TECHNIQUES
an ounce, so I snipped a tiny corner from the dye packet and added only a very small amount of powder to a large pan of warm water, storing the remainder in a zip-lock bag. Following the instructions, I slowly heated the bath while stirring and added the recommended amount of iodine-free table salt. After stirring regularly for just under an hour, I removed the samples and rinsed them. My first observation was that an
extraordinary amount of rinsing was required. Despite using only a tiny quantity of dye, a considerable amount remained in the dye bath rather than bonding to the fibres. After changing the rinse water ten times, I eventually gave up: the materials continued to release colour. For stovetop dyeing, I do not consider this a particularly sustainable method. Too much water is required for rinsing, and residual unfixed dye may bleed during wet blocking or pressing. My second observation was that,
once dry, the samples displayed an unexpectedly wide range of red shades – from vivid scarlet to bluish cerise tones. Clearly, Fire Red consists of a mixture of pigments, some of which bond more readily to certain fibres than others. Optical properties also contribute to colour differences. The way light is reflected by a material strongly influences both intensity and saturation. Melusine felt, for example, appears more vibrant in the same dye bath than ordinary fur felt because light reflects between the fibres. Likewise, an open, matte weave such as chiffon silk appears less rich than densely woven, lustrous dupion silk or satin. The permeability of the fibre also plays a role; loosely spun short fibres absorb dye faster than dense long ones. For these reasons, all-purpose or direct dyes are not ideal when the goal is to achieve exactly the same colour across multiple materials.
Tips
Wet materials always appear more saturated than dry ones. Dry a small section with an iron or by holding it against the side of the dye pot to evaluate the final colour.
Direct dyes are easy to mix by dissolving small amounts in water and combining the liquid solutions. This is far easier than attempting to mix tiny quantities of dry powder.
august 2026 | 45
All materials dyed with iDye all-purpose dye
Cellulose or protein?
Hat materials can broadly be divided into three categories: cellulose, protein and synthetic fibres. Cellulose fibres are plant-based. Protein fibres are animal- based. Synthetic fibres are generally derived from petroleum. Some materials, such as silk abaca, contain both plant and animal fibres.
Tip
If you are unsure what a material is made of, perform a burn test. Cellulose smells like burning wood and continues to smoulder. Protein fibres tend to self- extinguish and smell like burnt hair. Synthetic fibres burn fast, melt and form hard beads.
The reason direct dyes leave excess colour in the dye bath is that they are designed to work on multiple fibre types. If you dye only wool felt, for example, the cellulose component of the dye remains unused. Choosing a dye specifically formulated for the fibre you are dyeing avoids this problem. Specialised reactive dyes exist for cellulose, protein and synthetic fibres. When used correctly, they can produce an exhausted dye bath: all the dye is absorbed by the material, leaving clear water behind. Little rinsing is required and the finished material will not bleed.
Fibre-reactive dyes
For cellulose materials, fibre-reactive dyes are an excellent choice. These synthetic dyes form a permanent chemical bond with the fibre itself, effectively becoming part of the material. The result is a bright, colourfast and highly wash-resistant colour. Fibre-reactive dyes perform best on plant fibres such as cotton, linen, viscose, rayon, hemp, bamboo and straw materials. They are cold-water dyes. The reaction occurs at temperatures between approximately 20°C and 40°C in an alkaline environment, typically created by adding soda ash. A pH between 10.5 and 11 is required for a permanent bond. One of the major advantages of fibre- reactive dyes is their versatility. They can be used for immersion dyeing as well as techniques such as tie-dye, shibori, ice dyeing and batik.
Acid dyes
For protein fibres – including wool felt, fur felt, silk, feathers, alpaca and mohair – acid dyes are an excellent choice. Acid dyes are suitable for nylon as well – they can be used to dye nylon veiling. Despite the name, acid dyes do not require aggressive acids. They simply need a
Pre-soaking the materials
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84
