Natural dyes, eco printing and shibori

Natural Dyes

I work with a range of natural dyes—some foraged and processed locally, others gathered during travels or sourced from trusted online suppliers. Among my favorites are Madder, Indigo, Himalayan Rhubarb, and Cutch—time-tested dyes celebrated not only for their rich, enduring color but also for their lightfastness and washfastness.

https://maijazemitis.com/cutch-and-himalayan-rhubarb-natural-dyes/

The process begins with scouring the fabric to remove any residues. For cellulose fibers like cotton, linen, or flax, I begin with a tannin bath, followed by a mordant bath. Mordants are essential in natural dyeing; they allow the dye to bind to the fiber, creating long-lasting and vibrant results.

Once prepared, the fabric is ready for the dye pot—or for eco printing. There’s always a moment of quiet magic when removing bindings or resists after immersion, or peeling back leaves after steaming. Each result is a dialogue between chemistry, process, and the living memory of the plant materials themselves.

Sustainability is at the heart of my practice. I work in small batches, reuse dye baths when possible, and prioritize natural materials that are renewable, biodegradable, and non-toxic. My process is a conversation with the land—one that honors slowness, resourcefulness, and a deep respect for the natural world.

https://maijazemitis.com/natural-dye-processes/

Eco Print Technique

Eco—or botanical—printing involves pressing natural elements into fabric to create direct, often detailed impressions of plant material. I primarily use leaves from my own garden, as they are highly responsive in the printing process. Some favorites include tulip tree, cotinus, locust, plum, cherry, apple, rose, and dogwood.

The technique begins by arranging the plant matter on a natural substrate—typically fabric or paper, though it can also be used on clay or leather. The material is then tightly bundled and either steamed or simmered, allowing pigments and tannins from the leaves to transfer and bond with the surface.

https://maijazemitis.com/eco-printing-or-botanical-printing/

Eco printing complements and enhances my natural dye work. The layered impressions of leaves add texture, contrast, and botanical memory to the rich color fields created by dyes like Madder, Indigo, or Cutch. Together, these techniques allow for a deeper expression of place and season—one rooted in both process and connection to the land.

https://maijazemitis.com/experimenting-with-eco-printing/

Shibori

Shibori is an ancient Japanese resist-dyeing technique, often compared to tie-dye, though it encompasses a diverse range of intricate methods. Each involves folding, binding, stitching, or compressing fabric to create patterns that emerge once dyed.

https://maijazemitis.com/blue-indigo-wall-sculpture/

At MaiTribe Studio, I explore various Shibori techniques, tailoring each approach to the fabric and natural dyes used. For instance, in my recent work with Mokume Shibori on silk noil, I employed a running stitch that, when gathered, produced a woodgrain-like texture after dyeing 

Shibori complements my natural dye practice by introducing structured patterns that interact harmoniously with the organic hues of dyes like Indigo, Madder, and Cutch. The interplay between controlled resist techniques and the fluidity of natural dyes results in textiles that are both deliberate and serendipitous.

You can view examples of my Shibori work, including the Mokume Shibori on silk noil.

https://maijazemitis.com/mokume-shibori-on-silk-noil/