10 days; Suvetah, India; ±$9.90/m; 44”; 240gsm
Eucalyptus Fibre: 7-10 days; Suvetah, India; ±$10.50/m; 44”; 120gsm
Lotus Fibre: 7-10 days; Suvetah, India; ±$12.70/m; 44”; 120gsm
Silk Satin (matte): 1 day; Swagath, SG; $8.00/y; 37”
Shirting fabrics:
Eri Silk/Peace Silk: 7-10 days; Suvetah, India; ±$13.15/m; 44”; 104gsm
Linen: 1 day; Swagath, SG; $8.00/y; 55”
Heavy weight:
Linen Canvas: 1 day; Swagath, SG; $8.00/y; 58”
Silk Wool: 5-7 days; Swatch On, South Korea; ±$70.00/m; 44”; 256gsm
Devore fabrics:
Silk Rayon Velvet: 4-10 days; Kraftkolour, Australia; ±$33.65/m; 55”; 40mm
Bioplastic Exploration
Alongside fibre exploration, I experimented with bioplastics as a biodegradable alternative for structural and decorative elements intended for embellishments.
Recipe from ‘Cook your own Bioplastic’ by Violette Arnaud
Recipe from @muddy_puddly, Instagram
1st Batch Testing
1st Batch Results
Close up of moldy bioplastic
While these bioplastics align with my goal of biodegradability, like the vintage sequins, they are not naturally water and heat proof—so I began exploring biodegradable coatings as a potential solution, continuing to test how function and responsibility can coexist in future material developments.
Sourcing Colour with Care: Natural Dyes
Just as material choice reflects intention, so does the source of colour since both the fabric and the dyeing materials play a role in the textiles’ overall footprint. In this project, I’ve chosen to work only with natural dyes and mordants that align with my commitment to environmental responsibility—avoiding heavy metal salts, mineral dyes, crushed insects, and poorly managed indigo vats. Each dye is thoughtfully selected not only for its visual quality, but for its impact on people, plants, and the ecosystems it touches. Most of this dyes I’ve used in previous projects, some used with the intention of locally sourcing them, others to compliment my existing colours within the colour board.
List of dye sources:
Madder Root Powder:
- Rubia cordifolia or Indian Madder: for peach to orange to red colours, but I find them to be slightly more cold-undertone reds.
- Rubia tinctorum or Common Madder: similarly for peach to orange to red colours. Very heat sensitive, do not heat up above 70°C.
Sappanwood:
for pinks to pinkish red colours. Commonly found in South East Asia and India, I personally sourced my wood chips from Indonesia.
Onion Skin:
for yellows, peach, and green. Collect from your own food waste or visit a local market and/or food stalls.
Myrobalan Light Powder:
for buttery yellows, greens, blacks. High in tannin content, hence could also be used as a mordant for cellulose-based fibres. The light variation comes from the ground nuts, while the dark variation (produces darker colours) are extracts from the nuts.
for yellows, greens, even bluish greys. Also high in tannin content. Collect from your own food waste, best dried before using. Personally, I sourced mine from a local herbal shop in Indonesia.
Lac extract:
Pomegranate Skin:
for reds to deep purples. Derived from resins secreted from the insect Kerria lacca that invades acacia or fig trees.
Gardenia/Gardenia jasminoides:
- Dried fruit/direct extract: produces bright yellows. Traditionally used in Chinese medicine, known as Zhi Zi.
- Seed extract: produces blue hues after the seeds are fermented with a natural amino acid. Both the blue and yellow extract is commonly used in East Asia as both natural colourants for food and fabric.
Dried Rosella:
for soft pinks to rose browns. Tried this as dye because usually the teas are vibrant dark pinks, bought together with the dried pomegranate skins.
Daun Ungu/Caricature Plant (direct translation: Purple Leaf Plant):
for pale yellow browns or golden brown. Initially tried these dried leaves with the expectation of purple colours as the name suggests, bought together with the dried pomegranate skins.
Black Tea:
for browns to dark greys. Produces dark greys when added with iron mordant.
List of mordants and modifiers:
Alum/Aluminium Sulphate
commonly-used safe chemical mordant, known to brighten colours. Could be safely disposed of to soil or drain without causing toxicity as it’s commonly used for wastewater treatment. Dilute properly and handle with caution as it may cause skin and eye irritation when in direct contact. Usually used at 15% WOF (Weight of Fibre).
Iron/Ferrous Sulphate
least toxic metal salt mordant, known as a “saddening” agent that darkens colours. Handle with care and caution, use within recommended concentration. Dispose solution properly by diluting it with plenty of water down the drain (avoid waterways). As an alternative, a solution made of diluted vinegar and rusty nails would also give similar effects to modify colours. Usually used at 2-4% WOF.
Lemon Juice
a strong acidic pH modifier to shift colours towards reds or yellows, sometimes it also could “erase” effects from iron mordant or alkaline pH modifiers.
Soda Ash/Sodium Carbonate
one of the most used strong alkaline pH modifiers/mordants. Shift colours towards purples or deeper reds, sometimes combined with iron mordant for an extension of achievable colours. Also a great scouring agent especially for cellulose-based fibres. Like other chemicals mentioned above, handle with care and caution as they are safe to use but not to be ingested. Dispose solution properly by diluting with plenty of water or neutralise with vinegar, before pouring it down the drain. Usually used at 2-5% WOF.