Caroline Hyde-Brown: I'm growing a select variety of drought-resistant grasses, flowers and plants on my meadowland to use in my work. I'm currently planting seeds and preparing the flower beds and soil for the rest of the year. For the woven pieces, I mainly harvest grasses such as steppe fescue and for twining I grow huge clumps of Sedum and dogwood. If you want to weave with plant fibres, the time at which they are harvested is crucial. Fortunately, the development of the drought-resistant plants is quite predictable, they cope well with waterlogged, winter, dry soils and are resistant to diseases and pests.
I have looms and frames in several sizes, some of which I built myself. On these, I experiment with the plant material to use it for the two thread runs ‘weft’ and ‘warp’. The smallest weaving frame, measuring just 15 centimetres, is my favourite size. On this one, for example, I use either hemp, nettle or cotton fibres for the ‘warp’ to encourage strength and elasticity.
“We are in danger of focusing too heavily on the latest developments rather than the appreciation of heritage hand crafted textiles and people.”
You also work with free machine embroidery. How can I imagine that?
Caroline Hyde-Brown: I specialise in a stitch called vermicelli, to which I add a modern twist. The stitching is barely visible in the work because I use a transparent to look as if they are floating on the tulle or the finer mulberry paper.
You have worked as a textile print designer and textile designer in the industry. How did you combine your industrial perspective on textiles with your appreciation of nature?
Caroline Hyde-Brown: In 1995 I took part in the New Designers exhibition at the Business Design Centre in Islington, exhibiting a range of embroidered fabrics and lighting. My work won the Graduate Showcase Award. This gave me the impetus to apply for a scholarship to take part in the Knitting and Stitch Shows in Dublin, Harrogate and Alexandra Palace in London. After graduating, I was also able to attend a business seminar by the late Dr Janet Summerton through the Arts Council, which was very helpful for my entry into self-employment. I started almost immediately working on simple design ideas with gerbera petals, silks and gypsophelia to recreate surfaces with plant fibres, created Stories for Valentines Day and Spring seasonal collections for Liberty PLC London and the John Lewis Partnership UK as well as commissions for the Japanese department stores' Takashimaya.
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Should the fashion industry take a closer look at the traditional knowledge of fibres and plants?
Caroline Hyde-Brown: I think there is still a long way to go. The current industry follows the rule of maximising profit and minimising time. Nevertheless, there are niches with creative people who are carving out other paths. I am convinced that the next generations will be the ones who pioneer sustainable fashion to promote balance and harmony in our natural resources. Colour perfection and big low-cost fashion chains will not disappear from the market currently, they are too entrenched.
Is AI a topic in this process?
Caroline Hyde-Brown: At a recent fashion show I saw an AI-generated outfit made from the natural composite material hempcrete. Although it could be argued that it is improving efficiency, cutting down waste and is an advocate for sustainable practice, I am not convinced. We are in danger of focusing too heavily on the latest developments rather than the appreciation of heritage hand crafted textiles and people. This leads to a risk of homogenization, which could lead to a reduction in individuality and creativity as well as quality and appeal.
What is the aim of the ‘Waste not’ research project?
Caroline Hyde-Brown: This was a fantastic collaboration called New Landscapes which is an international programme and catalyst grant scheme in partnership with University of Arts London (UAL) Fashion, Textiles and Technology Department. My colleague Ummi Junid from Dunia Motif is based in Malaysia and the UK and is a batik artist and natural dyer. We had worked before this time on a project called Trash to Treasure so it felt only natural to approach her to work on this study of the potential in food waste. For the project, we analysed food waste from the UK and Malaysia by performing many different natural dye processes. I used vegetable mordant to fix the colour to the fabric and Ummi used alum and salt. We only had six months, but during this time we realised several workshops and an exhibition as well as a final written report.
Waste tea bag and banana skin collection for dyeing textiles. Photo: Caroline Hyde-Brown
Could these findings be translated into industrial processes?
Caroline Hyde-Brown: The colours were not perfect enough for industrial use because the batches were on a very small scale. In addition, the process for collecting and processing the food waste would also have had to be modified in terms of health and safety. The technology has been developed, so in theory we could use food waste to dye clothes. There are many start-ups out there and research both into alternative waste streams both for the dyes and the coatings that are applied afterwards to the fabrics. In years to come I am sure we will see a shift towards using innovative biomaterials. Yet the fashion industry remains stubbornly linear, hugely wasteful and polluting with the ‘take make and waste model’ that is responsible for twenty percent of global pollution.
Was there a finding in this research that surprised you?
Caroline Hyde-Brown: Oh yes, there were many surprises. Especially regarding the mordant. I studied many plant species that are rich in cellulose and tannin. Tannin as an ingredient to add to a dye bath was something I wanted to explore. Plants such as nettle, herb robert, cow parsley, comfrey were mixed with tea bags, banana skins, waste grape extract and onion skins all produced an interesting array of colours. rape extract mixed with tannin. Although the project is now complete, I still carry out further studies. I am always looking for new opportunities and funding to further the research. Wood is rich in tannin, which favours the absorption and fixation of plant colour. It would therefore be fantastic to develop a range of furniture using this colouring technique.
Handmade shoe made from grass and pea waste. Photo: Caroline Hyde-Brown
What would you like to research in the next ten years?
Caroline Hyde-Brown: I would like to continue my research into botany and plants and complete my diploma in Botany. Sustainability is an essential part of facing current and future global challenges, I am passionate about how my own creative practice should reflect environmental, social and economic challenges. Hopefully my book, Forage & Stitch will encourage others to explore the wonder of our natural resources in the practice of textiles. In the next ten years I would love to see fashion houses adopting practices such as using food waste for dye colours as well as architects, furniture and product designers emphasising the importance of energy efficiency, renewable materials and holistic design approaches. Sustainability is an essential part of facing current and future global challenges.
Cover: Dyed wool from the ‘Waste not’ project. Photo: Caroline Hyde-Brown
