Shibori

With shibori resists, (and shibori relief), one is immediately engaged with the fabric, organising it, then securing it, often into odd shapes and distorted 3D forms, before it is dyed. How we choose to manipulate and then imprison the cloth in its 3D state, precipitates the unique and distinct patternings that are characteristic of shibori. The essence of fabric manipulation, it is quite different from other textile colouring methods where cloth is kept flat and open to receive dye. Shibori is the Japanese word that has come to be accepted as the umbrella term for the creative skills found the world over which were referred to as 'tie and dye'. By using the word 'Shibori' our appreciation embraces textile surfaces patterned with techniques other than binding, such as stitching. It reaches out to include the most simplest of resisted marks, to the free and vibrant tie dye 'T' shirts of the 60's and three dimensional textiles.

Indigo

The story of indigo is amazing! Known to man in ancient times and harvested from plants flourishing in hot climates, it became the world’s most important dye stuff by the end of the 17 th century. The invention in 1856 of the first coal tar dyestuff heralded the manufacture of synthetic indigo some years later. Being different from other methods of colouring cloth, it is astonishing that the process of dyeing with natural and synthetic indigo remained, and remain, the same. It is synonymous with shibori because of the fascinating way it behaves as a dye, evident during the unique and seemingly magical process, which is identical whether natural or manufactured indigo is used.

Shibori without indigo

The contorted shapes of cloth have inspired textile artists and fashion designers to develop the sculptural aspect of shibori. The cloth retains the shapes and forms it has been forced into after the restrictions have been removed - a shibori relief, or texture memory having been created.