Wednesday, 24 June 2026

Present Status of Natural Dyes: Understanding M. L. Gulrajani’s Classic Paper



Present Status of Natural Dyes: Understanding M. L. Gulrajani’s Classic Paper

Natural dyes occupy a special place in textile history. They connect agriculture, craft, chemistry, ecology, design and cultural identity. In India, natural dyes are closely associated with textiles such as Ajrakh, Kalamkari, indigo-dyed fabrics, lac-dyed textiles and many traditional printed and handloom products.

M. L. Gulrajani’s paper “Present status of natural dyes”, published in the Indian Journal of Fibre & Textile Research, is one of the most useful papers for understanding this subject in a balanced manner. The paper does not simply praise natural dyes as eco-friendly alternatives. It critically examines their demand, limitations, availability, production technology, mordants, application methods and fastness behaviour.

The paper's central message is important: natural dyes are valuable, but they should not be treated as simple substitutes for synthetic dyes. They have their own role, especially in craft textiles, heritage products, design-led textiles and niche sustainable markets. However, their successful use requires scientific understanding and process control.

Table of Contents

1. Context of the Paper

The paper was published in 2001, at a time when interest in natural dyes was growing again due to concerns about environment, craft revival and traditional textile knowledge. Gulrajani discusses natural dyes not only as colouring materials but also as part of a broader system involving raw materials, extraction, dye chemistry, mordanting, textile substrates and market demand.

The paper is especially useful because it separates romantic claims from practical textile realities. It recognises the cultural and ecological appeal of natural dyes, but also explains why they are difficult to use consistently at scale.

Simple way to read the paper: Gulrajani is not saying that natural dyes are bad. He is saying that natural dyes need science, standardisation and careful positioning.

Visual 1: Natural dye system map showing plant or animal source, extraction, mordanting, fibre, dyeing, fastness and final textile.

2. Central Argument

The most important argument in the paper is that natural dyes are not direct substitutes for synthetic dyes. Synthetic dyes dominate modern textile dyeing because they offer better reproducibility, stronger shade control, wider colour range, easier application and more predictable fastness.

Natural dyes, on the other hand, have a smaller but meaningful place. Their value lies in uniqueness, craft identity, ecological perception, heritage association and design richness. They are most suitable where the story and character of the textile matter as much as strict shade uniformity.

Common Assumption Gulrajani’s More Balanced View
Natural dyes can replace synthetic dyes. Natural dyes have their own niche market; they are not simple replacements.
Natural dyes are automatically eco-friendly. The dye may be natural, but mordants, effluents, extraction and land use must also be considered.
Traditional dyeing is enough by itself. Traditional knowledge is valuable, but it needs documentation, testing and standardisation.
Shade variation is always a defect. In craft textiles, shade variation may become part of the product’s uniqueness.

3. Why Natural Dyes Declined

Gulrajani explains that natural dyes declined after the discovery and commercialisation of synthetic dyes. Synthetic dyes became attractive because they were easier to produce, easier to standardise and more suitable for large-scale textile manufacturing.

The paper identifies four major reasons for the decline of natural dyes: availability, colour yield, complexity of dyeing and reproducibility of shade. These are not small issues. In commercial dyeing, a buyer may expect the same shade across repeat orders, multiple fabric lots and different production batches. Natural dyes make this difficult because the dye source itself can vary with plant species, season, soil, maturity and extraction method.

Limitation Practical Meaning in Textile Dyeing
Availability The required dye material may not be available in uniform quality and quantity throughout the year.
Colour yield Large quantities of plant material may be needed to obtain useful colour strength.
Complex process Extraction, mordanting, dyeing and after-treatment may all need careful control.
Shade reproducibility The same recipe may not always give the same colour in different batches.

4. Advantages and Appeal of Natural Dyes

The paper also recognises why natural dyes remain attractive. They come from renewable sources, often require relatively mild preparation, are connected with traditional knowledge and allow a high degree of creativity. For designers and artisans, the slight irregularity of natural dyes can become a strength rather than a weakness.

A natural-dyed textile is not valued only for colour. It may also carry the story of a plant, region, dyer, printing tradition, hand process or cultural memory. This is why natural dyes continue to matter in craft textiles even when synthetic dyes dominate industrial dyeing.

5. Stakeholders in Natural Dyeing

One strong section of the paper is its discussion of stakeholders. Gulrajani does not present natural dyeing as only a laboratory subject. He shows that natural dyes involve hobby groups, designers, traditional dyers, NGOs, museums, academic institutions, laboratories and industry.

Stakeholder Role in Natural Dyeing
Traditional dyers and printers Preserve practical dyeing, printing and mordanting knowledge.
Designers Use natural dyes for uniqueness, irregularity, texture and craft value.
NGOs Promote livelihood, craft revival and rural production systems.
Museums Study natural dyes in historical textiles and conservation work.
Research institutions Analyse dye chemistry, fastness, extraction and standardisation.
Industry Explores scalable production, ready-to-use extracts and niche textile products.

The paper also mentions textile practices such as tie-and-dye, shibori, resist printing, batik, Ajrakh, Kalamkari and Ikat. This makes the paper very relevant for Indian textile studies because these crafts use colour not merely as surface decoration but as part of a complete cultural and technical process.

6. Market Size and Demand

Gulrajani estimates that the requirement of natural dyes at that time was about 10,000 tonnes, roughly equivalent to 1% of world synthetic dye consumption. This figure is important because it shows the scale of the opportunity and also the limitation.

Natural dyes can have a meaningful market, but it is not realistic to imagine them replacing the synthetic dye industry. Their stronger opportunity lies in carefully positioned markets: handloom products, premium craft textiles, educational kits, heritage reproductions, museum conservation, boutique apparel, natural lifestyle products and design-led textile collections.

7. Production Technology

Another important contribution of the paper is that it treats natural dye production as a technology. Natural dyeing is often described in simple terms such as boiling leaves or extracting colour from roots. Gulrajani shows that serious natural dye production can involve aqueous extraction, solvent extraction, filtration, reverse osmosis, preparative HPLC, spray drying, vacuum drying, freeze drying and even supercritical fluid extraction.

This changes the way we look at natural dyes. A natural dye is not just a traditional material. It can also be a standardised product if extraction, purification, drying and characterisation are controlled properly.

Stage Scientific Issue
Raw material selection Plant species, season, maturity and region influence colour content.
Extraction Water, solvent, temperature, time and pH affect dye yield.
Purification Impurities may affect shade, fastness and reproducibility.
Drying Powder quality and storage stability depend on proper drying.
Testing Colour strength, shade, fastness and safety must be evaluated.

8. Important Natural Dyes

The paper discusses several important natural dyes by colour family. For blue, Gulrajani highlights indigo as the only major viable natural blue dye. Natural indigo is obtained from leaves of Indigofera species through fermentation and oxidation. Chemically, the process may be simplified as:

\[ \text{Indigo precursor in leaf} \rightarrow \text{Indoxyl} \rightarrow \text{Indigotin} \]

For dyeing, insoluble indigo must be converted into soluble leuco-indigo and then oxidised back to blue on the fibre:

\[ \text{Insoluble Indigo} \rightarrow \text{Soluble Leuco-Indigo} \rightarrow \text{Blue Indigo on Fibre} \]

For red shades, the paper discusses sources such as madder, manjeet, sappanwood, morinda, cochineal and lac. Many red natural dyes are chemically complex and may contain several colouring components. This complexity can produce beautiful shades, but it also makes standardisation difficult.

For yellow shades, the paper points out that yellow is one of the most common natural dye colour families. However, many yellow dyes have poor fastness. This is a useful caution: a dye may be easily available and visually attractive, but it may not be suitable unless its fastness performance is acceptable.

Visual 2: Three-colour natural dye palette showing blue from indigo, red from madder or lac, and yellow from plant sources.

9. Mordants and Their Role

Mordants are one of the most important subjects in natural dyeing. Many natural dyes do not bond strongly with textile fibres on their own. A mordant can help create a link between the dye and the fibre. In traditional dyeing, common mordanting systems may involve alum, iron salts, copper salts, tin salts or tannin-rich materials.

However, Gulrajani is careful in his treatment of mordants. He notes that not every natural dye is necessarily a mordant dye. Like synthetic dyes, natural dyes may behave as vat dyes, acid dyes, basic dyes, disperse-like dyes, direct dyes or mordant dyes. Some dyes can fall into more than one class depending on fibre and method.

This point is very useful for textile students. Natural dyeing should not be understood only by recipe. It should be understood by dye class, fibre affinity and chemical behaviour.

Material Role in Natural Dyeing Caution
Alum Common mordant, especially for many plant dyes. Must be used in controlled quantity.
Iron salts Can darken or sadden shades. May alter handle and shade significantly.
Copper salts May improve some fastness properties. Environmental and safety considerations are important.
Tannins Useful in cotton preparation and some dyeing systems. Excess use can affect rub fastness and handle.

10. Application Classes of Natural Dyes

A very important part of the paper is the classification of natural dyes according to their application behaviour. Indigo behaves like a vat dye. Madder behaves as a mordant dye and may also show disperse-like behaviour. Lac can behave as an acid dye and also as a mordant dye. Berberine behaves as a basic dye.

Natural Dye General Application Behaviour Textile Meaning
Indigo Vat dye Needs reduction to soluble form and oxidation back to blue.
Madder Mordant / disperse-like behaviour Shade depends strongly on mordant and fibre.
Lac dye Acid / mordant dye Useful for protein fibres and mordanted systems.
Berberine Basic dye Shows affinity for selected fibres and treated substrates.
Cutch Acid / mordant / disperse-like behaviour Can give useful brown and reddish-brown shades.

This classification is more useful than simply saying that a dye is natural. It helps the dyer ask better questions: What fibre is being dyed? Does the dye need reduction? Does it need a mordant? Does it behave better on protein fibres or cellulosic fibres? Does it require acidic, neutral or alkaline conditions?

11. Fastness Problems

Gulrajani discusses the widespread belief that natural dyes are fugitive. In practice, the situation is more complex. Some historical textiles dyed with natural dyes have survived for centuries, while other natural-dyed materials fade quickly. The difference lies in dye selection, fibre, mordanting, processing, washing conditions and exposure to light.

Poor wash fastness may arise because of weak dye-fibre bonding, breaking of dye-metal complexes during washing or ionisation of dye molecules under alkaline washing conditions. Many natural dyes contain hydroxyl groups. Under alkaline washing with soap or detergent, these groups may ionise and cause shade change or colour loss.

In simplified form, a fastness problem may be understood as:

\[ \text{Weak dye-fibre bond} + \text{alkaline washing} + \text{light exposure} \rightarrow \text{fading or shade change} \]

This is why natural-dyed fabrics require careful process control and suitable care instructions. A fabric may look beautiful immediately after dyeing, but its true performance is judged after washing, rubbing, perspiration and light exposure.


Visual 3: Fastness factor diagram showing dye-fibre bond, mordant, pH, washing, rubbing and light exposure.

12. Why the Paper Still Matters

The paper remains relevant because many current discussions on natural dyes still repeat the same oversimplifications. Natural dyeing is often described as harmless, traditional and sustainable. Gulrajani’s paper reminds us that sustainability must be evaluated across the full process: raw material cultivation, extraction, mordanting, water use, effluent, fastness, durability and land requirement.

For Indian textiles, the paper is especially useful because it links natural dyes with craft traditions such as Kalamkari, Ajrakh, Ikat, resist printing and indigo dyeing. These are not merely decorative techniques. They are knowledge systems that combine material selection, process control, skilled observation and regional practice.

Modern Question How Gulrajani’s Paper Helps
Are natural dyes sustainable? Only if extraction, mordanting, effluent, fastness and land use are responsibly managed.
Can natural dyes be scaled? Only with standardised extracts, process control and reliable raw material supply.
Why do natural-dyed fabrics fade? Fastness depends on dye-fibre bonding, mordant stability, pH, washing and light exposure.
Why are natural dyes important for craft? They add cultural value, uniqueness and process identity to textiles.

13. Conclusion

M. L. Gulrajani’s “Present status of natural dyes” is important because it gives a practical and scientific view of natural dyeing. It respects traditional knowledge but does not romanticise it. It recognises the value of natural dyes but does not claim that they can easily replace synthetic dyes.

The paper’s strongest lesson is that natural dyeing must be understood as a complete textile system. The dye source, extraction method, mordant, fibre, application class, washing conditions and fastness behaviour all matter. For craft textiles, natural dyes can add beauty, cultural value and uniqueness. For commercial textiles, they require standardisation, testing and honest communication.

In short, natural dyes are not just colours from nature. They are a meeting point of chemistry, craft, agriculture, design and textile science.

14. Sources

  1. Gulrajani, M. L. (2001). “Present status of natural dyes.” Indian Journal of Fibre & Textile Research, 26, 191–201.
  2. Gulrajani, M. L., & Gupta, D. (1992). Natural Dyes and Their Application to Textiles. Department of Textile Technology, Indian Institute of Technology Delhi.
  3. Samanta, A. K., & Agarwal, P. (2009). “Application of natural dyes on textiles.” Indian Journal of Fibre & Textile Research, 34, 384–399.
  4. Ferreira, E. S. B., Hulme, A. N., McNab, H., & Quye, A. (2004). “The natural constituents of historical textile dyes.” Chemical Society Reviews, 33, 329–336.
  5. Cardon, D. (2007). Natural Dyes: Sources, Tradition, Technology and Science. Archetype Publications.

15. General Disclaimer

This article is intended for educational and informational purposes. Natural dyeing practices vary according to fibre type, dye source, water quality, mordant, pH, temperature, local tradition and workshop method. The explanations given here simplify complex dye chemistry for textile understanding.

Readers should use proper safety precautions when working with mordants, metallic salts, alkalis, acids, reducing agents or any dyeing chemicals. Environmental disposal rules and local regulations should be followed. This article should not be treated as a substitute for laboratory testing, professional dyeing advice or formal chemical safety guidance.

How to cite this article:
Goyal, P. Present Status of Natural Dyes: Understanding M. L. Gulrajani’s Classic Paper. My Textile Notes. Available at: https://mytextilenotes.blogspot.com/2026/06/present-status-of-natural-dyes.html
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