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A few years ago the TRC received several tie-and-dye samples from Zhuo Ye Cottage (Taiwan) in 2019 (TRC 2019.2177 to TRC 2019.2182). The samples are cotton textiles dyed with indigo, a natural dye extracted from plants such as Strobilanthes cusia (known as “Malan” in Taiwan). Other plant sources also referred to as indigo, include species from the legume family (Indigofera tinctoria L.) and the knotweed family (Polygonaceae), such as Polygonum tinctorium Aiton (also known as Persicaria tinctoria (Aiton) H. Gross).

Indigo is a widely used dye because it produces a deep blue colour that lasts well over time. Among natural plant dyes, indigo is the only one that needs a special fermentation and chemical process to make the dye work. It cannot be produced in the way that is applied to most of the other dye plants, by simply boiling or soaking the plant (Lai, 2016).

The process of making Indigo (Taiwan):

In Taiwan, making indigo dye consists of turning the leaves into a special kind of “blue mud” (藍靛 lán diàn、藍泥) that can dye a fabric. First, the leaves are soaked in water to release their colour. Then, substances such as lime are added, and the liquid is stirred, in order to introduce oxygen. This causes a blue pigment to form which sinks to the bottom. After resting for 1-2 days, the blue mud sediment is collected and turned into a paste. Finally, the paste is fermented with ingredients such as ash water, sugar, or alcohol, to create a dye bath that can be used to colour the textiles.

Fig. 1. Process of indigo dye production. Source: Zhuo Ye Cottage Indigo Dyeing Workshop. Retrieved from https://www.joye.com.tw/activity/about.php?PKey=11

Figs. 2, 3, 4. Fermentation process and dyeing of Indigo in Japan. Pictures taken at the Institution of Arts and skills in Tokoushima prefecture and of the artisan Sayoko Matsueda in Kuyshu, Fukuoka in the year 2000.

In terms of dying techniques in Asia, indigo dyeing often involves resist methods, which mean creating patterns by controlling where the dye can and cannot reach the fabric, by sewing or twisting the fabric in certain ways.

For example, tie-dye (綁染 bǎng rǎn) is made by tying parts of the fabric tightly so that the dye cannot enter the covered areas. This often creates circular or radial patterns. A sample from the TRC shows this clearly, where the fabric is tied and dyed to form a symmetrical, radiating design (see Figure 4, TRC 2019.2179). Other common methods include clamp dyeing (夾染 jiá rǎn), which means using boards or sticks to press the fabric, creating more geometric patterns (see Figure 5, TRC 2019.2182). Stitch dyeing (縫染 féng rǎn ), involves sewing the fabric and pulling the threads tight before dyeing, which creates more detailed designs.

Figure x. Tie-dye sample, cotton dyed with natural indigo. Taiwan, 21th century (TRC 2019.2179).

Figure x. Tie-dye sample , cotton dyed with natural indigo. Taiwan, 21th century (TRC 2019.2182)

History (Asia)

Indigo dyeing has a long history across Asia. Rather than being unique to one place, it developed in different regions in slightly different ways. In Japan, for instance, indigo dyeing, known as aizome (藍染め), became highly refined during the Edo period (1615–1868) in the Awa domain (Tokushima). Because of its high quality, Awa indigo was distributed across the country and became an important economic export product from the 18th century (Kogei Japan, n.d.). This distinctive deep blue came to be widely recognised as “Japan Blue,” a term used to describe Japan’s characteristic indigo colour. The TRC collection includes Japanese indigo-dyed handkerchiefs featuring traditional patterns and motifs (see Figures X–X TRC 2026.0314, TRC 2026.0320). Although it is uncertain whether they were made with Awa indigo, they still demonstrate key characteristics of Japanese indigo dyeing traditions.

Fig. X. Japanese indigo-dyed textile with wave pattern. Japan, 21th century (TRC 2026.0314)

Fig. X. Japanese indigo-dyed handkerchief with bird motif. Japan, 21th century (TRC 2026.0320)

Fig. X. Up close detail of indigo-dyed fabric, showing resist-dyeing technique. Japan, 21th century (TRC 2026.0314)

History (Taiwan):

Indigo dyeing in Taiwan is believed to have been introduced by the Dutch in the 17th century. During the Qing dynasty (1644-1912), indigo plants were cultivated on a large scale, and indigo became one of Taiwan’s most important export products. Over time, indigo dyeing developed into a significant part of local production and daily life. However, this changed in the early 20th century, when synthetic dyes became available. Because they were cheaper and easier to use, traditional indigo dyeing gradually declined (Liu, 2001).

Fig. X. Up close detail of indigo-dyed fabric, showing resist-dyeing technique. Japan, 21th century (TRC 2026.0314)

In Taiwan, indigo dyeing is often linked to Hakka communities, especially through their “blue shirt” (藍衫 lan shan). Originally worn for work, these shirts are durable, practical, and easy to maintain. Indigo-dyed fabrics are also believed to help repel insects, which may have been especially useful for Hakka communities living in hilly areas, to avoid bites of mosquitoes and other insects (Hou et al., 2020). Over time, they became a symbol of Hakka identity and spirit. Today, indigo dyeing is used less in daily life and more as a form of cultural heritage (Liu, 2001). For instance, the National Museum of Taiwanese History holds indigo-dyed textile samples in its collection, such as 2003.019.0092.0001 (see figure X).

References

• Lai, Z. J. (2016). The Research of Origin and Promotion of Indigo Arts in Taiwan (Master’s thesis, Nanhua University) [in Chinese]
• Kogei Japan. (n.d.). Awa Indigo Dyed Cotton Textiles (Awa shōai shijira ori).
• Liu, Huan-yueh. (2001). Taiwan Hakka ethnic history: Folklore. Nantou: Taiwan Provincial Documents Committee [in Chinese]
• Hou, J.-Z., Hsiao, P.-C., Lu, C.-T., Yin, W., Huang, Y.-T., & Lin, C.-M. (2020). 'The research of natural indigo dyes on color performance and antibacterial properties on toddler clothing.' Journal of the Hwa Gang Textile 27(3), 183–189.
• Zhuo Ye Cottage Indigo Dyeing Workshop. (n.d.). About Indigo Dyeing.
• Ministry of Culture. (n.d.). Indigo Dyeing Techniques. 

by Frieda Chen, 26 May 2026

Frieda is a Master’s student in Asian Studies at Leiden University and an intern at the Textile Research Centre (TRC). With a background in archaeology in Taiwan, she is interested in how materials connect to human behaviour. Through working with textiles and indigo dyeing, she is still exploring whether she is a weaver, a dyer, or simply

Fig. 1. Kasuri cloth sample (TRC 2017.1478-23). Japan, 20th century.This April, I began my research fellowship at the TRC Leiden as the first junior fellow in the TRC Fellowship Programme, sponsored by the Gieskes-Strijbis Foundation, Amsterdam. My project, Thread, Dye, and Pattern: A Historical Study of Japanese Kasuri Techniques in the TRC Leiden Ikat Cloth Sample Collection (Pepin Collection), focuses on the extraordinary technical and artistic complexity of Japanese kasuri textiles preserved in the TRC collection.

Japanese kasuri — a form of ikat in which yarns are resist-dyed before weaving — is one of those textile traditions that becomes more fascinating the closer one looks. At first glance, the fabrics may appear deceptively simple: indigo blues, geometric forms, softened edges (compare TRC 2017.1478-23; Fig. 1). Yet under magnification, entire worlds of technical decision-making emerge. Tiny variations in binding, dye penetration, thread tension, and weave alignment all contribute to the final pattern.

During these first months, much of my work has focused on developing methods for closely analysing the kasuri samples in the TRC collection. Through this research, I aim to better understand which dyeing and weaving techniques are represented in the samples, how yarn structure and resist methods interact to create patterns, and whether particular textiles can be linked to regional Japanese kasuri traditions such as Kurume kasuri from Fukuoka, Iyo kasuri from Ehime, or Ryukyu kasuri from Okinawa.

Find the books you have long been looking for, and help support the TRC by buying some of them! 

We are going to have our annual book sale on Saturday 13^th June, starting from 10.00 until 15.00. Hundreds of second-hand textile, clothing and accessory books will be on sale, at very reduced prices! 

The TRC regularly receives donations of books. We select them en see whether we can use them and whether the titles may already be included in the extensive TRC textile library. If we cannot use the books, we very much want to pass them on to other textiles friends against a low price.

Why don't you pop in and have a look? You may find the book that you have long been looking for. You will also have the chance to see the TRC’s current exhibition about appliqué textiles called khayamiya which come from Egypt, as well as seeing the TRC’s new building and garden, and of course meeting TRC staff and others.

Our address is: Boerhaavelaan 6, 2334 EN Leiden, just behind the Leiden Central Railway Station.

The Spring 2026 issue (No. 227) of the international magazine HALI includes a six-page article, with some splendid photographs, explaining the creation of The Atlas of World Embroidery (Princeton University Press, Febr. 2026). The article and book were written by Gillian Vogelsang-Eastwood, director of the TRC. A Dutch version of the book, Atlas van de Borduurkunst, came out on the same date and was published by WBooks.

The article is published on pp. 228-229, 230-231, and 232-233.

HALI Vol. 227, 2026, pp. 228-229.

The TRC’s agenda is gradually expanding with a wide range of workshops, study days and courses. Here is the current Agenda.

In the meantime, we would like to draw your attention to some new items: 21-22 May: Lefkara whitework workshops; 13 June: Book market; 12-13 September: Open Monuments Days. For more information and registration: This email address is being protected from spambots. You need JavaScript enabled to view it..

The Textile Research Centre, Leiden.From early 2026, the Textile Research Centre, Leiden, the Netherlands, is offering a total of seven junior and four senior fellowships for up to six months each. The first junior fellow has started her work in Leiden in April.

The fellowships are being sponsored by the Gieskes-Strijbis Foundation, Amsterdam. Fellows are invited to carry out research based on the TRC’s extensive textiles and dress collection of some 53,000 objects (click here for the catalogue). The junior fellows are supervised and assisted by TRC staff; senior fellows carry out independent research.

We are now opening the second round of the fellowships that covers:

• Two junior positions
• One senior position

These will be starting in October 2026 (with a degree of flexibility), for a duration of up to 6 months. Applications for these positions should be submitted by email to the TRC by 20 June 2026 (This email address is being protected from spambots. You need JavaScript enabled to view it.)  with the reference: ‘Fellowship programme Junior/ Senior' (depending on the position applied for).

Fig. 1. Postage stamp issued in Cyprus in 1981 to commemorate the 500th anniversary of the visit of Leonardo da Vinci to Cyprus. Above: The Duomo in Milan. Below: A piece of Lefkara lace.The TRC Leiden is very pleased to announce a special workshop on Lefkara or Lefkarika lace, scheduled for 21 May, and repeated on 22 May. The workshops are given by Eleni Anemomilou, who is coming especially to The Netherlands to give these and other workshops. Her trip is organised by the Cyprus Handicraft Service. 

Lefkara lace or whitework is one of the embroidery techniques that were traditionally practised in Cyprus. It is a form of cutwork with satin stitch details. It is often classed as a form of embroidered lace. Nelleke Ganzevoort wrote a detailed blog about this fascinating technique five years ago, which the TRC published on 21 December 2021. In 2009, the Lefkara lace technique was included in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

Lefkara lace is said to originate from the village of (Pano or Kato) Lefkara, Cyprus, and is locally called tayiadha (compare the Italian term punto tagliato, for cutwork ). Lefkara lace is said to have been developed in the time of the Venetian occupation of Cyprus (1489-1571), when reticella work was introduced to the island and local women copied the whitework's appearance, but using a different technique.

The move to Boerhaavelaan 6 is nearly finished, just a few more weeks and all the rebuilding, painting, furnishing, packing and putting away of boxes will be over! A great relief to all.

I would just like to extend a big ‘Thank You’ to everyone who has made a donation to the TRC moving fund. It made such a difference to have your support, best wishes and interest in what we are doing and plan to do. Please feel free to come and see what you have helped to create - the new and improved TRC is an elegant, early 20th century town villa!

Inevitably, we continue looking for help with different projects, and any further financial assistance will be greatly appreciated.

The TRC will open again to the public on Monday 11th May, but in the meantime, workshops, study days and lectures are already being presented. And I can assure you, there is lots more to come!.

Gillian Vogelsang-Eastwood, Director TRC, 4 April 2026.