The historical use of pigments demonstrates that colour production has consequences extending beyond aesthetic preferences and involving human health and environmental conditions. Colour has played an important role in art, textiles, and fashion throughout history, while the materials used to obtain colour have changed according to technological developments and available resources. The development of synthetic colourants expanded the possibilities of textile production and enabled a wider range of colours. However, these developments also introduced concerns related to chemical exposure and environmental impact. In this respect, the history of pigments provides an important basis for understanding current approaches to sustainable colour production.
This research aims to examine the toxic characteristics of pigments and colourants used throughout history from the perspectives of fashion history and sustainable fashion, and to evaluate their relationship with contemporary natural dyeing practices. Studies on pigments have generally focused on chemistry, art history, and material science, while research addressing pigment toxicity together with fashion history and sustainable production remains relatively limited. The research therefore considers selected colourants in relation to their historical uses, chemical characteristics, toxic effects, and position within textile and fashion history.
The research was conducted within a qualitative research approach using literature-based document analysis and case study methods. The data were obtained from peer-reviewed articles, books, publications on art and fashion history, digital museum collections, and online fashion archives. Vermilion, arsenic-based green pigments, ultramarine, aniline dyes, and mauveine were selected according to their historical use, chemical characteristics, toxic effects, and significance in fashion history. These colourants were examined comparatively in terms of their historical development, areas of use, and effects on human health and environmental conditions.
The findings demonstrate that pigments and colourants have played important aesthetic, cultural, and technological roles throughout history while also creating various risks depending on their chemical composition and conditions of use. Vermilion and arsenic-based green pigments provide prominent examples of the health risks associated with historically used colouring materials. The development and widespread use of synthetic dyes further transformed textile and fashion production by increasing colour variety and supporting industrial-scale production. At the same time, the increased use of chemical substances generated new concerns concerning environmental impact and occupational exposure.
The comparison of historical colourants with contemporary natural dye sources shows that materials such as madder, cochineal, indigo, pomegranate peel, and walnut husk continue to be used or considered in textile dyeing. The renewed interest in natural dyeing reflects interest in renewable resources, traditional knowledge, and alternative approaches to chemical colour production. Natural dyeing also provides opportunities to reconnect contemporary textile production with local materials and traditional craft practices. However, the natural origin of a dye does not automatically make the entire production process sustainable. Factors such as resource consumption, extraction methods, water use, mordants, colour fastness, waste, and production scale should also be considered.
Within this framework, three contemporary fashion examples—Mimi Prober, Bageeya, and Maiwa—were examined. These examples were selected because their production practices incorporate natural dyes together with traditional craft knowledge, local production, natural fibres, and organic materials. Mimi Prober incorporates natural and botanical dyes into contemporary fashion alongside traditional textile techniques. Bageeya uses natural pigments obtained from plants, temple flowers, and other organic materials and works with handwoven textiles and local artisans. Maiwa uses natural dye sources including indigo, madder, cochineal, pomegranate peel, walnut husk, logwood, osage, and marigold through traditional dyeing practices. These examples demonstrate different ways in which natural dyeing can be incorporated into contemporary fashion production.
The comparison of the selected examples indicates that natural dyeing can be connected with broader production decisions, including material selection, natural fibres, local craftsmanship, traditional knowledge, and the reuse of organic materials. Sustainability in fashion therefore cannot be evaluated through the use of a single material or technique. The environmental implications of colour production are also influenced by material sourcing, water and energy consumption, waste management, and production scale. Natural dyeing should consequently be considered as part of an integrated sustainable production approach. This perspective is also important in relation to greenwashing, since sustainability claims should be assessed according to the overall production process rather than the use of natural colourants alone.
In conclusion, the historical development of pigments and colourants demonstrates that colour production should be considered in relation to material safety, human health, environmental conditions, and aesthetic value. The transition from traditional colour sources to synthetic colourants expanded the possibilities of textile and fashion production but also introduced new chemical and environmental concerns. The renewed interest in natural dyeing provides an opportunity to reconsider traditional dye sources and production knowledge within contemporary sustainable fashion. The examples examined show that natural dyeing can be incorporated into fashion production through traditional craftsmanship, local production, natural fibres, and the reuse of organic materials. Further research on biopigments, biotechnology-based colour production, and waste-derived dye sources may contribute to safer and more environmentally responsible practices in textile and fashion design.
Pigmentlerin tarihsel kullanımı, renk üretiminin estetik ve kültürel boyutunun yanı sıra insan sağlığı ve çevre üzerindeki etkilerinin de değerlendirilmesini gerektirmektedir. Araştırmanın amacı, seçili kırmızı, yeşil, mavi ve mor renklendiriciler üzerinden pigmentlerin tarihsel kullanımını ve toksik etkilerini moda tarihi açısından incelemek; estetik değer, malzeme özellikleri ve kimyasal risk arasındaki ilişkiyi değerlendirmek ve tarihsel toksik miras ile günümüzdeki sürdürülebilir doğal boyama uygulamaları arasındaki ilişkiyi ortaya koymaktır. Literatürde pigmentlerin tarihsel gelişimi ve toksisitesi ile sürdürülebilir doğal boyama uygulamalarının çoğunlukla ayrı ele alındığı görülmektedir. Nitel araştırma yaklaşımına dayanan araştırmada doküman analizi ve örnek olay incelemesi kullanılmıştır. Veriler; hakemli makaleler, kitaplar, sanat ve moda tarihi yayınları, dijital müze koleksiyonları ve çevrim içi moda arşivlerinden elde edilmiştir. Vermilion (kırmızı), arsenik bazlı yeşil pigmentler, ultramarin (mavi), anilin boyalar ve mauveine (mor); tarihsel kullanım, kimyasal özellik, toksik etkiler ve moda alanındaki görünürlükleri bakımından karşılaştırmalı olarak incelenmiştir. Bulgular, tarih boyunca parlaklık, kalıcılık ve renk çeşitliliği sağlamak amacıyla kullanılan bazı renklendiricilerin, özellikle ağır metal ve sentetik kimyasal içerikleri nedeniyle insan sağlığı ve çevre açısından riskler oluşturduğunu göstermektedir. Bu toksik mirasın günümüzde doğal kaynaklara dayalı boyama uygulamalarına yönelik ilgiyi artıran tarihsel bir zemin oluşturduğu görülmektedir. Kökboya, koşinil, indigo, nar kabuğu ve ceviz kabuğu gibi doğal kaynakların tekstil boyamacılığında yeniden değerlendirilmesi, geçmiş boyama bilgisinin çağdaş üretimle ilişkilendirilebildiğini ortaya koymaktadır. Mimi Prober, Bageeya ve Maiwa örnekleri ise doğal boyaların doğal lifler, el işçiliği, yerel zanaatkârlık, geleneksel üretim bilgisi ve atıkların değerlendirilmesiyle birlikte kullanılabildiğini göstermektedir. Bu örnekler, sürdürülebilirlik iddialarının yalnızca doğal boya kullanımına indirgenmemesi gerektiğini ve üretim sürecinin bütününün dikkate alınmasının önemini göstermektedir. Sonuç olarak sürdürülebilir renk üretiminin yalnızca doğal boya kullanımına indirgenemeyeceği; hammadde seçimi, üretim süreci, kaynak tüketimi, atık yönetimi ve ürünün kullanım ömrünün birlikte değerlendirilmesi gerektiği ortaya konulmuştur. Bu doğrultuda biyopigmentler, atık kaynaklı boyarmaddeler ve biyoteknolojik renk üretim yöntemleri, gelecekte daha güvenli ve çevresel etkileri azaltılmış moda ve tekstil üretimi açısından araştırılabilecek alternatifler olarak öne çıkmaktadır.
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