Mordanting Blends of Cellulose & Protein Fibers

February 2023

Certain dyes require the goods to be mordanted prior to dyeing (see our Info & Process page for further detail). Each natural fiber (e.g., cotton, silk, wool) has its preferred mordant and process, and the choice is simple when the goods contain only one type of fiber. However, the choice becomes less obvious when dyeing goods that contain a mix of fibers, such as the wool/hemp/silk blend used for our Panelled-Pocket Jacket, Panelled-Pocket Pant, and Panelled-Pocket Short. We ran various dye tests to highlight how mordants affect the results. Each swatch was scoured, mordanted as detailed below, dyed with lac at 10% weight-of-fabric (WOF), and then rinsed and washed with Synthrapol (a gentle, pH neutral detergent).

Natural / Undyed

The fabric we used for this experiment comes from an Italian wool mill, Lanificio Bottoli. As part of its eco-friendly collection, this twill is composed of three undyed fibers: wool, hemp, and silk. The taupe yarn is pure wool, whereas the white yarn is 2-ply and composed of hemp and silk yarns.

Method 1 - No Mordant

The protein fibers in the fabric took much more color than expected, especially given that lac is not known to be a direct/substantive dye (i.e., a dye that does not require a mordant for protein fibers). The specks of white are the hemp fibers, which took no color as expected. However, the silk yarns turned dusty pink and the wool fibers maroon, and the color faded only somewhat after rinsing and washing. We anticipate that the dye will fade much faster when washed and exposed to ultraviolet light than if it’d been mordanted.

Method 2 - One-Bath Acid Dye

The one-bath acid dye method does not require the use of a mordant but only works with certain natural dyes: (i) anthraquinoid (e.g., cochineal, lac, madder, rhubarb) and (ii) naphthoquinoid (e.g., walnut, henna). When either of these dyes are combined with tannin and an acid, such as citric acid, it will fix itself onto protein fibers only. This process saves time and energy, but the results are less washfast than if using a mordant. This generally isn’t an issue, however, since we recommend gently handwashing any goods with wool and/or silk fibers

Method 3 - Wool

The principal method for mordanting wool requires simmering the fibers in a solution of alum and cream of tartar, an acid salt that protects the wool fibers and increases uniformity of mordant absorption. Wool may be mordanted without the use of cream of tartar, but those methods take much longer, between one to four days.

 

Again, the hemp fibers did not take any dye, an expected outcome as cream of tartar’s acidity will prevent the alum from attaching to cellulose fibers. And while alum is generally not used by itself to mordant cellulose fibers, it will still increase dye uptake on cellulose fibers (as seen in Method 4 – Silk).

 

On this swatch, the wool and silk fibers are considerably saturated and burgundy in color. The silk, however, remains lighter than the wool since the acidity from the cream of tartar slows the absorption of the mordant on silk fibers. Also problematic for silk is the heated dye bath, which may damage the fibers.   

Method 4 - Silk

Silk fibers are mordanted by immersing them in an alum bath that’s heated to 140°F and allowed to cool to room temperature. This low temperature bath with no additional heat applied ensures that the silk fibers are not damaged. Of the methods explored so far, this one has resulted in the most uniform color. The wool still took a decent amount of color, granted far less saturated than Method 3 – Wool. The hemp also took some color since no acidity was present to discharge the mordant, but it still creates a subtler speckled effect

Method 5 - Cellulose (aluminum acetate via Alum + Sodium Acetate)

Mordanting cellulose requires an additional step, which you can learn more about on our Info & Process page. For this method and the following two, we explored three varieties of aluminum acetate, our preferred mordant for cellulose fibers. One way to create aluminum acetate is by creating a solution of alum and sodium acetate. This creates aluminum acetate at 8% WOF, as well as by-products of sodium sulfate and potassium sulfate.

The results here are rather surprising. The hemp fibers and silk fibers seem to dye the same hue and saturation. Generally, silk can be mordanted the same way as cellulose fibers, so perhaps unsurprising that the two fibers similarly dyed. The wool took some dye as well, but much less saturated than in any of the above methods.

One explanation may be that the by-products of alum and sodium acetate are interfering with the mordant uptake, although this seems unlikely. Perhaps it’s a combination of the by-products with insect dyes, as we’ve noticed this same issue with cochineal. Perhaps something to explore in the future.

Method 6 - Cellulose (Aluminum Acetate: Supplier 1)

For this method we used pure aluminum acetate from one of our suppliers. In this swatch we’ve obtained the most saturated color of any of the methods so far. The hemp fibers are saturated as expected, given this is a mordant method for cellulose. Again, since silk can be mordanted like cellulose, it also obtained a high depth of color. We were surprised with the depth of color on the wool. Perhaps that has more to do with lac’s ability to dye wool without any mordant.

 

Regardless, this result is the basis for our dye recipe for our Panelled-Pocket Jacket, Panelled-Pocket Pant, and Panelled-Pocket Short.

Method 7 - Cellulose (Aluminum Acetate: Supplier 2)

This method is the same as above, but we obtained pure aluminum acetate from a different supplier. The swatch here is quite pleasing but highlights how raw materials from different suppliers can materially alter the results.

When working with textiles containing a blend of cellulose and protein fibers, no method is necessarily better than the others. Although, certain considerations are worth weighing (e.g., fiber percentage, fiber damage, tolerance for acidity, color saturation, evenness of dye uptake, etc.). Ultimately, we must pick the outcome that best fits into our collection/vision while ensuring high standards of quality.

If you are interested in learning more and experimenting with natural dyes, we highly recommend the following book as a starting point: Joy Boutrup & Catheirne Ellis, The Art and Science of Natural Dyes: Principles, Experiments, and Results (2018).