Finding Root: These Artists Leaned Into Natural Dyes To Evoke Memories And Sustainability

Fabric finds itself at the intersection of wellness, sustainability and fashion as we see a renewed interest in incorporating more local, agricultural and sensory traditions into our cloth. Natural dye is not new to India, but its resurgence is more than just a nod to sustainability—it’s a reclamation of memory. In the book ‘Indigo’ by Jenny Balfour-Paul, originally published in 1998, she writes that the dye’s name is derived from the Greek indikon, meaning ‘a substance from India.’ The inky blue dye has been used for centuries in block printing and resist-dyeing traditions like Bagru and Ajrakh. Bright yellow turmeric has been used for ritual garments, marriage ceremonies, and temple offerings. Manjishtha (Indian madder root) has been used in Kalamkari painting and Ajrakh printing and as a medicinal herb. Pomegranate rinds have also been used in Ajrakh and Dabu traditions. These natural dyes were historically derived from kitchen waste, forest produce, or medicinal plants, making them sustainable by default.

Stories In Scented Memories 

The work of New York-based textile artist Pallavi Padukone is rooted in the history and heritage she carries with her. “Living in New York during the unpredictability of the pandemic made me very emotional and nostalgic, inspiring my ongoing collection ‘Reminiscent’. I loved how certain smells could unlock memories and nostalgia, condensing time and distance.” The fragrance is the hero, inspiring her colour palette. “I associate the sweet scent of jasmine with delicate soft hues of pink, creams and pastel green, while sandalwood with more earthy browns and deep wine reds reminiscent of its musky, powdery and creamy woody scent.”

Padukone’s pieces create an immersive, multisensory experience. Her ‘Reminiscent’ series features delicate, sheer curtains suspended from the ceiling and infused with naturally derived fragrances, evoking memories of her hometown, Bengaluru. The sweetness of jasmine, reminds her of the Malleswaram flower market, Mysore Sandal soap and talcum powder from her grandmother’s dresser, clove and spices wafting from the kitchen, the citronella scented mosquito repellant that takes her back to school days and camping, and the petrichor-like scent of the vetiver root (khus) reminiscent of Bengaluru’s summer showers. “The collection keeps evolving, and I plan to keep adding to my library of scents corresponding to different places and the nostalgia I associate with them.”

In working with scent and memory, Padukone’s olfactory art offers a new language for sustainability—something that feels more visceral, rather than didactic. “Working in small batches prevents wastage since I can estimate how much coated yarn in each colour/scent is required for each piece,” she explains of her choice of materials. “I use natural dyes like cutch, turmeric, chilli powder, and walnut, with earth pigments derived from clay and mineral oxides. I also work with recycled saree silk and fragrant vetiver (khus) root,” she says.

Healing Textiles And Ancestral Practice 

If fragrance weaves memory into fabric, for some, healing does too. AyurSatwa’s founder, Gauri Kuchhal recalled her mother’s hands measuring and coaxing colour from root and resin, and was inspired by the stories, rituals and beliefs woven into cloth. “I’ve watched her hand-dye fabric for babies using turmeric,” she shares. “Many years later, when she did it for my just born nephew, it felt like a calling rooted in memory and tradition.”

In adopting the traditional practices of Ayurvastra, meaning ‘healing cloth’, Kuchhal believes that dyeing and weaving are sacred practices, intertwined with prayer, harvest cycles, and the rhythm of our lives and bodies. “Healing textiles have been used since ancient times to treat wounds, nourish babies, fight illness and improve wellbeing”, she explains. “Typically, we add neem, tulsi, giloy and hibiscus to our yarn because those have proven intrinsic healing properties.” She also believes that a naturally dyed garment helps you stay grounded in landscapes and seasons. “Dye baths with mint and lemongrass are used in the summer for their cooling properties. Winter calls for ginger, laung (clove), and kali mirch (black pepper),” she elaborates.

AyurSatwa uses natural fibres like cotton that are hand spun into threads or on looms by traditional weavers. Kuchhal believes that AyurSatwa’s customers truly understand sustainability, beyond labels and certifications. She believes the future is in good hands. “Most of my customers are in their twenties to early thirties— minimalists, sensitive and wise beyond their years.” A revival of natural dyes signals more than just a shift to eco-conscious fashion but a reconnection to ancestral memory and a return to indigenous knowledge systems.

A Return To Native Seeds 

While travelling across India, biotechnologist Swaminathan Vaidhyalingam unlearned and relearned the truth of the field. “I was introduced to Dr. K. Sivaraman’s book ‘Aaraam Thinai’ (2014), which discusses the nutritious benefits of millets. To my surprise, my grandfather was familiar with these, but my mother did not recognise them. In just one generation, the grain had been erased.” This stayed with Vaidhyalingam as he interacted with the scientific community, from whom he gathered that traditional cotton varieties were pushed to the brink of extinction by the rise of genetically modified cotton. These promised higher yields but required higher investment in irrigation, pesticides and fertiliser.

He founded Kaskom, a social enterprise promoting regenerative agriculture, particularly Karunganni cotton. “We work with farmers in rainfed regions, establishing a model of seed-sovereignty among them”, he says. The cultivated cotton is processed locally by spinners and woven by rural weavers in the same region, creating a truly circular, village-rooted textile ecosystem.

“We observed households feeding their livestock cottonseed meal and even started to make cottonseed milk, traditionally popular in Tamil Nadu, again,” he adds. He believes that the beauty of this process is not just in the fibre, but in healing the soil and reviving the memory it carries. “Historically, seed saving was in the hands of the women, who treated it as an art. When that changed as we chased practicality and profitability, we lost what was native to us.” Sustainability, in its most mindful form, recognises the interconnectedness between land and labour. It seeks to rejuvenate local ecosystems and preserve cultural identities.

Even as slow fashion takes the stage at runways and red carpets, textile revivalists are playing the long game, showing us how the farm-to-fabric approach blends innovation and tradition. Environmental stewardship and sustainability don’t have to be sterile or standardised: they can be scented, storied, steeped in heritage, and woven together into the fabric of modern fashion.

Find ELLE’s latest issue on stands or download your digital copy here.