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  • Porfirio Gutierrez collecting tree moss, Teotitlan del Valley, Oaxaca, Mexico on 25 November 2018. The Gutierrez family collect natural dye materials from the Sierra Juarez mountains above the village to make colourful dyes for blankets and other woven goods. They are reviving and promoting the use of natural dyes to honour the knowledge and wisdom of their Zapotec ancestors
    DSCF4721cc_1.jpg
  • Porfirio Gutierrez collecting tree moss, Teotitlan del Valley, Oaxaca, Mexico on 25 November 2018. The Gutierrez family collect natural dye materials from the Sierra Juarez mountains above the village to make colourful dyes for blankets and other woven goods. They are reviving and promoting the use of natural dyes to honour the knowledge and wisdom of their Zapotec ancestors
    DSCF4737cc_1 1.jpg
  • Detail shot of a Guatemalan woman showing the various dyes used for traditional natural textile dyeing in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0169_1.jpg
  • Cochineal insects on nopal cactus in the natural dyes studio of Porfirio Gutierrez and family in the Teotitlan del Valle, Oaxaca, Mexico on 1 December 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF5319cc_1.jpg
  • Juana Gutierrez Contreras holding a nopal cactus covered in cochineal insects in her natural dyes studio in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 25 November 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF4800cc_1.jpg
  • Detail shot of a Guatemalan woman showing the various dyes used for traditional natural textile dyeing in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0174_1.jpg
  • Cochineal insects on nopal cactus in the natural dyes studio of Porfirio Gutierrez and family in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 24 November 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF4658cc_1.jpg
  • Cochineal insects on nopal cactus in the natural dyes studio of Porfirio Gutierrez and family in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 24 November 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF4667cc_1 1.jpg
  • Naturally dyed woollen yarn and natural dye materials in the studio of master dyer Juana Gutierrez Contreras in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 1 December 2018. The natural dye materials are harvested in the Sierra Juarez mountains between October and November and other materials can be found in the courtyard gardens of Teotitlan. The plants are collected to make colourful dyes for blankets and other woven items
    DSCF5326cc_1.jpg
  • Naturally dyed woollen yarn hanging in the studio of master dyer Juana Gutierrez Contreras in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 1 December 2018. The natural dye materials are harvested in the Sierra Juarez mountains between October and November and other materials can be found in the courtyard gardens of Teotitlan. The plants are collected to make colourful dyes for blankets and other woven items
    DSCF5307cc_1.jpg
  • Naturally dyed woollen yarn hanging in the studio of master dyer Juana Gutierrez Contreras in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 24 November 2018. The natural dye materials are harvested in the Sierra Juarez mountains between October and November and other materials can be found in the courtyard gardens of Teotitlan. The plants are collected to make colourful dyes for blankets and other woven items
    DSCF4670cc_1.jpg
  • Wool dyed with natural dyes - tree moss, pomegranate skin and pericon Mexican tarrigon in the natural dye studio of Juana Gutierrez Contreras in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018
    DSCF5123cc_1 1.jpg
  • Young female Guatemalan woman using the traditional natural indigo dyeing process to make textiles, in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0204_1.jpg
  • Young female Guatemalan woman using the traditional natural indigo dyeing process to make textiles, in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0200_1 1.jpg
  • Young female Guatemalan woman using the traditional natural indigo dyeing process to make textiles, in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0184_1.jpg
  • Young female Guatemalan woman using the traditional natural indigo dyeing process to make textiles, in San Juan La Laguna - one of the villages on the banks of Lake Atitlan. It is smaller than many of the other towns and with many pess toruists, which has allowed it to preserve much of its traditional culture, which is making textiles with natural dyes. Lake Atitlan is seen as the most important single tourist attraction in Guatemala; and is Central Americas deepest lake. There are many villages on the banks of the lake; each with different identity and culture; the majority of the population in the region identify as indigenous Maya and many still wear traditional dress and speak Maya languages.
    _MG_0206_1.jpg
  • Master dyer Juana Gutierrez Contreras mordanting with cow tongue leaf in her natural dyes studio in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico
    DSCF5080cc_1.jpg
  • Master dyer Juana Gutierrez Contreras preparing an indigo dye bath in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF9442cc_1.jpg
  • Master dyer Juana Gutierrez Contreras strains cochineal dye in the Zapotec weaving village of  Teotitlan del Valle, Oaxaca, Mexico on 28 November 2018
    DSCF5088cc_1.jpg
  • Wool dyed with pomegranate skin grey, wool mordanted with potassium alum and wool dyed with cochineal red in the natural dye studio of Juana Gutierrez Contreras in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico on 28 November 2018
    DSCF9454cc_1.jpg
  • Master dyer Juana Gutierrez Contreras dyeing wool with indigo in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018
    DSCF5191cc_1.jpg
  • Master dyer Juana Gutierrez Contreras  preparing indigo using a metate grinding stone in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF4918cc_1.jpg
  • Master dyer Juana Gutierrez Contreras  preparing indigo using a metate grinding stone in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF9422cc_1.jpg
  • Master dyer Juana Gutierrez Contreras  preparing indigo using a metate grinding stone in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF9414cc_1.jpg
  • Master dyer Juana Gutierrez Contreras preparing indigo using a metate grinding stone in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 25 November 2018
    DSCF4811cc_1.jpg
  • Master Dyer Juana Gutierrez Contreras hanging out wool dyed with indigo in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018
    DSCF5177cc_1.jpg
  • Amado Gutierrez Ruiz weaving a woollen rug with naturally dyed wool in the Zapotec weaving village of  Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018
    DSCF9490cc_1.jpg
  • Curtain naturally dyed with indigo at a window in studio of master dyer Juana Gutierrez Contreras in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 24 November 2018.   November 2018.  photo by Tessa Bunney/In Pictures via Getty Images
    DSCF4710_1.jpg
  • Juan Carlos weaving a scarf using merino wool dyed with cochineal on a 4-shaft loom in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 26 November 2018
    DSCF4867cc_1.jpg
  • A detail of a rock and holiday souvenir seller in the Lancashire seaside town of Blackpool. Standing in his shop, we see the owner of this seaside shop on the northwest England resort where buying seaside gifts and souvenirs is ever popular by visitors and daytrippers. In 1887, sugar-boiling factory owner Ben Bullock bought some plain stick candy band had the idea of putting ‘Blackpool Rock’ through the centre of the rock. Now a major industry in the holiday season in Britain and many seaside towns have their versions with their own names running through the rock. Modern seaside rock is thicker, about 1 inch, and more solid than the original form. Its sugar content is nowadays a reason not to buy as much, the adverse effects on teeth from sugar and colouring by the confectionary industry being a main reason for its decline.
    blackpool_rock-19-07-1993_1.jpg
  • Juan Carlos weaving a scarf using merino wool dyed with cochineal on a 4-shaft loom in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 26 November 2018
    DSCF4868cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027509cc_1.jpg
  • Naturally dyed wool hanging to dry on the roof of a village house in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF9398cc_1.jpg
  • Sitting on the floor, an elderly Hindu Cham woman weaves a priest's turban with cotton and silk threads on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027560cc_1.jpg
  • Green sheets dry on a washing line in a back garden of a south London residential house, on 18th August 2019, in London, England.
    garden_washing-02-18-08-2019.jpg
  • An elderly Hindu Cham woman weaves cotton and silk fabric on a back-strap loom at home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    S0153385cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk fabric on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027578cc_1.jpg
  • Sitting on the floor, an elderly Hindu Cham woman weaves a priest's turban with cotton and silk threads on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027567cc_1.jpg
  • A Hindu Cham woman weaves a traditional belt using a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The belt is worn with a traditional sarong style skirt by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027486cc_1.jpg
  • Green sheets dry on a washing line in a back garden of a south London residential house, on 18th August 2019, in London, England.
    garden_washing-02-18-08-2019 1.jpg
  • Weaver Amado Gutierrez Ruiz in the Zapotec weaving village of  Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018
    DSCF5212cc_1.jpg
  • A Hindu Cham woman wearing a Hello Kitty t-shirt creates a fringe on a piece of narrow handwoven cotton and silk fabric outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The fabric is used as a decoration during Cham religous ceremonies. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    DSCF3875cc_1.jpg
  • An elderly Hindu Cham woman weaves cotton and silk fabric on a back-strap loom at home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    DSCF3311cc_1.jpg
  • A Hindu Cham woman wearing a Hello Kitty t-shirt creates a fringe on a piece of narrow handwoven cotton and silk fabric outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The fabric is used as a decoration during Cham religous ceremonies. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027931cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027619cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk fabric on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the Vietnamese government as one of Vietnam's 54 ethnic groups.
    A0027613cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027617cc_1.jpg
  • Sitting on the floor, an elderly Hindu Cham woman weaves a priest's turban with cotton and silk threads on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027558cc_1.jpg
  • Sitting on the floor, an elderly Hindu Cham woman weaves a priest's turban with cotton and silk threads on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027544cc rt_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027516cc_1.jpg
  • Green sheets dry on a washing line in a back garden of a south London residential house, on 18th August 2019, in London, England.
    garden_washing-04-18-08-2019.jpg
  • A Hindu Cham woman wearing a Hello Kitty t-shirt creates a fringe on a piece of narrow handwoven cotton and silk fabric outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The fabric is used as a decoration during Cham religous ceremonies. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    DSCF3881cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk fabric on a back-strap loom at home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027939cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk fabric on a back-strap loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam.  The resulting fabric is used to make the traditional sarong style skirt worn by Cham women on special occasions or sold to local customers in the village. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027600cc_1.jpg
  • An elderly Hindu Cham woman weaves a priest's turban with cotton and silk thread on a back-strap loom at home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027552cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027540cc_1.jpg
  • A Hindu Cham woman weaves cotton and silk ribbon with a floor loom outside her home in My Nghiep village, Ninh Thuan province, Central Vietnam. The Cham people are remnants of the Kingdom of Champa (7th to 18th centuries) and are recognised by the government as one of Vietnam's 54 ethnic groups.
    A0027513cc_1.jpg
  • Green sheets dry on a washing line in a back garden of a south London residential house, on 18th August 2019, in London, England.
    garden_washing-04-18-08-2019 1.jpg
  • Dyeing silk fibre with a natural dye from plants at Houey Hong Vocational Training Centre for Women, Vientiane, Lao PDR. The Centre was founded in 1998 to train disadvantaged women (and men) from rural areas in weaving, dyeing and tailoring. The centre has established a database about natural dyes from plants enabling participants to produce high quality silk products and reproduce traditional patterns from old textiles.
    A0010025cc_1.jpg
  • The hand of master dyer Juana Gutierrez Contreras covered in indigo dust in her natural dyes studio in the Zapotec village of Teotitlan del Valle, Oaxaca, Mexico on 25 November 2018
    DSCF4827cc_1.jpg
  • A man dyes bamboo sticks for making incense sticks in Tao Duong, Ha Tay province, Vietnam. With Vietnam’s growing population making less land available for farmers to work, families unable to sustain themselves are turning to the creation of various products in rural areas.  These ‘craft’ villages specialise in a single product or activity, anything from palm leaf hats to incense sticks, or from noodle making to snake-catching. Some of these ‘craft’ villages date back hundreds of years, whilst others are a more recent response to enable rural farmers to earn much needed extra income.
    04 Tao Duong_1.jpg
  • Handweaving organic cotton with a mutmee/tie dye design in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing. Although only plainweave, the weaving is slow as each weft row needs to be lined up to maintain the pattern.
    DSCF2784cc_1.jpg
  • Handweaving organic cotton with a mutmee/tie dye design in Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied  in each row wherever the colour is not wanted and then removed after dyeing.
    DSCF2798cc_1.jpg
  • Handweaving organic cotton with a mutmee/tie dye design in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing. Although only plainweave, the weaving is slow as each weft row needs to be lined up to maintain the pattern.
    DSCF2800cc_1.jpg
  • Handweaving organic cotton with a mutmee/tie dye design in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing. Although only plainweave, the weaving is slow as each weft row needs to be lined up to maintain the pattern.
    DSCF2789cc_1.jpg
  • Indigo dyed cotton for weaving a mutmee/tie dye design in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing. Although only plainweave, the weaving is slow as each weft row needs to be lined up to maintain the pattern.
    A0032493cc_1.jpg
  • Mrs Kampheng dyes a skein of cotton blue with an indigo natural dye, Naxang village, Vientiane Province, Lao PDR.  Indigo dye is made from the fresh leaves and stem of the indigo plant which are fermented and then mixed with limestone to turn it the distinctive blue colour.
    A0009725cc_1.jpg
  • A Nepalese male factory worker mixes dyes to create dye solutions to color wool in R.C. Rug Factory in Narayanthan area of Kathmandu, Nepal.  He uses a pipette and glass bottle to draw up the dye solution. The R.C Rug Factory export to Europe, U.S and Canada; and rely on the GoodWeave certificate of approval to boast excellent quality and fair conditions for its workers. This is because the carpet factory industry in Nepal is notorious for providing poor working conditions and forcing young children into labour.
    Nepal-Kathmandu-Carpet-Factory-5377_...jpg
  • A man dyes cloth blue while a tailor mends clothes behind him, Jaipur, India
    SFE_111101_063_1.jpg
  • A Nepalese male factory worker mixes dyes to create dye solutions to color wool in R.C. Rug Factory in Narayanthan area of Kathmandu, Nepal.  He uses a pipette and glass bottle to draw up the dye solution. The R.C Rug Factory export to Europe, U.S and Canada; and rely on the GoodWeave certificate of approval to boast excellent quality and fair conditions for its workers. This is because the carpet factory industry in Nepal is notorious for providing poor working conditions and forcing young children into labour.
    Nepal-Kathmandu-Carpet-Factory-5384_...jpg
  • Indigo dyed handspun cotton hanging to dry in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing. Although only plainweave, the weaving is slow as each weft row needs to be lined up to maintain the pattern.
    DSCF2747cc_1.jpg
  • Handspun cotton prepared for ‘mutmee’ or tie-dyeing in the Phu Tai ethnic minority village of Ban Lahanam, Savannakhet province, Lao PDR. In Savannakhet most textiles are dyed with natural dyes according to longstanding traditions. 'Mutmee' is a tie-dye weaving technique that is special to the Phu-Tai ethnic group where the string is tied in each row wherever the colour is not wanted and then removed after dyeing.
    DSCF2808cc_1.jpg
  • Sonam Wangmo dyeing wild silk with indigo outside her home in Radhi, Eastern Bhutan. Radhi village is famous for fine raw silk and bura textiles made using traditional back-strap loom and natural dyes.
    A0030260cc_1.jpg
  • A collection of glass bottles containing dyes to be used for staining wool to make textiles in the R.C Rug Factory in the Narayanthan area of Kathmandu, Nepal. The company export rugs and carpets to Europe the U.S and Canada, and rely on the GoodWeave certificate of approval to boast excellent quality and fair conditions for its workers, as the carpet factory industry in Nepal is notorious for providing poor working conditions and forcing young children into labour.
    Nepal-Kathmandu-Carpet-Factory-5468_...jpg
  • Pheng dyeing homegrown cotton in an indigo dye bath in traditional ceramic pots in the Tai Lue village of Ban Viengkao, Sayaboury province, Lao PDR. Indigo dye is made from the fresh leaves and stem of the indigo plant which are fermented and then mixed with limestone to turn it the distinctive blue colour. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals.
    A0029157cc_1.jpg
  • Pheng prepares an indigo dye bath in traditional ceramic pots for dyeing cotton skeins in the Tai Lue village of Ban Viengkao, Sayaboury province, Lao PDR. Indigo dye is made from the fresh leaves and stem of the indigo plant which are fermented and then mixed with limestone to turn it the distinctive blue colour. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals.
    A0029159cc_1.jpg
  • Pheng prepares an indigo dye bath in traditional ceramic pots for dyeing cotton fabric in the Tai Lue village of Ban Viengkao, Sayaboury province, Lao PDR. Indigo dye is made from the fresh leaves and stem of the indigo plant which are fermented and then mixed with limestone to turn it the distinctive blue colour. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals.
    A0029154cc_1.jpg
  • Master dyer Juana Gutierrez Contreras preparing conchineal red natural dye in the Zapotec weaving village of Teotitlan del Valle in Oaxaca, Mexico on 29 November 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF9469cc_1.jpg
  • Nan Ya, a Hmong Leng ethnic minority woman decorates the woven hemp fabric by batik, a wax resist technique in Thien Pha, Houaphan province, Lao PDR. Bees’ wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    A0021476cc_1.jpg
  • Nan Ya, a Hmong Leng ethnic minority woman decorates the woven hemp fabric by batik, a wax resist technique, Thien Pha, Houaphan province, Lao PDR. Bees’ wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs and is the base for cotton applique and colourful embroidery. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    A0021474cc_1.jpg
  • A Hmong ethnic minority woman decorates woven hemp fabric by batik, a wax resist technique, Vieng Hang, Houaphan province, Lao PDR. Bees wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs and is the base for cotton applique and colourful embroidery. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    DSCF2455cc_1.jpg
  • Nan Ya, a Hmong Leng ethnic minority woman decorates the woven hemp fabric by batik, a wax resist technique, Thien Pha, Houaphan province, Lao PDR. Bees’ wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs and is the base for cotton applique and colourful embroidery. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    A0021483cc_1.jpg
  • Nan Ya, a Hmong Leng ethnic minority woman decorates the woven hemp fabric by batik, a wax resist technique in Thien Pha, Houaphan province, Lao PDR. Bees’ wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    A0021476cc_1.jpg
  • Nan Ya, a Hmong Leng ethnic minority woman decorates the woven hemp fabric by batik, a wax resist technique, Thien Pha, Houaphan province, Lao PDR. Bees’ wax is collected from the forest, heated in small metal pots and mixed with indigo paste (which colours the wax and makes it easier to see on the cloth). A bamboo pen with a metal nib is used for drawing the wax onto the hemp. The wax marks will resist the dye when the cloth is dipped in the indigo dye bath and left to dry. After the last dye bath has been completed, the cloth is boiled to remove the wax. The resulting fabric is an indigo blue colour with white designs and is the base for cotton applique and colourful embroidery. Making hemp fabric is a long and laborious process which the Hmong women make into skirts for their traditional clothing. In Lao PDR, hemp is now only cultivated in remote mountainous areas of the north.
    A0021474cc_1.jpg
  • A Dye Team engineer refills the dye-derv mixture to a Hawk jet of the Red Arrows, Britain's RAF aerobatic team. Wearing goggles, military green overalls and fluorescent tabard, a 'line' engineer from the elite 'Red Arrows', Britain's prestigious Royal Air Force aerobatic team, refills the pressurised under-belly smoke pod with a dye-derv mixture that gives the displays the famous coloured smoke of a team Mk 1 Hawk jet aircraft immediately after a winter training flight at the team's headquarters at a damp RAF Scampton, Lincolnshire. The man is a member of the team's support ground crew (called the Blues because of their distinctive blue overalls worn at summer air shows). The team's support ground crew who outnumber the pilots 8:1 and without them, the Red Arrows couldn't fly. Eleven trades are imported from some sixty that the RAF employs and teaches.
    Red_Arrows440_RBA.jpg
  • Master dyer Juana Gutierrez Contreras  preparing an indigo dye bath in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 27 November 2018
    DSCF9432cc_1.jpg
  • Master dyer Juana Gutierrez Contreras preparing cochineal red natural dye in the Zapotec weaving village of Teotitlan del Valle, Oaxaca, Mexico on 29 November 2018. Cochineal is a parasitic insect native to Mexico which lives on the leaves of the prickly pear plant. When ready to harvest, the insects are gently dusted off and left to dry before being ground to crimson dust. In Teotitlan cochineal is still ground by hand on stone metates and used as a natural dye for yarn
    DSCF9488cc_1.jpg
  • Meuay, a Iu Mien (Yao) ethnic minority woman laying cotton fabric dyed with indigo dye out in the sun to dry, Ban Hom Phan, Houaphan province, Lao PDR. Meuay buys the cotton fabric from a nearby Tai Deng village and after dyeing the fabric many times to build up the colour to a dark blue/black she sells to local Iu Mien women to make their traditional clothing. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals.
    A0026985cc_1.jpg
  • Meuay, a Iu Mien (Yao) ethnic minority woman dyeing cotton fabric with indigo dye, Ban Hom Phan, Houaphan province, Lao PDR. Meuay buys the cotton fabric from a nearby Tai Deng village and after dyeing the fabric many times to build up the colour to a dark blue/black she sells it to local Iu Mien women to make their traditional clothing. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals.
    A0026957cc_1.jpg
  • Colours are mixed to dye the wool in the factory lab. The factory make its own designs and can make carpets to order as well. They mix their own colours,dye the wool,wash it, weave it according to required designs and export them abroad.The licensee factories fall under three different categories, set by GWF;A for not very likely to hire children, B for more likely and therefor require more often inspections and C for likely to hire children and there for need constant supervision with regular visits any time of the day by GWF inspectors. Amity Carpet Factory is in category A. <br />
The Good Weave Foundation is a charity set up in partnership with the Nepalese carpet industry. The aim is to eliminate child labor in all carpet factories in Nepal. Factories which do not employ children can sign up with the charity and become a licensee to the GWF brand and label their carpets with the GWF label which promises any buyers abroad that no children were involved in making the carpets.
    IMG_5358_1.jpg
  • A woman dyeing painted eggs, Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. In the villages of Bucovina, the egg painters use a tool called a kishitze, a stick with an iron tip, to apply molten wax in the desired pattern to a blown egg. The egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    245-06_1.jpg
  • Dyeing painted eggs, Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. In the villages of Bucovina, the egg painters use a tool called a kishitze, a stick with an iron tip, to apply molten wax in the desired pattern to a blown egg. The egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    245-04_1.jpg
  • A woman dyeing painted eggs, Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. In the villages of Bucovina, the egg painters use a tool called a 'kishitze' a stick with an iron tip, to apply molten wax in the desired pattern to a blown egg. The egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    245-01_1.jpg
  • Using a gourd scoop, an Akha Oma woman prepares an indigo dye bath for dyeing handwoven cotton for making into traditional clothing. The Oma are one of Laos’ smallest ethnic groups with only a few villages in Phongsaly Province. Cotton growers, indigo dyers and exquisite embroiderers result in traditional clothing being both colourful and unique. One of the most ethnically diverse countries in Southeast Asia, Laos has 49 officially recognised ethnic groups although there are many more self-identified and sub groups. These groups are distinguished by their own customs, beliefs and rituals. Details down to the embroidery on a shirt, the colour of the trim and the type of skirt all help signify the wearer's ethnic and clan affiliations.
    A0019289cc_1.jpg
  • Black water probably dye enters the river from a factory,  environmental pollution on the river banks surrounding some of the textile industry buildings of Savar Upazila on 30th September 2018 in Dhaka, Bangladesh. The garment business is the main industry of Savar Upazila, a district in the northern part of Dhaka.
    Bangladesh-Dhaka-Industrial-Pollutio...jpg
  • A woman holds a handful of painted eggs, Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. In the villages of Bucovina, the egg painters use a tool called a kishitze, a stick with an iron tip, to apply molten wax in the desired pattern to a blown egg. The egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    246-15_1.jpg
  • A Nepalese factory worker rotates the metal frame which coils the wool yarn and feeds it through dye mixture, which is heated from below by the fire. It is just one part of the rug making process at R.C rug factory in the Narayanthan area of Kathmandu, Nepal. The company export rugs and carpets to Europe the U.S and Canada, and rely on the GoodWeave certificate of approval to boast excellent quality and fair conditions for its workers, as the carpet factory industry in Nepal is notorious for providing poor working conditions and forcing young children into labour.
    Nepal-Kathmandu-Carpet-Factory-5432_...jpg
  • Wool is soaked in color dye solution in a metal bowl on a hob in R.C. Rug Factory in Narayanthan area of Kathmandu, Nepal.  The Factory export to Europe, U.S and Canada; and rely on the GoodWeave certificate of approval to boast excellent quality and fair conditions for its workers. This is because the carpet factory industry in Nepal is notorious for providing poor working conditions and forcing young children into labour.
    Nepal-Kathmandu-Carpet-Factory-5390_...jpg
  • A woman holds a handful of painted eggs, Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. In the villages of Bucovina, the egg painters use a tool called a kishitze, a stick with an iron tip, to apply molten wax in the desired pattern to a blown egg. The egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    247-10_1.jpg
  • A woman applying molten wax to a blown egg using a tool called a kishitze (a stick with an iron tip), Hurghis, Bucovina, Romania. In Christian Orthodox countries such as Romania there is a tradition of skilfully painting eggs before Easter. After the pattern is applied the egg is then dipped in the lightest colour dye to be used. The egg is then heated and the protective wax melts away and a new pattern can be added, then dipped in a different colour and so on.
    245-13_1.jpg
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