Manifesto for Alternatives to the Textile Colour Industry by Maibe Maroccolo

MANIFESTO FOR ALTERNATIVES TO THE TEXTILE COLOUR INDUSTRY

MAIBE MAROCCOLO LIMA MA FASHION AND THE ENVIRONMENT UNIT_SUSTAINABILITY SOLUTIONS LONDON COLLEGE OF FASHION MARCH 2012

//TABLE OF CONTENTS

1_ INTRODUCTION

2_ NATURAL DYING Vs. SYNTHETIC DYING

3_ NATURAL SOURCES

4_ HUMAN HEALTH HAZARDS

6_TODAYS_PRODUCTION AND USE

7_ COLOURED WASTE-WATER

8_ CERTIFICATIONS

9_ CONCLUSION

10_ BIBLIOGRAPHY AND REFERENCES

//INTRODUCTION In a globalised world where information and ideas are exchanged at great speed, companies and their brands all over the planet, spread their consumer habits and dictate trends. In this context, local differences assume a prominent place. The colors and style of every tribe, community and country are fundamental elements that establish the differences and target identities. Taking a closer look at Brazil, my native Country and chosen place for research, I can safely say that there is a huge diversity of natural plants and mineral resources that are used as the raw material for extracting a wide range of natural dyes. Many of these plants are used by traditional communities in their daily lives, such as annatto, genipap, saffron-the-land, anileira, aĂ§aĂ and many others.

Figure 1 Traditional Brazilian plants, seeds, roots and fruits (2012). [online image]. Available at: <www.brasnica.com.br> [Accessed 1 February 2012].

In Brazilian culture, with the advent of synthetic dyes, natural dyes are no longer used in most everyday products, which indirectly, creates garments of less ethnic and traditional genuine value. Natural dyes are living substances, extracted from plants. They are real and they maintain a constant relationship with sunlight. The colours become more intense and bright during the day and change within the environmental conditions that they are exposed to. Six thousand years ago, natural dyes were used by different civilizations for ornamentally enhancing artifacts, along with dying clothing and early body painting. Holding a vast knowledge about the use of natural dyes and pigments, indigenous Brazilian tribes apply these substances to their bodies with many different purposes. The traditional body painting serves to show the difference between social groups, identity, sex and age.

Figure 2 Indigenous Native Brazilians (2012). [online image]. Available at: <www.brasilescola.com/historiab/indios-brasil.htm> [Accessed 1 February 2012].

However, if we examine these differences we soon realise, that in essence, we share the same concept. In fact, body painting traditions and the use of clothing in todayâ&#x20AC;&#x2122;s society are almost identical in their objectives. Our clothes nowadays do far more than merely protect the wearerâ&#x20AC;&#x2122;s body and moral decency. Clothing works in a comparable way to that of original body painting. Clothes act as a second skin, just like body painting does for indigenous tribes. The difference that clothes and body painting establish helps create identities and decreases boundaries between the different urban tribes. Hippies, surfers, punks, and executives among other groups express their attitude contesting different compositions of styles/clothes. And the colour is a key element that defines each tribe. In this context, natural dyes can play an important role, rescuing the identity and establishing a new concept of the origin and meaning of the colors of all the tribes. The awareness of socio-environmental issues is growing and so is the use of natural dyes. The industry has sought to adapt to new demands, which has led to the search for others sources, which minimize the environmental impact as an alternative to chemical dyes that damage and pollute the environment. Natural dyes contribute to the construction of a new concept on the use of natural colours in the industry.

// NATURAL DYING Vs. SYNTHETIC DYING Natural textiles and natural dyes are two complimentary elements, which have unique beauty and cannot be compared to industrial and chemical colourings. As Rudolf Steiner says in “Colour”: Comparing natural dyes with chemicals would be something like trying to match the authentic imitation of the original copy. Natural dyes are for chemical dyes as the symphony is to the gramophone (Steiner, 1985). The use of natural dyes is often advocated as a means of reducing environmental damage. Natural dyes can provide benefits such as lowered energy and water consumption, reduced allergenic effects, and easier biodegradability. Unfortunately, the discovery of chemical dyes and their use has contributed to the replacement of natural dyes and this has lead to us forgetting the knowledge about the true origin of colours. Most of the handicraft artisans, who are the main users of natural dyes, know, that by using chemical dyeing, the results are inferior. This is principally due to specific knowledge required for the use of synthetic dyes. Certain dyes only work with specific fibres etc. In addition, you must know how to combine different colors to achieve the desired end result; this means the final colour needs setting due to the difficulty of fixing synthetic/chemical dyes. Synthetic chemical dyes mainly originate as dense and toxic substances, obtained from refining petroleum and coal, a process in itself that is highly polluting. These dyes were created in Germany during the Industrial Revolution, being synthesized from the same raw materials used for the production of explosives, for example, nitrogen-rich organic compounds such as nitroglycerin or TNT trinitrotoluene (Steiner, 1985). During the First and Second World War the chemical dyes industry was closed down, mainly because all the raw materials used, were re distributed and required for the manufacture of explosives for purposes of war. While there is not a large amount of colour footage around for this period, one can clearly see that the majority of consumers purchased clothes of a single grey colour. In this dark period of history we can see that the relation between chemical dyes and darkness is linked to the progression of man's attachment to material goods (Steiner, 1985). Natural dye has a direct relationship with natural light. It is usually called the “colours of light”, as opposed to the chemical dyes. The use of natural dyes in the production of handicraft products requires a more elaborate process than simply buying a pack of dye at the closest shop. This purely commercial use of chemical dyes negating the authenticity of a craft capable of integrating man and natures. Using natural dyes is relatively simple, but to prepare the color, requires the mastery of certain principles in chemistry, physics, maths, and botanical knowledge. To find and collect herbs, remove lichens from rocks, fences and trees, recycle wood waste, is just the start. The process is much slower but during that slower process, one can create an interaction and activity, which involves bringing people together as well as connecting them with nature

Observing the colour that appear by extracting the dye, is an amazing and magical event. I had the opportunity to experiment and learn this natural science by collecting and classifying tintoreous plants. By doing so, I managed to acquire some principles of chemistry within the dying process, along with recording the results of the experiments and writing recipes. I developed my skills during an intensive workshop, though most importantly, was that the set of these experiences provide a solid foundation on the cultural and material values.

Figure 3 Indigo Preparation at Etno Bot창nica Workshop in S찾o Paulo, Brazil Nov 2011 [personal archive]

Figure 4 Etno Bot창nica Workshop in S찾o Paulo, Brazil Nov 2011 [personal archive]

This experience left me thinking that as we know, there is a breakdown of cultural values underpinning the function of utilitarian and ritual artifacts. This also led to a radical transformation of the relationship between the producers, the object of his production and the links established between the product and the consumer. The use of synthetics dyes has risen very quickly. Ignorance by the consumer of the toxicity of the chemicals in dyes that are used, means that purchasing is easy to do. The damage done to the environment be it short, medium or long term has no effect on the consumers purchasing habits. Nowadays, in countries like the United States, Britain, Japan and France, the natural/vegetable dyes that are being used in the food and cosmetic industries are mostly synthetic. Evidence shows that some of the chemicals used, can accumulate in the body and are carcinogenic (Zollinger, 1987). Apparently until the 60's, craft in Brazil evolved spontaneously without the interference of industrial raw materials. The tradition of verbal transmission and familiar techniques guarantee the perpetuation of knowledge and the relationship between master and apprentice consolidated a natural cycle of training new artisans, ensuring the connection of craft activity with its popular roots. The changes in the Brazilians rural zones are deeply uprooting the population, leaving only traces of dyeing techniques with plants in some distant rural communities, where the difficulty of access and poverty is growing. Thus, it is clear that the fate of dyeing with plants is doomed to disappear. Although the use of chemical dyes has intensified, the natural dye, a technical knowledge of ancient people in rural areas still exists between people who devote their efforts to work, to create hand woven pieces and dyed with plants. However, this activity is not restricted to rural areas, it is possible to produce natural dyes from wood waste processing and pruning of trees used in urban landscaping. This can also be introduced in small farms growing tintoreius plants to meet the needs of a region with local resources. "We must think of new standards, to save, to preserve, and to recycle resources (...), environmental problems are the result of poverty and the misuse of wealth" (Novaes, 1992). // NATURAL SOURCES Among the main sources for the extraction of natural dyes, we can highlight: Eucalyptus and pine, along with sawmills, joineries, markets, fairs, farms, parks and roadside plants. Orchards, plantations and gardens are also places where they sell herbs and medicinal plants - botanical gardens too can be a rich source of natural dyes. From these sources, the following are used for dyeing: - All of the eucalyptus tree (leaves, bark and sawdust), the fruit and bark of pine. Many vegetables such as â&#x20AC;&#x153;mimosa and bracatingaâ&#x20AC;? (typical Brazilian plants), all wood shavings used for furniture, floors, ceilings and woodwork;

- Leaves, stems and skins of many vegetables, roots and pulses, spices such as annatto, turmeric and saffron, leaves and bark of branches of pruned fruit trees; - Flowers, roots and weeds; - Lichens that grow on old fences, dead tree trunks and rocks; - Branches and leaves of the trees used in the de-forestation of cities, such as mulberry, logwood, maple, cedar, amongst others. The use of natural dyes can be reintroduced in rural communities as an economical alternative that integrates traditional techniques of handicraft production and at the same time improves product quality significantly. Another important aspect to consider is the lack of toxicity of this type of dye that allows a better quality of life for the craftsman. These aspects, when integrated, contribute significantly and add value to the cultural and economically handmade product. It meets local needs without harming the environment as well as being a viable and productive activity. SYNTHETIC_CHEMICAL TOXIC + ENVIRONMENTAL IMPACT AIR POLLUENT + WATER DIFFICULT BIODEGRADABILITY + ENERGY + CO2 NON RENEWABLE RESOURCES DIFFICULT BIODEGRADABILITY

NATURAL RECONNECTS MAN WITH NATURE EASILY BIODEGRADABLE MINIMAL IMPACT LESS WATER CONSUMPTION LOWERED ENERGY LOW CARBON FOOTPRINT RESPONSIBLE REDUCE ALLERGENIC EFFECTS + EMPLOYMENT (RURAL AREAS)

Table 1 Synthetic Vs. Natural Dyes

// HUMAN HEALTH HAZARDS The toxicological hazards of synthetic dyes on human health are directly related to the contact they have to the consumer i.e the skin, the respiratory tract, by ingestion and exposure time. In Japan, statistics have shown that workers in industries that handle synthetic dyes have a higher risk of developing tumors. In the United States, studies of the causes of deaths among workers in dye factories, proved that they have developed various types of cancer, brain tumor, lung diseases, in numbers significantly higher - 40 times higher than in the general population (Hashino, 2007). A UK organization (Better Thinking Ltd.) conducted studies on the dyes used in the textile industry worldwide and has reported what the consequences for us and for the environment will be if we continue unabated. The report is called "Dyeing for a Change," which describes what various synthetic dyes are available, explaining how it is used and what the resulting impact can be.

Figure 5 Greenpeace Campaign “The dirty secret behind the dying industry” (2010). [online image]. Available at: <www.greenpeace.org/eastasia/news/stories/toxics/2010/textilepollution-xintang-gurao> [Accessed 1 February 2012].

// TODAYS_PRODUCTION AND USE Today, it is evident that the production and use of synthetic dyes is one of the most polluting industries. Currently, 99.5% of textiles in the world are coloured with synthetic dyes; compounds produced by chemical synthesis from petrochemical derivatives obtained from non-renewable, nonbiodegradable, highly environmentally hazardous, toxic and bioaccumulative (Mercader, 2010). We do not need to look far into history to see that mankind uses them on an industrial scale for only one century and apparently he has started to worry about the consequences of this indiscriminate use in less than 30 years, at the point when evidence proved its harmful effects and toxic to our health and the environment. These compounds for being soluble in water, present serious health risks for those who produce, handle and consume them, and also cause various problems to the environment. These synthetic dyes used in dyeing textiles are widely used by paper mills, leather, pharmaceuticals, cosmetics, food, printing, photography, and other industrial applications. Currently the U.S. chemical industry is the largest exporter of dyes, distributing in the world market, approximately 2,000 different types of synthetic dyes used by the textile industry. (http://oecotextiles.wordpress.com/tag/textiles/) To obtain good results when dyeing cotton (or other natural fibres) this process uses large amounts of water, both to clear (removing impurities, pectin’s, waxes and oils - allowing the fiber to accept the dye), as well as after the dyeing process too, when washing the textile to remove any sort of excess which is not fixed to the fiber. These processes generate huge amounts of liquid. According to the EPA (USA - Environmental Protection Agency), the entire

dyeing process uses an average of 20 to 60 litres of water for each pound of finished dyed fabric. During the dyeing process, the dyes are absorbed by the fibres, the transfer of the dye to the fiber is called the "depletion rate". As an example, if this percentage is 100%, no stain remains in the water, ie, all the dye would be absorbed by the fibre. Unfortunately, synthetic dyes have an average “depletion rate” of 70%, this means that 30% of the dye used will not be fixed to the fibre and will be discarded as effluent (industrial waste). At the moment this is not yet properly dealt with, on the premises of the industry. The harmful and toxic compounds go straight out to our rivers. These dyes contaminate inland waters (rivers and lakes) and coastal waters (bays, mangroves, beaches and coves), causing serious environmental problems. (http://oecotextiles.wordpress.com/tag/textiles/) The lack of drinking water is now one of the most important issues in the world. The dyeing industry is responsible for many cases of contamination of fresh water that is used in the various activities of everyday life, such as drinking, washing, bathing, irrigating crops among others, and these toxins we are exposed to, can have catastrophic effects. // COLOURED WASTE-WATER The global textile industry annually discards approx 40,000 to 50,000 tons of dye in their effluent, and more than 200,000 tons of salt that are also used in dyeing process. Thus, with increasing use of this great variety of dyes, pollution from chemical dyes in wastewater is becoming increasingly alarming (http://www.textileworld.com/Articles).

The development of technology for wastewater treatment has increased in recent years due to stiff environmental laws. The main techniques for decolorisation of wastewater are adsorption, precipitation, degradation, chemical, electrochemical, photochemical and biodegradation. All of this is very promising for the treatment of effluents.

But the synthetic dyes are xenobiotics (under aerobic conditions-presence of air), microorganisms of rivers and lakes do not have specific enzymes for degradation of these dyes, and under anaerobic conditions the degradation of the dye takes place very slowly and can take decades. It is important to note that any of the treatment methods for degradation of dyes is much more effective, easier and cheaper if done in the wastewater treatment industry, before reaching the rivers and lakes. The effluent treatment in the textile industry requires long-term investments, large areas for construction and high cost. The uncontrolled release of these effluents interferes on the absorption of light and oxygen by plants and aquatic animals, with great potential to bioaccumulate and are transported to treatment plants for water supply, contaminating water sources and water distributed to the population. Even when there is the treatment of effluents still on the premises of an industry in their WTS (Wastewater Treatment Station), it generates as a byproduct, industrial sludge (toxic sludge) - According to the environmental laws, this should be going directly to industrial landfills, but the toxicity of the sludge remains - containing formulations of complex chemical compounds, which are very toxic to man. What is found in this industrial sludge amongst other contaminants are:- heavy metals (lead, mercury, chromium, zinc, cobalt and copper), derived from benzene and formaldehyde (Mortuza, 2010). The water which still contains traces of dye, is discarded into rivers, but the problem persists. Unfortunately, the Earth has no â&#x20AC;&#x153;wastegateâ&#x20AC;?, and millions of tons of industrial sludge are destined for landfills. Another destination are the incinerators, but the burning, results in the release of numerous toxic compounds into the atmosphere, such as dioxins and carcinogens, that have a high potential hormone disrupting factor. These also occur when burning plastic waste, tyres, solvents and pesticides. // CERTIFICATIONS

When dyeing textiles made from organic cotton, we are faced with laws adopted by private certifiers, such as the new standard GOTS - Global Organic Textile Standard and Oeko-Tex. They set parameters that restrict the use of various types of chemicals in textile certificates.

For example, the GOTS standard prohibits the use of only one class of azo dyes (those that release carcinogenic cells) and restrict the use of dispersed dyes used for dyeing polyester; they restrict the use of heavy metals such as chromium, cobalt, copper, nickel, mercury, antimony, lead and arsenic. Thus, the type of synthetic dye used, can mean a lot when testing how well a

piece of clothing remains colorful with its organic integrity still in tact. In the stores or on the label of the garment, it will still prove to be very difficult to try and obtain information regarding the dyes and auxiliary products used to dye the "organic clothing". After the release of these standards, some manufacturers of synthetic dyes began to disclose a list of products (dyes and auxiliaries) that meet these established parameters. But when a few organisations tried to consult these private certifiers to discover which laboratory was performing the tests, the answer was that the reports for approval of synthetic dyes and auxiliaries for use in organic cotton, were performed by the manufacturers of synthetic dyes themselves (Lopes, 2003). Unfortunately, these â&#x20AC;&#x153;Private Certifiersâ&#x20AC;?, in order to defend their own interests and increase the number of customers in the textile sector, thus increasing their revenues, gave way to endorsing the use of these synthetic compounds for organic dyeing textiles. Clearly in the future, these standards will need to be reviewed. // CONCLUSION Today, dyeing is a complex and specialised science. Nearly all dyestuffs are now produced from synthetic compounds. This means that costs have been greatly reduced and certain applications and wear characteristics have been greatly enhanced. But many practitioners of the craft of natural dying (i.e. using naturally occurring sources of dye) maintain that natural dyes have a far superior aesthetic quality which is much more pleasing to the eye. On the other hand, many commercial practitioners feel that natural dyes are non-viable on grounds of both quality and economics. In Brazil, natural dyeing is now practiced only as a handcraft, with synthetic dyes being used in all commercial applications. Some craft spinners, weavers, and knitters use natural dyes as a particular feature of their work. In many of the worldâ&#x20AC;&#x2122;s developing countries, however, natural dyes can offer not only a rich and varied source of dyestuff, but also the possibility of an income through sustainable harvest and sale of these dye plants. Many dyes are available from tree waste or can be easily grown in market gardens. In areas where synthetic dyes, mordents (fixatives) and other additives are imported and therefore relatively expensive, natural dyes can offer an attractive alternative. It can be concluded that the synthetic textile dyes represent a large group of substances that can have undesirable effects on the environment; in addition some of them may present a large risk to users. The main point that needs to be highlighted is the awareness among manufacturers and users to clarify the risks that these toxic compounds and pollutants cause to the population. Thus, investment is needed into the research for methodologies for more effective effluent treatment. The encouragement of research is paramount in the development of new dyes, using what already exists with the ability to progress and meet the needs of protecting humans and the environment.

Important attitude changes to meet these needs would be: - Improve the ability to fix the dye to the fiber, which generates a higher depletion rate and reduces the amount of dye in the process, reducing cost and certainly resulting in improved effluent quality. - Strike the problem at source; Perform the wastewater treatment when still on the industry facilities which can reduce the cost and environmental risk by comparing expense of further treatment for removal of these compounds in low concentration and in the presence of numerous other interferences. Improving techniques to recover, reuse and exhaust dye baths provides an effective way of both reducing volumes of effluent and the use of chemicals. - Review the cost / benefit of these processes and develop new techniques capable of effective removal of these dyes. Make them effective and economically viable through global legislation. While there are laws that are extremely rigid, incentives are needed, such as tax exemption for companies seeking zero environmental impact or nothing will change in this context. - Develop techniques with lower planetary loading that can provide appreciable long-term savings of water, dyestuff, energy and waste treatment costs. When there is greater awareness, mobilization and attitude of the population, along with political and economic interests in prohibiting the production of harmful and toxic dyes, the rise in the use of natural dyes, which has been occurring in the food industry worldwide, should be seen as inspirational for the fashion industry. In the past, everything has been about quantity not quality and this ethos has to change. It wonâ&#x20AC;&#x2122;t be a quick fix. However, the world of fashion, yet again, can show the way forward and instead of being a contributor to the pollution of the planet, it can change course and help to positively effect the world in more ways than one.

// BIBLIOGRAPHY AND REFERENCES Steiner, R. (1998) Colour. London: Hillside House Zollinger, H. (1987) Color Chemistry: Syntheses, Properties, and Applications of Organic Dyes and Pigments. Switzerland: VHCA Novaes, M. (2008) Os Jardins de Marcelo Novaes. Brazil: Europa Publisher Mercader, M. (2010) Available from: http://www.cottonique.com /blogs/blog/1944072-dyes-synthetic-and-natural Hashino, T. (2007) The Rise of The Japanese Dye Industry During the First World War. Kobe University Economic Rewien 53. Available from: http://www.econ.kobe-u.ac.jp/doc/seminar/ER/files/hashino.pdf Guaratini, C. "Corantes Têxteis". Química Nova, 23(1) (2000). Mortuza, M. (2010) Effect of Industrial Sludge Toxicity. Global Journal of Environmental Research 4 (2): 101-105, 2010 Fletcher, K. (2008) Sustainable Fashion and Textiles: Design Journeys. London: Earthscan Publications. Chapman, J. (2006) Emotionally Durable Design: Objects, Experiences & Empathy. London: Earthscan. Allwood, J. (2006). Well-Dressed? : The present and future sustainability of clothing and textiles in the United Kingdom. Cambridge: University of Cambridge. Hethorn, J. & Ulasewicz, C. eds. (2008) Sustainable Fashion: Why Now?. New York: Fairchild.