an indigo journey

axisasia | 01.2015

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an indigo journey

by Christian Veloso Student, Bachelor of Industrial Design, RMIT University

Journey through the surging sea of green that slowly transforms and becomes a deep ocean blue that is found in the rugged storms of the vast open sea. From the plant and into its ultimate fate in the vat, is it not time for indigo to exert its magic?

Green and blue, like the earth seen from above, the colour roots itself in the colour of Mother Nature and yet it reveals itself as the ocean when it is transformed. Like the ocean, perhaps it is the ocean captured within its skin of green, it changes and that change is the nature of its colour - indigo introduces itself as an innocent plant, but when you unlock its true nature it reveals its darker side.

The traditional methods of extracting the ocean out of a plant are time tested

and still practiced in contemporary India. The colour itself imitates and disguises itself as a living organism living amongst other plants, until it is submerged under water where it then reveals its true characteristics.

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Indigo dye in India has a rich background that is well rooted in the colonial times. Its discovery lead to turmoil for the people of India who were taken as slaves, and triumph for the Europeans who traded the commodity. Oblivious to the history of many things, personally being fortunate enough to be living in an era that I can relatively call peaceful compared to the colonial past, I discovered the blue blood behind the story of indigo.

Watching a documentary by SBS of a trading empire known as the, Honourable East India Company (HEIC), I delved into what I have discovered a trade that lead to many conflicts, death and the bloodshed of wars. Indigo was a sought after commodity for its rarity in the West as it was primarily used in textiles. The fashion industry was established from this establishment of trade and merchandising of the HEIC. Dyes having their worth at the weight of gold has brought upon great wealth to the HEIC that even rivalled the British state.

The colonization and establishment of a trading empire could not come without a cost.

With their expansion they had to secure their presence with armies made from the natives and some British officers.

“not a chest of Indigo reached England without being stained with human blood.�

E. W. L., Source

The East India Company eventually faced their downfall of its empire in the year of the Indigo Revolt, 1859. The British tried to rule the country and eradicate French rulers and influences, with the wages of war for establishing global trade power. With the French as their main rival for global trade dominance, the British invested into armies to dominate their rule. Christian missionaries started to invade India and try to overpower their religious and cultural beliefs that potentially threatened the Indian culture. Some people of the British Empire tried to fight off the oppression of the Christian faith, to preserve the religions and practices of Indian culture. This also in effect affected and greatly influenced the value of indigo, with it being known to have magical properties, the colour would have been overpowered by the artificial. The company was no longer about trade, but turned its focus on colonialism, which shortly followed a rise of racism with the introduction of Victorian women having presence in India.

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Image Credits: (clockwise from top) Barker, T. (1859). The Relief of Lucknow. Retrieved from http:// www.npg.org.uk/collections/search/ portrait/mw08481/The-Relief-ofLucknow-1857 Madras-Army uniforms | Sepoy Mutiny. (2013). Retrieved from http:// laststandonzombieisland.com/tag/ sepoy-mutiny/

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“My mother, who came from a landowning family in southern Bengal, had grown up on a diet of literature and gossip about what she called, in her Bengali affinity for the alliterative phrase, the ‘cruel colour’.”

Sumana Roy, Indigo: Becoming Blue, Blue Mutiny, Blue Blood

Image Credit: Indigo Making by Industry of All Nations

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Legacies being formed during the imperial colonization, with the English language being forced upon the subcontinent, was accepted by the Indians as it opened doors to the Western world. The rebellion for independence shook the presence of the British and HEIC Empire. Essentially the HEIC laid the foundational system for multi-national business in the modern and contemporary era.

England were known to have been gone without the smear of human blood, which to this tyranny sparked a resistance to a two-year revolt - known as the Indigo Revolt of 1859 - that the renowned Ghandi participated as his first civil action. The revolt put a halt to the mass cultivation of indigo in the colonies.

Indigo became profitable in Carolina that it even replaced paper currency. Not

only was indigo a sought after merchandise by traders and profits for politicians. The peculiar magical alchemy of indigo dye pot has sparked interests in artists and scientists and other thinkers alike. She quotes Sir Isaac Newton who spoke of indigo as “visible yet immaterial”, the colour purest in meaning, with negotiation powers to the two spheres of God and man.

The relationship between man and plant exposes the terror and trauma inflicted on plant life and the violent human-plant relationship. The story of Sumana Roy (2014) and her experience as a young child witnessing how such a simple thing as colour can become omnipotent in a person’s life. It delves into the life of her mother’s college friend and how her husband was greatly impacted with the indigo trade that the colour has become ubiquitous in the husband’s everyday life, including his spouse and child. Discovering the fame and fortune with the dye trade his ancestors acquired, he pursued the substance and curated his life as a continuation of the indigo narrative. Drowning under the power of indigo, he was greatly influenced by the commodity, it was literally changing his personality with him changing his wife’s name from ‘Kumkum mashi’ (Kumkum which is the religious mark on the forehead in Hindu that is usually in the shade of red) to her new name ‘Neela’, meaning blue. Even changing his name to ‘Neel babu’ and also his son ‘Nilambar’.

Seeing the destructive nature of the indigo dye, Sumana was forbidden from her mother to make any of it when she was caught conjuring the indigo substance. Sumana stating that her mother often recalls indigo as the ‘cruel colour’, asserting that her mother has seen more lives lost at the hands of the plant.

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Image Credits: (clockwise from top) Deep Blue Ocean by Griffin Keller Diving Blue by Jacob Walti

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She describes her curiosity of indigo an ‘obsession’, like a story about a boy she came across who sang a song: Tell me, who coloured the sky blue... With Roy quoting William Morris, “Of blues there is only one real dye, indigo.”

For me personally I have a passion for denim and jeans, but I have not come to realise the blood that was shed in the history behind the colour it adheres; lying behind the colour hides the stains of a bloody history.

With the coming of age, and the loss of value for natural indigo dye, synthetic

dyes have overpowered and covered up its saturated history. Sure, it is long since gone, this story of blue; it no longer seems relevant to this day and age. This is why I continue to unravel and expose its story and make it relevant in the contemporary sense. I like how Walter Benjamin, the avid enthusiast of the magic of colour in children’s books says that: “nothing that has ever happened should be regarded as lost to history’, that the ‘true picture of the past flits by. The past can be seized only as an image which flashes up at an instant when it can be recognized and never seen again.”

Walter Benjamin, Source

Gathering enlightenment from Michael Taussig’s article, Redeeming Indigo, really challenged me to appreciate the blue that clings onto the fabrics of our denim jeans. He mentions to consider that next time we: “. . . slip into the blue of your jeans is to slip into history, not the history of ‘this happened then that happened’, but rather what Nietzsche had in mind with his complaint that nobody had yet written the colour of history. To slip into the blue of your blue jeans is to slip into a surprising and unexpected encounter with the past - old Cairo in your jeans’ bottom, for instance - but without your having the faintest idea of what you are slipping into.”

Michael Taussig, Redeeming Indigo

The prominent ‘blue’ that we associate with jeans and denim, is as common as the air that we breathe and is often taken for granted. In the contemporary day, the familiarity

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Image Credits: (clockwise from top) Asif Akbar - Krishna with Flute (FreeImages.com/Asif Akbar) Juskteez Vu - Heavens

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of indigo stretches deeper than the stains that it hides underneath, or should I say that magical tale and the life of indigo, backtracking from the familiarity to the rarity.

Colour has the power to bring forth life, just like when coloured television was introduced, images became livelier and spoke languages that could not be portrayed through black and white. I discovered that the colour is more than just a shade or hue in the clothing that we wear, but in fact a living entity that is full of mystery. We are constantly surrounded with things we live in familiarity, and to which we might not know were not readily available before. The colonization of India with the trading of indigo as Europe’s source of rising power in the global market lead to oppression and exploitation of people to keep up with the demands for such a luxury commodity that was once worth its weight in gold.

This is where I realised the rarity of indigo to which we are as familiar with today as indigo denim jeans.

The colour indigo takes a life of its own, as to befit something in nature upon being transformed into a commodity. Indigo is simply the ocean; deep, mysterious and full of life, but not only is it the ocean, but the essence of the ocean. But as aniline-based dyes started replacing natural dyes, this transformed the commodity to something more animate and intimate. Indigo became a working class colour of a ‘uniformed society’.

Here is where I discovered the ubiquity of the colour, and from that, synthetic dyes and the sense of familiarity have blinded us to its magic. The value of indigo once it became a common product decreased along with its social value with it being the colour used for the working class. Creating the uniformed society has transformed the colour as a thing of the past. Michael Taussig (2008) says that:

“in making the magic of colour itself a commodity, we effectively blinded ourselves to its magic, making it latent by disguising it in the language of colour instead of that of spiritual intensities.”

Michael Taussig, Redeeming Indigo

The effect of this exploited, not only the lives and labour of the people, but the “magic, the surplus-value, of colour to empower the magic of the commodity-form itself” (Taussig, 2008).

The subcontinent has many religions, with Hinduism at its prominence within the culture of India, and the application of colour is significant within the Hindu culture.

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Image Credits: Industry of All Nations Indigo Plants in Water Indigo Men Stepping

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Whatever the status or standard of living in India, the dyers are “ensured pride of place in the world history of the textile arts.” (Barnard & Gillow, 2008, p. 34). An aura of reverence and respect for the properties of natural dye permeated their lives even after the introduction of artificial dyes. Claiming that natural dye benefited cloth compared to its counter-part. New chemical dyes damaged traditional practices of the dyers and farming crops, it was said that it also “injured the artistic feelings of the people and demoralized the indigenous crafts.” (Barnard & Gillow, 2008, p. 34).

Many Westernised people associate the colour often with relaxation, peace, cool, calm and collected, shelter and protection, comfort, atonement, formal elegance, royalty, sometimes inducing deep thoughts depending on the context, it’s powerful and dignified, indigo conveys integrity (violet) and deep sincerity (deep blue), indigo is a mixture of both colours hence holds both attributes. In some cases the sea is calm hugging the shore in the stillness of the day or night. On the other hand, the sea is unpredictable and decides to change its nature, changing its tides and creating waves.

Some art forms such as music and poetry interpret this phenomenon in a different light.

Habitually associating colours to describe the way we feel, such as the famous Duke Ellington who composed the song ‘Mood Indigo’, the colour takes in its other form of its multilingual definition. On the other spectrum of serenity, the colour transforms into something more of its chaotic nature and is often associated with darker moods of the human emotion. Poetry such as Allison Adelle and Hedge Coke’s Indigo and Robert Dana’s Indigo interpret the colour with the words such as: lost, night, leavings, scrap, died, frustration, loneliness, thistle and a thorn. This feeling that entice the human emotion can every so often be recalled to the saying “feeling blue”.

Within its native land, the colour takes on its magical characteristics, with it

being connected with the heavens, love, truth and mercy (De Bortoli & Maroto, 2001).

Within the Hindu culture Krishna adapts this colour in the pigments of his skin. Krishna is often seen as a young man in a characteristically relaxed pose, playing the flute.

“With indigo… to me, it’s one of the kings of colours. The beauty of it is that once the colour is vat dyed, which is processed, it’s green and it only turns blue once it’s exposed to the air. Krishna is the air. He is the infinite.”

Desmond Lazaro, NDTV (2014)

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Watching the traditional production process of natural indigo dye from contemporary India, I was fascinated by the magical transformation from a plant to a dye product.

What captivated me the most was the transitioning of colour from green into the dark blue known as indigo.

The traditional production process for indigo in India starts from a plant called the Indigofera tinctoria that is cultivated in a farm. The plants are then harvested fresh and then soaked in water in a large tank. After the leaves have soaked, the water turns into a murky dark green which is drained into another tank. The water is then fermented by creating waves with a series of men kicking in sync, or using bats, or mechanically with a rotating paddle. The excess foam is then filtered out and rested until the sediment forms, which is then later released into another smaller tank where it will be transferred into a copper vessel. The waste water is released as a bio-fertiliser that is used to water the fields. The sediment in the copper vessel is then boiled vigorously. After it has been boiled, it is filtered with the use of cloth which is then pressed to remove any moisture within the jam-like sediment. Off the press, the pressed indigo sediment is cut into slices of “cakes” that is dried in the shade. The product is then exported and sold as ‘cakes’ and at often times in powder form.

In India there are many types of dyeing techniques. The one I observed was an age-old technique called Dabu dyeing in contemporary India (Goodwin, 2008). The soil under their feet is used to create a paste that resists the colour to allow intricate patterns to adhere when the textile is dip-dyed in the indigo vat. First, the cloth is washed in hot water to remove any dirt or excess stuff off the textile to allow the paste to stick on the material and to allow the dye to adhere to the fabric cleanly. There are two methods for cleaning the material: traditionally (by hand-stirring in a pot) or the modern technique with the use of a roller; looping the material through the hot water. The Dabu mud resist paste is made from lime, wheat chaff, black soil, and natural gum which are all natural by products of nature and nothing synthetic. The dyes are mixed by hand by adding the gum powder first then the dye. They then take their cloth and use blocks that are carved with the desired print to imprint their patterns on, then they use a different block where they apply the resist paste on the textile to areas where they don’t want the dye to adhere. The material is then dipped into the dye vat and then left to dry in the sun; the more they dip the material, the more darker or stronger the colour comes out. After it has been dried, the material is then washed again by hand in a tank of water and squeezed and slapped to remove excess water for it to dry. When 013

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This sketch was based on an observation of two videos I watched off YouTube. The first video is titled ‘Rare 150-Yr-Old Pics of Indigo Planting & Manufacture in British India!’ Which shows a series of photographs by a French photographer Oscar Mallitte that were taken in Allahabad, British India in the year 1877. It depicts images of Indian people under the slavery of colonial European farming men. The second video is titled ‘Indigo Dye Extraction’ which shows an indigo manufacturer KMA Exports in India using traditional methods of indigo production.

The storyboard I’ve titled ‘Colonial’ are a series of sketches of photographs I found interesting from the video. Most of the sketches shows a Westernman observing the Indian slaves as they perform their duties. These sketches portray numerous Indian men with no faces; I did this to portray the fact that these men had their values stripped away from them through slavery. All these

Indian men are seen doing all the hard labour in their minimal clothing; this portrayed their socioeconomic class. Whereas, the European men are fully dressed in light-coloured clothing with no dirt on them and hats that keep them shaded from the sun. They are seen to be just standing still and observing with no apparent activity or movement within their body language.

On the second storyboard, ‘Contemporary’ shows a series of sketches of Indian men in the current context of indigo production. There is a stark contrast between the two storyboards, the contemporary context demonstrations no oppression and lesser people doing the labour.

The contemporary context illustrates no major differences between the colonial times in terms of production process of indigo dye. One clear factor is the use of vehicles to aid the turning up of land for cultivation, but the dye process itself remains a time tested method.

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the material finally dries, there is the option to add more mud paste onto the textile to areas where the material should be paler when comes out of the indigo vat for the second time. The material starts off with a cotton cloth that is off-white in colour and the areas where the resist paste was not applied is where the indigo dye adheres to.

This leaves a beautiful textile where the cloth is dyed and the patterns that are visible are from the areas where the resist paste were applied.

“The knowledge of dye plants and techniques can easily fade” rugbooks, In Search of Lost Colour: The Story of Natural Dyes

After India became an independent nation and as synthetic dyes over ruled natural dyes, the country slowly reclaimed indigo as its own. In contemporary India there are a handful of companies that captivates the wild colour and domesticate its nature and imprison it in affordable textiles. A social design perspective to the colour can be seen in an example from a company in India called Charkha that has established an area where local farmers own the vats and make a living selling their goods. The symbol of blue, once symbolising imprisonment now symbolises prosperity. This prosperity is alluring to people all over the world, even a Spaniard man living in Auroville has called India his home. Living and breathing blue, he is renown in the world with his legendary work with natural dyes, namely indigo, and his jeans production, Jesus Ciriza Larraona is the founder of the company Colours of Nature. Bina Roa, a designer and founder of her own brand Creative Bee has become famous with her use of indigo in textiles and garments that are sought-after across the world. In another hand-loom collective in India, Uzaramma talks about the qualities of the notorious colour; saying the more the dips the darker it gets, it becomes indigo black and its extraordinary traits make it alive compared to ordinary black. She speaks of indigo being used for medicinal purposes which is good for the skin, and it wasn’t surprising from what I’ve researched where indigo is sold as a cosmetic alongside as a dye. Indigo as a colour is wild and free to roam the voids of an empty vast vat, can also be nurturing and sensitive when its being close and intimate with our skins. Known to be used for nomads who didn’t bath very often because of its preserving nature, that’s why jeans were attracted to indigo because the early cowboys also didn’t bathe very often. Equipping the dark knight colour onto our armour, it prevented various diseases that would be caught from not bathing (NDTV, 2014).

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Image Credit: Industry of All Nations Indigo Hanks

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Image Credits: (clockwise from top) Batik label from Industry of All Nations Two pairs of Nudie Jeans at different shades of inidigo wash

by Christian Veloso Levi’s collaboration with Colours of Nature retrieved from the Levi’s website

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“Our connection to natural dyes is intimate… their very names are the colours of history, culture, and emotion.

Colours of substance: earth, plant, water, fire and light… naturally.” rugbooks, In Search of Lost Colour: The Story of Natural Dyes

India is known for their bright colours and intricate patterns that are attached to their textile designs. Discovering cashmere wool and the cultivation of cotton alongside with the discovery of indigo dye, India does not fall short in their knowledge of textiles and fashion. Being one of the major exports during the colonial times, the Europeans exported dyes and textiles which birthed the fashion industry world wide. When West meets East the pizza effect is inevitable. India’s discovery and the Europeans distribution gave birth to what we call jeans, blue denim. In contemporary India, there are many indigo dye companies established throughout the country and are making a name of themselves in the fashion world. India is not a loose thread in the complex woven fabric of the fashion industry that is dominated by the East Asia and the West. In fact, they are inter-weaved within the industry mainly as distributor of fabrics and dyes.

World-famous denim jeans brand Levi’s is known throughout the world as the forefather of jeans, for what is known today as “blue jeans”. The brand launched a collection in August 2014 in collaboration of an Indian company known as ‘The Colours of Nature’.

What makes this collaboration so significant is the design of the jeans themselves, they are purely made in India using local resources and traditional techniques. The jeans themselves are made from a fabric called Khadi and it is a cloth that is widely accepted in fashion circles. Known for its versatility, the material keeps cool in summer and warm in winter. Adhering to these materials is the colours of nature, natural dyes made from pants are used to colour the khadi jeans. The Colours of Nature and their jeans brand Goindigo Jeans intertwined their designs with the prominent Levi’s. The denim powerhouse produced jeans that were spun and woven by hand in India from a cotton yarn that produced the khadi cloth. This made every piece of the garment different to the next. To support the locals, every garment in the collection displays the name of the weaver and the location in which it was produced.

There are many companies that sought after the blue gold of India and its design iterations. A brand called Industry of All Nations (IOAN) use batik designs in Tamil,

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Image Credits: (clockwise from top) Asif Akbar - Blue Textile (Freeimages.com/Asif Akbar) Marga de Bruyne - Village woman (Freeimages.com/Marga de Bruyne) Bjoern Lotz - Men doing laundry in Dhobighat in Mumbai, India (Freeimages. com/Bjoern Lotz) Batik crew neck tees from Industry of All Nations

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India where they collaborate with an expert craftsman that has been using woodblock stamping and traditional wax printing for years keeping the method alive. Their collaborations with local businesses in India, IOAN has created garments called ‘Clean Clothes Project’ and the ‘Clean Jeans’ project. Their clothing garments are made and designed in India using local materials and natural dyes and organic cotton. Their selvedge denim is all hand-loomed which is a practice that is continued by IOAN, making the process electricity free.

Collaborations is not the only form of contemporary design that indigo dye presents itself. There are many contemporary Indian designers who wield the power of the colour in their practices. Weaver’s studio collection at the International Symposium/ Workshop on Natural Dyes in Hyderabad, India displays a collection of naturally dyed ensembles that portrays the forefront of naturally dyed contemporary Indian fashion.

The cuts and silhouettes of the pieces represent more of a contemporary look, whereas the use of traditional patterns, such as ikat, printed on their garments remain the forefront of India’s design aesthetics. The collection adheres to the use of resist dyeing techniques and traditional patterns which are to this day are still used within the textile and fashion industry within India. Contemporary India continues to produce these sought-after designs, materials and colours that are still relevant in today’s fashion world and fashion circles. India’s introduction of indigo for the world has created the staple colour for the famous denim jeans that is still in production today. The collection boasts naturally dyed fashion garments where it contrasts with the circulation of synthetic dyes that have dominated the global market today.

As I sit in front of the computer screen typing this article in my blue jeans, it’s hard to imagine a time when colour itself was a luxury. And here I am, I’ve found myself completely obsessed with one of the world’s oldest dyes: indigo.

“This is just part of its little-known legacy.”

C. Mckinley, Indigo

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