27 Mar 2019
Natural dying was a key catalyst in the beginning of Araminta’s weaving journey, and the colours she developed continue to influence her work today. The link between Scottish textiles and the natural world is something she continues to pursue in her custom tweeds and tartans as well as her Signature handwoven designs.
Textiles have always been intertwined with the natural world – from the wonderful variety of fabrics created using plant and animal fibres, to the amazing range of colours our ancestors achieved with dyes made from roots, berries and mosses.
When Araminta was still a student she began looking into the process of natural dyeing, and was captivated by the idea of recreating this tangible link between the cloth and landscape. As the fabrics we use everyday have become increasingly synthetic and mass produced, we have lost much of this connection to the natural world.
The ancient craft of natural dyeing offered her the opportunity to begin rediscovering this link between her two great loves; textiles and the great outdoors.
She began as many others have done before her; by drawing on the wisdom of an older generation. She was lucky enough to spend several weeks learning from Hillary Menzies; an amazing tweed designer and weaver based in the Scottish Borders. Hillary is responsible for not only teaching her all about natural dyeing, but also was the first person to encourage her to begin designing tweed.
Selection of wool dyed with roots, berries and leaves for weaving tweed.
Tweed’s history began with natural dyes; the fleeces of local sheep dyed with plants from the surrounding countryside, then spun and woven into the distinctive patterns we recognise today. Using the natural world to create something new wasn’t a choice back then – it was necessity – but the innovation of those early designs has led to tweed being recognised and worn around the world.
Back to the origins of tweed; Araminta began handweaving designs in naturally dyed yarns.
Araminta loved the idea of coming back to these rural beginnings, with colour, pattern and texture being combined in a woven fabric that reflected the landscape. Weaving with fibres she had naturally dyed herself got her hooked on creating tweed, and the rest is history. You can read more about how she designs unique tweeds here.
It makes sense that to use natural dyes you need to start with fabrics or yarns that are natural too. Typically animal based fibres (silk and wool) absorb more of the dye and so take on a much deeper colour than cellulose based fibres (cotton, linen, bamboo).
However there is great variety in the way each fabric will react, and so it is best to do lots of experimenting! Try different weights and finishes of fabric such as cotton velvet, silk chiffon and wool crepe – you may even find they turn out completely different colours.
Araminta found a book called ‘Traditional Scottish Dyes’ by Jean Fraser an invaluable source of plant dye recipes. It offers a comprehensive list of dye plants that grow in Scotland, their properties and where to find them; as well as some history, lovely illustrations and practical tips of how to get started. You should be able to find most of the plants you need growing wild in the countryside; embrace the challenge of scrambling down slopes to pick wild brambles and elderberries, hunting down tansy and comfrey in fields and hedgerows. Many you can also find in your kitchen cupboard like onion skins, walnut hulls and even beetroot, which surprisingly produces the most beautiful delicate yellow.
Preparing different dye recipes: foraged petals, peel, berries and leaves.
You will need a well ventilated space as natural dying is a rather smelly occupation! You will also need pots and pans that you are happy to dedicate to the cause – so don’t make your dinner in them afterwards! Tracy Majika has written a great blog with step by step instructions on how to create your own naturally dyed textiles, do check it our here.
These scary sounding substances are basically the things you add to a dye to help the colour stick. They can often be metal based such as iron or tin, or you can use oxalic acid which can be created by boiling down rhubarb leaves. These require a bit of caution so best to follow a recipe such as those in the book mentioned above.
Finally, HAVE FUN! You can’t always predict what you are going to get with the natural dying process, but we think this is one of its joys. Getting outside, seeing what you can gather and creating something new from what you have found is not something we get to experience all that often. We hope you enjoy discovering for yourself the riches our natural world has to offer!
"*" indicates required fields
We are guardians of people’s stories...
We ourselves are stories that weave and take shape through the thread, thanks to the gentle hands of the weavers.
The yarn, the loom, our and your stories, are the tools we have chosen to make what cannot be seen or touched, real and wearable. We give shape to the values in which we believe, we give voice to stories to be shared with those dearest to us, forever.
Not just exquisite works of art to wear, but ambassadors, ‘talking’ objects, timeless storytellers of meanings and values that we want to preserve and pass on.
Meet Isabelle, one of our talented handweavers!
Isabelle has long had an interest in textiles, ever since her grandmother taught her to sew.
She discovered weaving when visiting universities before applying to study. Immediately captivated by the woven textile displays at Loughborough University – the home of our George Wood looms – She became fascinated by how these complex woven structures could be created from just a few cones of yarn.
Isabelle enjoys the slow, hands-on process of weaving, appreciating how it demands your full and present focus, and is always excited to share the complexities of handweaving to our visitors.
Meet Helen, one of our talented handweavers!
As an advocate for sustainability and ethical production, handweaving appealed to Helen as the embodiment of slow, responsible craft.
She fell in love with the challenging yet meditative weave process during her textile degree at the Glasgow School of Art.
Helen adores that she can name the alpacas in the pieces that she weaves, as this level of provenance imbues the pieces with deeper meaning for both weaver and future owner.
We choose 100% undyed British alpaca fiber for our designs because it embodies the values we hold dear: sustainability, durability, and unparalleled luxury. Each fleece is sourced from carefully chosen UK farms where animal welfare is a top priority.
Our close relationships with breeders enable us to trace many of our yarns back to the individual alpacas, ensuring exceptional quality and transparency. The alpaca’s fleeces are left undyed, allowing the natural richness and unique tones of their coats to shine through in every piece.
In the UK, only 5–10% of alpacas produce fleece of the exceptional quality we require. Every fiber is meticulously selected for its fineness, crimp, luster, and colour, ensuring our pieces meet the highest standards of luxury and craftsmanship.
It has taken years for our weavers to attain the skill and knowledge required to create our handwoven items.
Handweaving takes precision and patience, with each warp prepared by hand and meticulously threaded through the shafts of the loom. Once weaving is complete there is a lengthy finishing process involving darning, stitching, washing and brushing – all by hand.
It can take our handweavers anywhere between 2 to 6 weeks to complete one of our Signature pieces.
Each piece in our Heritage handwoven collection has been inspired by Araminta’s deep love for the natural beauty of the Scottish landscape.
From the golden glow of the beech woodlands surrounding her family home in the Royal Deeside Corridor during autumn, to the ethereal light of the Scottish Highlands at dawn and dusk, the landscape is a constant source of inspiration for Araminta. The shifting interplay of colours, textures, and natural rhythms informs each handwoven piece, translating fleeting moments into timeless design.
Any moment in time could become Araminta’s next creation.
Meet Lisa, one of our talented handweavers!
Lisa studied weaving at Heriot Watt University, in the borders of Scotland – an area renowned for its textile production.
She always enjoyed creating things and was recommended to study textiles by her art teacher. When first starting out in her weave degree, she found the slow process of setting up challenging, yet today it’s her favourite part.
She finds peace whilst threading the loom, enjoying and embracing the flow.
Each piece has been lovingly handwoven and finished in our Edinburgh Atelier by our team of handweavers on vintage George Wood looms.
Araminta Campbell is one of the largest employers of handweavers in Scotland, fostering employment for talented craftspeople in Scotland plays a vital role in preserving the rich legacy of Scottish textile craftsmanship. Every thread woven in the Atelier carries with it the heritage and passion of centuries-old traditions, brought vividly to life through contemporary designs, and the work of our talented weavers.
It has taken years for our weavers to attain the skill and knowledge required to create our handwoven items.
Handweaving takes precision and patience, with each warp prepared by hand and meticulously threaded through the shafts of the loom. Once weaving is complete there is a lengthy finishing process involving darning, stitching, washing and brushing – all by hand.
When you choose one of our handwoven treasures, you’re not just owning a piece of Scotland’s rich textile heritage – you’re connecting with the hands that brought it to life.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
"*" indicates required fields
