Natural fabrics, handmade decorative techniques and botanical materials used in the production of our natural garments.
The fabrics I use for my creations are natural and precious, either pure or blended with different fibers. I source them from Italian producers who create fully traceable and eco-friendly fabrics. I also seek out deadstock fabrics (leftover stock from Italian companies) and rare finds that I love to give a second life to, after discovering them in vintage markets or antique shops.
Natural, durable, breathable, absorbent, hypoallergenic, thermoregulating, long-lasting, biodegradable, eco-friendly
Hemp is a natural plant-based fiber derived from Cannabis sativa. Considered one of the most sustainable and durable fibers, as well as one of the oldest, it’s highly valued for its longevity and versatility. The plant is extraordinary: it grows quickly, requires few resources, is strong, and doesn’t deplete the soil! The natural hemp fiber is biodegradable yet highly durable: the fabrics made from it are extremely long-lasting and resistant to wear, as well as breathable and excellent for thermal insulation (keeping the skin dry and cool in summer and warm in winter, much like wool). The texture is natural, rustic, and slightly rough: to achieve softer textures, hemp can also be blended with other fibers. Initially, it may feel a bit coarse to the touch, but with use, it becomes softer and more pleasant, while maintaining its durability. It’s a fabric well-suited to natural dyeing, as it absorbs dyes beautifully. At this point, I can add: it’s my favorite fiber!
Natural, fresh, breathable, absorbent, hypoallergenic, durable, softens over time, biodegradable, eco-friendly
Linen is one of the oldest and most precious natural fibers: lightweight and durable, it’s especially appreciated for its legendary freshness and ecological qualities. It’s naturally cool to the touch, comfortable, and breathable: it can absorb a lot of moisture without feeling wet and is ideal for summer clothing, as well as home textiles. The natural linen fiber also has thermal insulation properties: besides being cool in warm climates, it can retain heat in cooler temperatures. Along with hemp, it’s one of the most durable and long-lasting fibers: if cared for properly, linen fabrics last a long time and become softer with use. One of its distinctive traits is its tendency to wrinkle gracefully: its folds, after all, are part of its elegant yet casual charm!
Natural, breathable, hypoallergenic, antibacterial, durable, long-lasting, biodegradable, eco-friendly
The natural fiber derived from the nettle plant (mainly Urtica dioica, or wild nettle) has been rediscovered recently, though it was used in ancient times for textile production. Nettle has wonderful qualities: it’s eco-friendly, durable, breathable, and biodegradable, with a very low environmental impact. It resembles hemp for its excellent thermoregulation properties, is hypoallergenic, antibacterial, and also has antistatic qualities. Nettle fabric, however, is also very soft to the touch and recognizable for its natural sheen, which can resemble silk.
Natural, breathable, absorbent, hypoallergenic, soft, suitable for sensitive skin, biodegradable, eco-friendly
Cotton is one of the most widely used natural fibers in the world: it’s versatile, breathable, and highly valued for its softness. Compared to traditional cultivation methods, which require vast amounts of water, chemicals, and pesticides, organic farming is the sustainable alternative, with a lower impact on the land, the environment, and our health. Organic cotton fiber is naturally soft to the touch and highly breathable (allowing air to circulate and keeping the skin dry). Compared to chemically treated cotton, organic cotton is more durable and lasts longer, in addition to being hypoallergenic and ideal for even the most delicate skin. It’s not treated with bleach, so in its natural state, the fabric’s color can range from white to beige to light brown. Organic cotton is certified by international organizations like GOTS or OEKO-TEX, which guarantee its origin: the certification confirms that the cotton has been cultivated and produced following ecological, ethical, and social criteria.
Natural, fresh, breathable, hypoallergenic, antibacterial, odor-resistant, thermoregulating, suitable for delicate skin, biodegradable, eco-friendly
The natural fiber is derived from the bamboo plant, which grows very quickly without the need for chemical fertilizers, pesticides, or large amounts of water (in fact, it’s one of the most sustainable and renewable resources in the world, with a very low environmental impact). Extremely soft to the touch and often compared to silk, bamboo is a fresh, lightweight, and highly breathable fabric: it’s naturally antibacterial and odor-resistant, thermoregulating, absorbs moisture easily, is suitable for sensitive skin, and is more durable than cotton.
Natural, breathable, hypoallergenic, elastic, durable, long-lasting, biodegradable, eco-friendly
Tencel-lyocell is a textile fiber derived from wood cellulose, mainly from trees like eucalyptus, beech, and fir, cultivated sustainably. The production process of Tencel is considered one of the most ecological and environmentally respectful: the technology used (Refibra™) requires a reduced amount of water and employs recyclable solvents, in a virtuous closed-loop system. The fabric is durable, yet extremely soft and comfortable to the touch, smooth, and elastic. It has excellent breathability and naturally absorbs moisture.
Natural, breathable, hypoallergenic, antibacterial, elastic, durable, biodegradable, eco-friendly
The natural soy fiber is derived from the byproducts of soy processing (specifically from the protein residue after oil extraction from the seeds), through a sustainable and environmentally respectful process. Known for its softness as “vegetable cashmere,” it’s very pleasant to wear and appreciated for its silky sheen. It’s a hypoallergenic, antibacterial, highly breathable fiber that can absorb moisture, keeping the skin fresh and dry. Despite its delicate texture, soy fabric is durable and long-lasting, thanks to its natural elasticity (similar to some synthetic fibers).
Natural, breathable, hypoallergenic, suitable for sensitive skin, durable, biodegradable, eco-friendly
SeaCell™ is an innovative fiber made from a combination of marine algae and cellulose. It’s a biodegradable and sustainable material, also distinguished for its beneficial properties on the skin. The algae used are renewable resources: during harvesting, only the part of the plant capable of regenerating is collected. The production process has been patented and refined to preserve the algae’s properties, which are maintained within the natural fiber. Algae are plants rich in vitamins, minerals, and antioxidants: these elements, present in the fibers, can be absorbed by the skin upon contact with the fabric, creating a pleasant and beneficial effect. SeaCell™ is soft, lightweight, breathable, and hypoallergenic, ideal for delicate skin.
The common thread of all the decorative techniques I use is artisanship: tradition, craftsmanship, and continuous experimentation come together to create unique colors, patterns, and designs. I use the plants I grow in my garden and dye garden, as well as agricultural and food waste I recover from local businesses, to recycle them. The layering of different techniques, the unique appearance of the results (sometimes unpredictable), and the natural imperfections of botanical materials make each creation irreplicable. The entire process is cyclical and waste-free: the leftover dye liquid returns to the earth by watering the garden—down to the last drop—while the plants used in the boiling and natural printing become compost.
Natural dyeing is a technique used by humanity since ancient times. To color yarns and fabrics, I use only botanical materials from nature (leaves, flowers, roots, barks, fruits, fungi). In the dyeing process, the color is extracted from the materials through techniques like boiling, steeping, or infusion. The fabric fibers, previously treated with natural mordants, absorb the dye.
The tones, intensity, and brightness of the colors can vary greatly, thanks to the interplay of many factors: the natural material used, environmental conditions, the season, the fabric, the extraction method, the mordants used, and even the pH of the water. Natural dyeing is a technique that requires time and patience, but it’s highly sustainable: no toxic chemicals are ever used, and the resources from which the color is derived are renewable and biodegradable. Beyond its ecological value, natural dyeing fascinates me because it demands creativity, aesthetic sensibility, knowledge of natural raw materials, and continuous experimentation. For me, it’s a creative exploration rooted in ancient traditions, with strong contemporary relevance: it’s sustainable, environmentally respectful, cyclical, and seasonal.
The research and experimentation with plants are potentially endless: I’ve chosen to use only local dye materials or those I’ve personally gathered during my travels, as well as plants I recover from agricultural or food waste from other local businesses, to promote a circular economy. Following this philosophy, I’ve also decided not to source dye materials from the other side of the planet: this means giving up some color options, but it aligns with the values I believe in.
Ecoprint or botanical printing is a natural printing technique more recent than the millennia-old traditions of dyeing. It originated from the experiments of textile artist India Flint, who recounts having the intuition while collecting eggs from one of her hens: they had been incubated for a few days in a nest made of dry eucalyptus branches, while it rained, and the humid atmosphere combined with the warmth of the feathers had printed the leaves onto the eggshells. In ecoprint, materials like leaves, flowers, berries, roots, and barks are used to directly transfer (i.e., print) the colors and shapes of the plants onto the fabric, without using toxic substances. Each print corresponds to the exact imprint of the botanical material.
The printing occurs on the natural fabric after an initial mordanting, a treatment that prepares the fibers to retain the color. The plants are arranged on the fabric, creating a unique design. The fabric is then tightly wrapped around a stick (or tube) to form the bundle, which is ready for cooking (through boiling or steaming). Once cooked, the bundle must cool and is left to rest until the magical moment of unwrapping. It’s a short but intense sensory journey: the fabric is slowly unrolled, and the plants are removed to reveal the imprints they’ve gently released. The amazement is always immense, and the emotion is palpable, as if it were the first time: the scents released by the fabrics are enveloping, and the design is a surprise for the eyes. The printed fabric is left to air for a few days to oxygenate and is then washed. The entire process is ecological and sustainable, as it encourages a conscious and respectful use of nature’s resources, also promoting the reuse of materials that would otherwise be discarded.
Each print has an organic appearance, is unique and irreplicable. It depends on the type of plant, the freshness of the material used, the season in which it was harvested, the cooking method and temperatures, the pH of the water, the mordanting, and the type of natural fabric on which it’s printed. After years of experimentation, it’s possible to predict or seek certain results, but the outcome is always at least partly unexpected: the unpredictability of the print is one of the aspects I love most. Unlike dyeing, which colors the entire fabric, botanical printing creates detailed impressions of the contours and textures of the plants used: you can obtain almost photographic images of leaves and flowers, or abstract and delicate shapes, depending on how the plants are chosen and treated. It’s a process that requires time, a lot of patience, and precision, but it teaches a deep connection with the cycle of the seasons, natural rhythms, and the environment we live in.
Shibori is an ancient Japanese resist-dyeing technique. Before being immersed in the dye, the natural fabric is manipulated in various ways through folding, twisting, binding, or stitching, to isolate certain areas that won’t come into contact with the color. After immersion, the folds and bindings are released, revealing an abstract design created by the contrast between the dyed areas and the natural ones (or those dyed more lightly). The patterns achieved with shibori can be simple circles or lines, or more complex geometric designs. The element of chance is part of the charm of this technique: despite the careful study of shapes, the result is always influenced by the interaction between the fabric, the dye, and the binding techniques. Every step, from folding the fabric to binding it, dyeing it, and gently removing the ties, is done by hand, with patience and care. The beauty of shibori for me lies in the simplicity of the process, the astonishing variety of results, and the possibility of combining this technique with ecoprint.
Block print is a hand-printing technique that uses carved wooden blocks to transfer designs onto fabrics. It’s an ancient manual technique, used in traditional productions in Indian and Chinese cultures. The blocks are dipped in ink and then pressed by hand onto the fabric, with precision, creating patterns and motifs that repeat. The result can be simple or highly elaborate: the repetition of intricately carved blocks can create harmonious effects and very captivating designs, where even small imperfections contribute to the beauty and uniqueness of the piece.
Printing with natural inks is ecological and sustainable. I create the inks from the residue of dye baths that haven’t been fully exhausted: through a patient process, I manage to extract a thicker colored paste, using the dye down to the last drop. I print with wooden blocks I find in antique markets or with stamps I carve by hand on linoleum: I adore this technique because it unleashes imagination and creativity, to the point where you can use almost anything for printing (from half a fruit to the tip of a pencil).
Artisanal screen printing is a hand-printing technique that uses a frame made of fabric on which a design is imprinted. Once the frame is placed on the fabric to be printed, the ink is spread, passing through the spaces defined by the design to create colored images or motifs. The inks I use for screen printing are always plant-based, derived from the same dye materials used for other techniques: it’s an ecological technique because it minimizes waste and allows for the reuse of screens.
Even though the matrix allows for the replication of the same design multiple times with some precision, the printing is always done by hand, giving each artisanal product its own unique touch. The screen printing technique fascinates me precisely for this reason: I can create and reproduce complex, highly detailed designs without losing the authentic character of handmade production.
Among the needle-and-thread techniques I love most are two Japanese arts, boro and sashiko. Boro is a traditional sewing and repair technique, born from the need to prolong the life of fabrics. Worn-out garments or textiles can be repaired by reusing other pieces of fabric sewn together by hand. Sashiko, on the other hand, is a Japanese embroidery technique, used to reinforce fabrics or to decorate them. These two arts are connected, valuing the reuse of existing materials, the care for garments, the desire to avoid waste, and the possibility of creating something new from imperfection. I love experimenting with these techniques, especially in upcycling, to recover second-hand pieces, “lived-in” but of good quality, which may have small flaws: I use boro and sashiko to renew these garments, recycling scraps of naturally dyed and printed fabrics to achieve original results.
The colors that characterize my creations are often warm, natural, and earthy tones, reminiscent of the shades of the nature that surrounds me and inspires me, as well as the connection with the fascinating territory I live in.
[A curiosity: in natural dyeing, the color always refers to the dye material from which it derives, i.e., the plant of origin, for example: madder red, walnut brown, alder brown, weld yellow, pomegranate yellow. If we were to name the colors with their dye names, these would be them, but to align with how we’re used to thinking about colors in “common terms,” we can associate them with shades, such as ruby red, vermilion red, terracotta, cappuccino brown, ochre, sage green, forest green, etc.]
Among the colors, green is always present, my favorite, in all its shades: from light green to olive green, with its intense depth, to the freshness of moss green, and the delicate, soothing sage green. I find myself constantly recreating green because it immediately connects me to nature and the present, wherever I am, giving me intense feelings of calm and peace.
Brown is also a prominent color in my work: there’s earthy brown, which embraces, envelops, and warms, like the soil where I plant seeds, where everything begins and returns. Then there’s cappuccino brown and sandy beige, which remind me of the sand on Ligurian beaches, bare feet, and the feeling of calm and freedom by the sea.
Nature offers us infinite shades of yellow. Among my favorites are the bright, golden yellow that recalls the sunlight on rocks and wild beaches, and the refined yet equally energetic and vibrant ochre yellow. Orange also often appears in my collection, with tones ranging from golden orange to rust, to terracotta. These are lively, warm, and energetic shades that evoke autumn, the moment when the natural cycle reaches its peak, teaching us to let go.
Then there are the tones of red and pink: deep brown red, especially, a powerful and intense color that communicates passion and recalls fiery sunsets. Ancient pink and lotus pink, on the other hand, are poetic, elegant, and delicate tones that evoke memories of the past and infuse a sense of sweetness.
Natural white is another color that’s always present in my creations, as it’s the natural state of the fabrics, a pure and raw neutral, unadulterated or “bleached.” These are écru shades, ranging from off-white to ivory, from cream to beige, from light sand to earthy beige, from light gray to soft brown. They convey a sense of authentic purity.
The materials I use for dyeing are always of plant origin. Through experience, I’ve learned that each plant releases a different base color, but the shades can vary for many reasons: the season and the place where it was harvested (due to the climate and soil type), the concentration of the raw material used for dyeing, the type of fiber used (cotton, linen, hemp, etc.), the pH of the dye bath, and the use of natural mordants. Even if I have an idea of the color I want to achieve, the result can always surprise me with a new shade. The study of plants is potentially endless: I’ve chosen to create only with local dye materials or those I’ve personally gathered during my travels, as well as plants I recover from agricultural or food waste from other local businesses.
Juglans Regia, Juglans Nigra
Color: deep brown, gray-brown, beige, gray, black
One of the most commonly used plants for natural dyeing, both for the stability of the color it produces and for the beauty of its warm, earthy tones. It releases a dark brown, often deep and intense, but it can also yield softer, lighter browns or neutral, warm tones, from beige to taupe. It can also shift toward gray, creating cooler, sophisticated earthy shades.
Rubia Tinctorum
Color: red, brick, orange, pink, coral, reddish-brown, purple
From the madder root, a natural dye known since ancient times is obtained, capable of dyeing fibers with intense warm red tones: it offers shades from bright red to dark red, but by varying the preparation, you can also achieve orange, pink, purple, and even warm, earthy brown tones.
Punica Granatum
Color: bright yellow, ochre, green, light brown
Using the waste from the fruit, specifically the peel, it’s possible to obtain a color that’s very resistant to light and washing. The most common shade is a bright, almost golden yellow. With a higher concentration and a prolonged bath, the yellow can shift toward ochre, while using an iron-based mordant yields green tones with earthy undertones. In diluted dye baths or with fibers that absorb less color, you can also achieve subtle, delicate brown shades.
Quercus Nigra
Color: yellow, golden yellow, brown, gray, black
For dyeing, you can use the bark, galls, and acorns, which produce a range of stable, versatile earthy and neutral colors. The primary tone is warm brown, which can vary from light to dark depending on the concentration and duration of the dye bath. By varying these factors, you can achieve beige tones or darker shades, like gray and black.
Castanea Sativa
Color: reddish-brown, brown, beige
The bark is mainly used from the chestnut tree, though you can also experiment with leaves and husks to achieve very durable colors. The predominant tone is a rich, warm brown, which can vary in intensity depending on the dyeing process: you can also obtain cream or a warm, almost golden yellow. With different natural mordants, chestnut can also produce gray and olive-green shades.
Alnus
Color: yellow, brown, green, gray
Less known but highly appreciated, alder can produce tones ranging from yellow to brown (using the bark, leaves, and occasionally the roots). With a light dye bath, alder releases soft, golden yellow shades (which can also lean toward orange and rust). If the dye bath is richer in bark, it can produce warm, delicate brown tones. Experimenting with other variations in the dyeing process can also yield green and gray shades.
Acacia Catechu
Color: brown, yellow, golden yellow, beige
Acacia has been known since ancient times for its dyeing properties: its bark and pods offer a variety of interesting yellow and brown shades. With a diluted dye bath, you can achieve very delicate, almost pastel yellow tones. Increasing the concentration yields warmer, brighter tones, like golden yellow, and then brown, which is highly sought after. Using natural mordants, you can also achieve different tones, shifting toward grayish-brown or olive green.
Anthemis Tinctoria
Color: light yellow, golden yellow, orange, olive green, cedar green
Dyer’s chamomile is a plant with flowers rich in dyes, capable of producing splendid warm yellow tones, vibrant and luminous. The primary color is a bright yellow, characterized by a sunny, radiant appearance. With a higher concentration of raw material or a prolonged dyeing time, you can achieve golden yellow, orange tones, or shades that shift toward green.
Reseda Luteola
Color: light yellow, golden yellow, orange, olive
Weld is one of the most appreciated natural dye plants, used for centuries to produce intense, luminous yellow colors that are very resistant. It releases a vibrant yellow but can also produce deeper, golden tones. Combining weld with specific mordants can transform the yellow into a greenish-yellow, expanding the color palette.
Coreopsis Tinctoria
Color: intense orange, rusty red, brick
The flowers of this plant can produce a surprising range of intense, vibrant, and warm colors, with a variety of shades ranging from sunny yellow to orange, to earthy red. The most common color is a golden, luminous yellow, which can vary in intensity depending on the dyeing time, transforming into a warm orange. Thanks to the use of specific mordants, you can achieve darker tones that lean toward rusty red and reddish-brown.
Urtica Dioica
Color: yellow, yellow-green, green, gray-green
Nettle is a highly versatile plant, usable both as a textile fiber and as a dye material: it produces very interesting green and yellow-green colors. It’s abundant in nature and easy to find: it’s one of the plants I use most often to achieve a light, delicate green, perfect for natural and fresh shades. With a more diluted dye bath and using different parts of the plant, you can also achieve tones that shift toward yellow-green or gray-green.
Allium Cepa
Color: yellow, orange, copper, reddish-brown
Onion is an exceptional source for natural dyes: using its peel (an easy-to-find food waste), you can achieve beautiful yellow, orange, and brown tones. The peels of yellow onions release a bright, golden yellow that, with a prolonged bath, can shift toward a warm orange. From the peel of red onions, you can obtain coppery or reddish-brown tones.
Persea Americana
Color: pink, peach, salmon
The peel and pit of the avocado are surprising materials: they release delicate, warm, and refined shades, with a color range from pink to peach. One of the most common tones is a soft, muted pink, which changes in intensity depending on the concentration and dyeing time. By varying the dye bath, the color can intensify into a warm peach or salmon.
The botanical materials I use for natural printing are potentially infinite. After years of experience and experimentation, there’s no season that fails to surprise me with new discoveries! Sometimes, it’s the plants I’ve already studied that surprise me with new results; other times, it’s plants that grow spontaneously in my area and reveal themselves for the first time, showing beautiful imprints.
I love working especially with wild plants, which grow freely in the gardens, meadows, and woods of the territory I live in: I enjoy using botanical materials that are abundant, respecting nature.
Every time of year is full of beauty and poetry, allowing me to observe and gather plants, leaves, flowers, berries, fruits, barks. The cycle of the seasons offers continuous surprises and inspirations: I’ll try to give you an idea of what happens in my studio month by month.
Between the end of winter and the beginning of spring, most plants sprout, giving us the first leaves: during this period, they’re very young and tender, so the prints will be more ethereal and delicate. Meanwhile, the woods begin to change colors and scents, and the first flowers bloom. For botanical printing, it’s a calm period of awakening, where the shapes and imprints are still soft. If I want to create more intense prints, I can recycle dye materials set aside from other seasons or experiment with more abstract techniques, using acorns, galls, and barks.
Botanical materials I use during this period:
ivy, wild rose, rugosa rose, geranium, dandelion, nettle, field maple, curly maple, Norway maple, wild fennel, oxalis, elderberry, oak, chestnut, hazelnut, walnut, alder, helichrysum, horse chestnut, anemone, maidenhair fern, sea cineraria, hollyhock, peony, sweetgum, loropetalum, grevillea.
When spring gives way to summer, nature explodes with colors and scents, filling the woods, gardens, and my studio. The absolute protagonists are the flowers, with their infinite variety of shades and shapes. The results of botanical printing during this period are always cheerful, lively, and bright (just like my mood and creative energy!).
Botanical materials I use during this period:
(in addition to the spring ones) lavender, juniper, sage, marigold, borage, dyer’s chamomile, wild chrysanthemum, coreopsis, cosmos, bidens, dimorphotheca, persimmon, fig, grapevine, plum, American sumac, Japanese maple, dogwood, purple loosestrife, St. John’s wort, broom, hydrangea, walnut.
As nature prepares for the arrival of the colder months, the leaves on the plants reach maturity and can express themselves in all their intensity during botanical printing. If I want to achieve photographic imprints, this is the ideal period: the prints are rich in color and full of details.
Botanical materials I use during this period:
(in addition to the summer ones, which reach maturity) heather, pomegranate, crape myrtle, goldenrod.
During the winter months, much of the plant world sheds its leaves: what remains available for printing are evergreens, berries, galls, or acorns I’ve preserved, some dried leaves or flowers. I usually prefer to work on dyeing and botanical printing with fresh materials, following the rhythms of nature: during this time of year, I mainly dedicate myself to tailoring and crafting clothing and accessories. However, when the need arises to print even in winter, my creativity welcomes the challenge with satisfaction: the results are often unexpected and original.
Botanical materials I use during this period:
spurge, eucalyptus, blackberry, columbine, fern, mimosa, rosemary, cinquefoil, mastic tree, casuarina.
The newsletter leads you into Nathueral’s secret garden — a place filled with colour, scent, and quiet poetry. You can picture me writing it the old-fashioned way, by hand, with a cup of coffee (or mate) beside me, guided by the rhythm of the seasons. It’s where I share what’s happening inside my atelier, and where you’ll hear first when a new drop is about to arrive (so you can take a first look as soon as everything goes live). I’ll be waiting for you there.
