T

ECHNICAL ARTICLE

Eco safe natural dyes & application

on textile materials
Dr. N. Tarafder
Textile Consultant, Kolkatta.

Present work deals with various application of natural dyes on substrates such as
cotton silk and nylon. Different properties such as colour fastness, rubbing fastness
and light fastness were evaluated and compared with the conventional dye textile
materials.

1.0 INTRODUCTION
Colour in ancient times was considered a spiritual necessity
of equal importance to the physical needs of food. So in
every civilization from remote ages to the present day the art
of dyeing has played an important role in adding beauty to
the world. India was once known as a leading source of the
earliest natural origin which is classified as vegetable, mineral or animal and were abundantly used by primitive people
and were in vogue until the middle of the nineteenth century.
Prior to the invention of synthetic dyes in 1856, all colouring
matters were extracted from the naturally available materials.
Though India was known as a leading source of the earliest
natural dyes, but interest in natural dyes declined as efforts
were directed towards developing and manufacturing new
synthetic dyes.
Dyeing makes an important contribution to fabric decoration
by producing many beautiful colors and the colour harmonies obtained by a combination of various dyeing methods.
Soon the synthetic dyes started replacing the natural ones as
the synthetic dyes were brighter, faster, intensive and cheap.

So people lost irrevocably many of these old dyeing skills.

But, in the last phase of the century, mankind has become
afraid of a series of synthetic dyes which have some carcinogenic effect on human skin and also due to the environmental pollution they cause-prevention of both of which is
dead serious. These factors have revived our interest once
again towards the use of natural dyes and we have decided
to trace back our steps and start producing those once
again.
According to the Society of Dyers and Colourists, natural
dyes are those colorants which are obtained from plants or
animal resources with little or no chemical treatment. Most of
these are mordents dyes though some acids, vats and directs are known. There is only one basic dye known as
Berberis Aristata and there is no sulfur, azoic and reactive
natural dyes. A number of natural dyes, however known were
black, dark blue, green, scarlet and madder. These colours
were obtained from flowers, leaves, barks, berries, stalks and
roots of different plants. Natural dyes require mordents to
give substances, which combines with dye to render it insoluble. This is generally a metallic salt which has an affinity for both the coloring matters and the fiber.
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2.0 NATURAL DYES

7.

Problems in the process complexity and reproduction.

Among all, plant world furnishes the principal sources of

natural dyestuffs. A number of natural dyes known for long
are black, yellow, dark blue, green, scarlet and madder,
which were obtained from flowers, leaves, barks, berries,
stalks and roots of different plants. Again, dyestuffs of animal
origin are also obtainable like cochineal and lac dyes. Some
mineral dyes also come under this head. A pale purple dye
mauve obtained from crude aniline was the first to be manufactured synthetically. Barring on the basis of origin, the
natural dyes are also classified according to their substantive, chemical properties, colour production, etc. Moreover,
research work from various institutes confirmed that almost
all the natural dyes applicable on silk belong to the acid
mordents class, only indigo belongs to the vat dye class.

8.

Limitations in the shade range.

1. Others: Onion Peels, Mushrooms, Weid, etc.

2. Mineral Origin: Iron Buff, Mineral Khakhi, etc.
3. Animal Origin: Lac (Secretion of lac/Kaksha insects)
Hence, modern dyers are intending to apply natural dyes on
use of different metallic salts as mordent to get different
shades since fastness properties of these dyes without mordent are found poor in most cases.
2.1 ADVANTAGES OF NATURAL DYES
1.

The colors are gentle, soft, subtle and create a restful effect.

2.

The color is enhanced with age and mellows to increase beauty.

3.

There is charm and challenges due to the uncertainty of

the dyeing results.

4.

They are used in the conservation and repairs of historic

textiles.

5.

6.
7.

Better bio-degradability and generally higher compatibility with the Environment and also act as manure enriching the soil.
They also have lower toxicity and are non-allergic and
non-carcinogenic.
They save energy because the raw materials are not
from petroleum.

2.2 LIMITATIONS OF NATURAL DYES

1.

It brings an over exploitation of nature due to commercialization.

2.

Natural resources are not available in all the countries.

3.

There is difficulty in the collection of the dye.

4.

There is a lack of standardization.

5.

Cost factor may have to be considered.

6.

Unsuitable for synthetic fibers.

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Man-made Textiles in India O October 2009

3.0 CLASSIFICATION OF THE NATURAL DYES

Natural dyes are classified into two groups, namely substantive and adjective dyes. The substantive dyes required no
pre-treatment to the fabric (i.e Indigo, Turmeric, etc). The
adjective dyes can only dye the material mordent with metallic salts or with the addition of a metallic salt to dye bath
(e.g logwood, Madder,etc). Substantive dyes can further be
classified as direct (for Silk, i.e Safflower) acid (for Silk, i.e
Saffron, etc) basic (for Silk, e.g Barberine).
Natural dyes can also be classified into monogenetic and
polygenetic dyes. The monogenetic type produce only one
color irrespective of the mordent applied along with dye or
present on the fiber where as the polygenetic dyes produce
different colors according to the mordent employed (i.e Logwood, Alizarin, Fustic, etc). Natural dyes can be further classified into two groups on the basis of their origin into dyestuff
of animal origin (i.e Lac, dyes, etc). A detail classification is
given as follows:
3.1 AS PER ORIGIN
Vegetable Origin
Fruits: Microbalance (Harda/Harituki), Annato Seeds.
Leaves: Indigo, Lowsonia, (Henna), Eucaliptus, Neem, etc
Flowers: Marigold (Genda), Sunflower, Harishnagar (Silui),
etc.
Root/Stem/Bark: Madder (Manjishtha), Kattha (Cutch), Turmeric (Haldi), Aalroot,etc.), Cochineal, etc.
3.2 AS PER CHEMICAL ORIGIN
1.

Indigoids: Blue and Purple dyes(Indigo, Woad, Tyrian,

Purple).

2.

Anthraquinones: most of the important Red dyes(Madder,

Lac, etc).

3.

Alpha Napthaquinone: Henna, Walnut.

4.

Flavones: Most of the Yellow dyes (Weid, Tesu, Kumkum,

Onion).

5.

Di-hydroporan: Logwoo, Brazilwood.

6.

Anthrocynidin: Bignoia Chica, Awobanin.

7.

Caratinoids: Carrot, Sindur, Kesar.

8.

Polyhydric Phenol: Brown, grey, Black dyes (Pyrabolan,

Pomegranate).

3.3 AS PER METHOD OF APPLICATION

1.

Mordant dyes: Most of the natural dyes (Madder, Logwood, Cochineal).

2.

Acid dyes: Saffron.

3.

Direct dyes: Turmeric, Harda, annatto, Safflower.

4.

Basic dyes: Barberine.

5.

Vat dyes: Indigo, Wood, tyrian, purple.

6.

Disperse dyes: Henna.

3.4 EXTRACTION OF NATURAL DYES

1.

Technology for production of natural dyes could vary

from simple aqueous extraction to complicated solvent
system to sophisticated super critical fluid extraction
technique depending upon the product and purity being
achieved.

2.

For the production of natural dyes for textile applications,

the aqueous extraction with alkali is the most common
methods but this may change the tone or hue of the
actual color. So, it is better to extract the dyes with water,
although the % yield is less in this case as compared to
alkali extraction.

3.

The raw materials for the production of natural dyes is

mostly vegetable matters in the form of seeds, leaves,
roots and barks of the plants.

4.

Some of the seasonal flowers like Palas, marigold, etc,

can produce excellent color, but aqueous extraction of
these color are to be used within 24 hrs, other wise due
to fungus growth in the color value gradually disappears.

4.0 APPLICATION OF NATURAL DYES ON COTTON

wet fastness, instead of ordinary detergent powder available

in the markets, which contains Na- compounds or soda.
4.3 DYEING BY SOME NATURAL DYES
4.3.1. MADDER
Mordanting is done by 10% tannic acid at 600C for 1 hr, and
subsequently treated with 50% alum at 600C for 1 hr. Dyeing
is performed with 100% Madder at 1000C for 1 hr and over
dyed with 0.25% of Indigo usual additives (salt, caustic and
hydrosulphide) in and out. The process is repeated 4 times.
4.3.2. COCHINEAL
Mordanting by TRO and 28 gpl Na-phosphate treatment for
1.5 hr under steam pressure at 1000C to be done and repeated oiling followed by soaking with 6% tannic acid at 30400C for over night and subsequently treated with 20% alum
with 32 gpl soda and 50 gpl ammonia at 400C for 1hr and
finally rinsed in 10 gpl Na-phosphate solution. Dyeing is performed with 25% Cochineal at 1000C for 1hr and over dyed
with 1 gm of Indigo with additives (5 gm NaOH & 10 gm
Hydrosulphite).
4.3.3. WEILD
Mordanting is done by 6% tannic acid at 400C for 1 hr, and
subsequently treated with 20% alum with 32 gpl soda ash
and 50 gpl ammonia at 400C for 1hr. Dyeing is performed with
300% Weild at 1000C for 1hr and over dyed with 0.3 gm of
Indigo with usual additives (5 gm caustic and 10 gm
hydrosulphite) for 5 mins dip.

4.1 MORDENTING

4.3.4. AAL ROOT OR BARK AND COW DUNG

It is the process of application of aqueous solution of any

mordant agent on the fabric to improve the affinity of these
dyes to fibers to be used before dyeing, after dyeing or
during dyeing as applicable to or needed. Mordent combines
with the fiber and dye, by forming a link between fiber and
dye. Examples of mordants are oils (T.R.O, Palm Oil, Olive
Oil, Coconut Oil), Tannis (Tanic acid, Sumach) and Metallic
salts (Alum, Aluminium sulphate, Copper sulphate, etc.)

These are used to get red and maroon shade for cotton
products. Aal Root contains the main color pigment
Morindone. Other pigments presence in Aal Root are
Asperuloside, Damncanthal, Glycosides, Morindiol, Morindie,
etc. Aal Root belongs to mordent class of dyes. But simply
mordant it cannot be fixed on cotton, it needs a special
process of traditional system of dyeing. Which are as follows:

4.2 APPLICATION
Cellulose fiber have no direct affinity to natural dyes. So, at
first, mordant has to be made. The final mordent material is
treated in the aqueous extract of the natural dye solution at
specific temperature, for specific period. The dye is absorbed
and fixed with the help of the metallic ions, forming dyemetal ions lakes. The lakes obtained by the reaction between
the metal ions attached to the fibre and ionic bonds or bicoordinate bonds mainly form mordant natural dyes. After
dyeing the materials are required to be rinsed with cold
water. The colors are built up according to the use of the
selective metallic ions from different metal salts. The final
dyed material should always to be washed with non-ionic
liquid detergent to remove the surface colors and to improve

Treatment with oil Treatment with cowdung Treatment with alkaline solution of burnt wood ash Dyeing
with Aal Root powder.
1.5 kg yarn is soaked in water, squeezed and then treated
with half kg of caster oil for 20-30 min. For 1.5 kg of yarn,
about 2-3 kg of cowdung is necessary. Thick paste of fresh
cowdung is prepared with water and oil treated yarns is
impregnated with cowdung paste. Then is dried under sun.
A clear decanted alkaline solution is prepared by boiling
charcoal ash(burnt wood). For 1.5 kg of yarn, about 25 liters
of alkaline solution is prepared. The dried yarn after impregnating with cow dung is further treated with the said alkaline
solution for 15-20 mins and then dried under the sun, till
brown color is developed in the yarn within 8-10 days. Aal
dye solution is prepared by boiling the Aal root or bark with
October 2009

Man-made Textiles in India

357

water and the above said treated yarn is dyed with the Aal
root solution until the desired color of the yarn is developed,
dyeing process is repeated 2-3 times till the desired shade
is obtained.
10-15 days for this dyeing process from grey yarn to dyed
stage, enhance the dyeing cost per bundle of 4.0 to 5.0 kg
of yarn. Again, the dyeing process it self involves harsh treatment like oiling and cow dung treatment, thus only coarse
yarn up to 20s count are dyed, as fine yarn cannot withstand
such harsh actions.

8.

Shades of Red Purple: Poke Weed ( Berries)

9.

Shades of Green: Spinach Leaves

Black-Eyed Susans
Grass
Nettle
Plantain Roots

10. Shades of Yellow: Red Clover (Whole Blossom, Leaves

& Stems)

5.0 A LIST OF PLANT MATERIALS

Alum, Mordant, Gold

1.

Shades of Orange: Sassafras (Leaves)

Yellow Cone Flower (whole flower Head)

Onion Peels

Chrome Mordant, Brass to Green Brass, Onion (Skin),

Lichen (Gold)

Willow (Leaves),Queen Annes Lace, Burdock, Celey

(Leaves),

2.

Shades of Brown: Sumac (Leaves)

Walnut (Hulls)
Tea Bags (A light Brown)
Juniper Berries

3.

Golden Red (Flowers), Sumac (Bark), Weld (Bright yellow),

Cameleon Plant (Golden), Osage Orange, Dandelion
flower,

Coffee Grinds

11. Shades of Black: Sumac (Leaves)

Acorns (Boiled)

12. Shades of Peach: Brown Flowers, Virginia Creeper (All

Plants), Alum Mordant,

Shades of Pink: Straw Berries

Cherries
Rasp Berries (Red)

4.

Shades of Light Green: Lily-of-the-Valley (Leaves)

5.

Shades of Red: Dandelion (Root)

Peach

6.0 APPLICATION OF NATURAL DYES ON SILK

The following is the list of natural dyes which can be applied
on silk:SL.

COLORANTS

BOTANICAL
NAMES

EXTRACTED
COLORS

Rose (Hips)

01.

Logwood

Haematoxylon
Campechianum

Black

Red Onion (Skins)

02.

Indigo

Indigofera Blue
Tinctoria

03.

Madder

Delonich Regia

Beets (Deep Red)

Chokecherries

6.

Madder

04.

Rangan

Ixora Aurantiaca

Red

Shades of Blue-Purple: Red Cabbage

05.

Turmeric

Curcuma Longa

Yellow

06.

Tea Leaf

Camellia Siencis

Blackish Brown

07.

Anar

Punican Granetum

Brownish Pink

Grapes

08.

Aparajita

Clitoria Tarnatea

Blue

Blue Berries

09.

Arjuna Bark

Terminalia Arjuna

Reddish Pink

Elder Berries

Cherries (Roots)

6.1 MORDANTING

Black Berries (Strong Purple)

Natural dyes require mordant to give substance which combines with dye to render it insoluble. This is generally a
metallic salt which has an affinity for both the coloring matter and the fiber. Generally substantive natural dyes do not
require mordant unlike the adjective ones. Some common
mordant are:-

Japanese Indigo (Deep Blue)

Red Cedar Root (Purple)
Red Maple Tree (Purple)
7.

358

Deep Orange

Shades of Gray Black: Iris (Root)

Man-made Textiles in India O October 2009

FeSO4, MgSO4, Cr2(SO4)3, Al2(SO4)3, CaCl2, ZnCl2, MnCl2,

The mordant may be applied in various ways:

1. Before the dyeing
2. After the dyeing
3. Simultaneously in the same bath
4. Both before and after the dyeing
6.2 APPLICATION OF JATOPHA DYES
Jatropha Curas is a plant that can be grown on any kind of
soil that belongs to the family Euphorbiaceac. Plain woven
silk fabric was selected because of its even dye uptake and
lustrous appearance. Myrobalan was used as a fixing agent
and mordant. The chemicals used for fixing colors on silk
fabric were copper sulphate, potassium dichromate, ferrous
sulphate, and a combination of two mordant, stannous chloride and magnesium chloride. De-gumming of the silk fabric
is first done at 950C for 1 hour with the standard receipe. The
samples were then pretreated with the solution containing 20
gms of Mybrolan per liter of water. The material to liquor ratio
was 1:20. The samples were treated in the solution for 24 hrs
at room temperature and then exposed to sunlight for 3 hrs.

colour had fair to good fastness. The brownish khaki colour

at the best fastness followed by yellow grey and greenish
khaki in descending order was noticed. With regard to wet
rubbing, the results indicated that light yellow, greenish khaki
and brownish khaki good to excellent fastness and grey had
the fair to good fastness. Among the four colours, light yellow had the best fastness followed by greenish khaki, brownish khaki and grey. When the samples were subjected to
sunlight test, the results proved that brownish khaki, black,
greenish khaki and light khaki had good fastness. Among the
four colours, brownish khaki had the best fastness followed
by light yellow, grey, greenish khaki in descending order.
The results of colourfastness to washing proved that light
yellow and greenish yellow had good to excellent fastness.
The brownish khaki and grey colours had poor to fair fastness to washing. The light yellow colours had the best fastness, followed by greenish khaki brownish khaki, and grey in
descending order. Thus from the above findings, it can be
concluded that the dyes extracted from the Jatropha seeds
have a range of bright, soft, even and lustrous colours on silk
fabric. The important advantage of this dye is its adaptability to small scale and cottage industries.

6.3 OPTIMIZATION OF DYEING VARIABLES.

6.5 TURMERIC DYEING ON ERI SILK
It was found in the trial method that the best method for dye
extraction suitable for dyeing fabric was the acidic method.
Post mordant dyeing method gave good results than premordant and others at 30 minutes mordant. The Jatropha
seed dye extract produced the best colors on 1 g of each
silk samples by using 0.8% CuSO4, 0.4% FeSO4, 0.5% Potassium Dichromate plus 0.5% combination of Stannous Chloride. After extracting the Jatropha color, 1ml in 100ml of conc
HCL in H2O is preferred. The temperatural is raised to 950C
and carried out for 1 hr with the extract and sample. The
colors obtained were brownish khaki, black, greenish khaki,
and light yellow with copper sulphate, ZnSO4, K2Cr2O7 and
Stannous+Magnesium Chloride, respectively.
6.4 EVALUATION OF COLOUR FASTNESS TEST
Four colour fastness tests for silk fabric were conducted, like
colourfastness to perspiration, rubbing, sunlight, and washing. These tests were conducted on five dyed silk samples
according to BIS Standards, using geometric grey scale. The
rating was done by panel of judges. The results of colour
fastness tests were statistically analyzed, using arithmetic
means. Those indicated that colour fastness to acidic perspiration of all four colours was good to excellent. Black had
the best fastness followed by light yellow, greenish khaki,
and brownish khaki in descending order. Colourfastness to
alkaline perspiration of light yellow and greenish khaki was
good to excellent. The grey and brownish khaki in descending order was revealed.
The dry rubbing fastness of brownish khaki light and grey
colours showed good to excellent fastness. Greenish khaki

After de-gumming of the samples, four different samples were

treated with the metallic salts separately using the selected
mordant. Treatment was done with 5% of mordant at 1:30
(M:L) at 600C for 30 min for each chemical. After that, the
mordant samples were labeled as TA1 (AlSO4+Dye), TA2
(SnCl2, 2H2O+Dye), TA3 (K2Cr2O7+Dye), TA4 (Fe2SO4,
7H2O+Dye). The mordant silk samples were transferred to
the dye bath. The temperature of the bath was gradually increased to 600C for 20 min. After that, the samples were
taken out of for adding sodium carbonate (8%). The solution
was Stirred well and the fabric was immersed in the dye bath
and the process was continued for 10 min. After 30 min the
samples were taken out and rinsed with soft water and soap
and again rinsed, dried and ironed. The shades obtained
were bright yellow for alum, bright orange for stannous chloride, brownish for K 2Cr2O7 and olive greenish for ferrous
sulphate. The samples untreated with mordant obtained yellow colour.
6.6 COLOUR FASTNESS
All mordant samples showed noticeable colourfastness to
washing. About 80% respondents rated the changes as
negligible while treating with stannous chloride and 60%
termed negligible in the case of untreated samples and those
treated with alum. Like wise 19% respondents rated as slight
changes in the samples and those treated with alum. Like
wise 19% respondents rated as slight changes in the
samples treated with stannous chloride and 39% remarked
as slight change for untreated samples. Only 25 of the respondents termed it as noticeable change in the samples

October 2009

Man-made Textiles in India

359

treated with K2Cr2O7 and 6% judges remarked as noticeable

change in the case of untreated samples.
So far as the colourfastness to sunlight is considered, the
observations show that the 72%, 74%, 80% and 71% of the
judges considered negligible changes in the samples treated
with FeSO4, K2Cr2O7, SnCl2 and alum compared to 60% of
them who considered negligible changes in the untreated
samples. For wet crocking, the observation reveals that 76%,
64%, 71% and 68% of the judges considered negligible
changes in the samples treated with FeSO4, K2Cr2O7, SnCl2
and alum compared to 59% of them who considered negligible changes in the untreated samples. For dry crocking, it
is revealed that 80%, 81%, 76% and 74% of the judges considered negligible changes in the samples treated with
mordant, where as 67% considered negligible changes in
the untreated samples.

7.0 APPLICATION OF NATURAL DYES ON NYLON

7.1 STUDIES ON DYEING NYLON WITH RATANJOT DYE
Ratanjot (Onosoma Echoides) has been traditionally used as
a good colourant and the bark of the roots contain several
naptha quinine pigments which gives a violet-red colour. The
main pigment is believe to be alkaline and is insoluble in
water but has been used to dye wool, silk, nylon and cotton
at 400C with the addition of alcohol for one hour. With alum,
colours from lialic to red and iron tones of grey and violet has
been obtained. As alkaline is a napthaquinone based dye,
theoretically it is expected to behave as disperse dye.
7.1 METHOD OF DYEING
The dyes of this group must be brought into a state of fine
suspension in the dye bath, which does not present any
particular difficulty. The dye is stirred with 10-20 times its
weight of water at 50 to 600C and is allowed to stand for 10
min with occasional agitation. If the mixture is not sufficiently
fluid for straining, more warm water may be added. It should
be emphasized that boiling water should not be used for nor
pasting be carried out in presence of highly concentrated
surface active auxiliary products. Lumps may be formed
during dispersion which do not disperse and filtration through
a sieve before addition to the dye bath is most desirable.
Before addition of dyestuff approximately 1-1.5 times of a
synthetic dispersing agent per 100 gal, should be put into
the liquor. Those products assist in maintaining a stable
suspension and also increase the stability of the pigment in
water. Thus decreasing the affinity of the fiber and acting as
a retarding agent. When the dye bath is prepared the goods,
which have been scoured previously are entered cold and
the temp is raised slowly to between 70-850C and the dyeing is continued at that temp for 1 hour until the shade is
level. If mordant is required it can be done before dyeing,
after dyeing or during dyeing. Here alum was added as
mordant.

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Man-made Textiles in India O October 2009

7.2 DYEING OF NYLON WITH LAWSONE AND JUNGLONE

Purified dyes were used to dye Nylon with Lawsone and
Junglone. These dyestuffs are very simple in structure and
are actually isomers so that it was possible to study the effect of substitution on dyeing mechanism. The approach was
to understand the dye fiber interaction when the dye bath is
in a state of equilibrium. The dyes basically behaves as
disperse dyes like Ratanjot dye. The preparation of material,
method of dyeing and mechanism of dyeing are the same as
Ratanjot dye. The structure of the dyestuffs is Lawsone,
Henna and Junglone, Walnut.
7.3 DYEING OF NYLON WITH BARBERINE
Barberine, the dye pigment present in the roots of Barberry
(Barberis Aristata) has a bright flourescent yellow colour and
is the only known material basic dye. This is an alkaloid accompanied by its hydroxylated derivatives, like Barberuine,
Palmatine, Columabamine, Barbamine and Oxycanthene. The
Barbexne base is unstable and assumes the aldehyde form
Barberinal, where as it salts are derived from ammonium
form. Preparation of material is known as that of the other
classes mentioned earlier. The dye bath contains 227 g of
acetic acid per 455 L of water. The goods are put in cold
and the temp is raised gradually to 820C. The dyestuffs solution is added in proportion during the dyeing operation.

8.0 CONCLUSIONS
Unlike the non-renewable petrochemical source of synthetic
dyes, the natural dyes are renewable, biodegradable and
eco-friendly, non-hazardous and its wet and light fastness is
satisfactory but the present production of natural dyes all
over the world is only 1% of the synthetic dyes consumption
because they are difficult to standardize the receipe and
method. The use of natural dyes and applications of natural
dyes are sometimes expensive and time consuming process.
The colour fastness of cotton materials dyed with natural
dyes showed rating as moderate to good in the case of
Turmeric. The rubbing fastness of all dyeing showed moderately to good except in the case of Turmeric and dry condition in rubbing proved better than wet fastness. Light fastness
for all the dyed materials remained poor even after treatment
with a cationic dye-fixing agent.
The dyes extracted from the Jatropha seeds have range of
bright, soft, even and lustrous colours on silk fabrics. The important advantage of this dye is applicability to small scale
and cottage scale industries. The dyeing of Eri silk with
Turmeric dyes by treating with different mordant improved the
colour fastness properties. Natural dyes may be regarded as
myth since synthetic chemicals assist their applications.
Dyeing Nylon with natural dyes exhibited exceptional fastness to light and washing. The colours are succeptble to light

fading but are fast to washing. However, there is a great

scope to improve all the fastness properties of the fabric

dyed with natural dyes by optimizing the conditions of dyeing, i.e pH, temperature, time, etc.

REFERENCES
1.

N. Singh, S. Jalan & K. G. Gupta, Colourage, Vol. 50, No. 8, 1993.

2.

A. Agarwal, A. Sarge & K. C. Gupta, Colourage, Vol. 38, No. 3, 1991.

3.

A. Gogoi, S. S. Ahmed & N. B. Barua, Ind. Text. J. Vol. 107, No. 11, Aug. 1997.

4.

W. B. Achwal, Colourage, Vol. 45, No. 1, March 1998.

5.

M. D. Teli & J. Singh, J. Text. Association, Vol. 58, No. 5, 1998.

6.

Brain Glover, J.S.D.C., Vol. 114, Jan 1998.

7.

Gogoi & B. Kalila, Colourage, Vol. 46, No. 1. 1999.

8.

Gulrajani et. al., Vol. 46, No. 7, 1999.

9.

W. B. Achwal, Colourage, Vol. 42, No. 2, Nov. 1999.

10. A. Gary, S. Shinde, Colourage, Vol. 38, No. 3, March 1991.

11. N. C. Pan, A. Dey & K. K. Mahalanabis, K. K. Text. Dyer & Printer, Vol. 3, No. 3, 1997.
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The Synthetic & Art Silk Mills Research Association, (SASMIRA),

Sasmira Marg, Worli, Mumbai-400 030.

October 2009

Man-made Textiles in India

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