Dyeing with pigments of the sunset
- Özge is a self-taught artisan who specialises in cold dyeing on cotton
- Her work includes textiles, clothing and artworks all made from natural components
- She considers natural dyeing as a form of borrowing from nature
Özge Horasan studied biology and botany, which led her to creating sustainable textiles from natural dyes. Based on the nature-infused peninsula of Datça, Özge feels surrounded by inspiration. “Incorporating elements from the local environment enhances the authenticity and uniqueness of my work,” she says. “I love the simplicity and ease of life in Mediterranean culture, from its ancient charm to the delightful weather. It nurtures me in many ways.” The artisan began experimenting with natural dyeing in 2013 by gathering materials from the meadows around her house and boiling dye baths on her kitchen stove. In 2015, she opened her workshop Sat-su-ma Studio, specialising in the cold dyeing method, with a particular focus on working with cotton. “I define my craft as a symbiotic dance with nature, in which I borrow colours from the world around me,” says Özge. “The colours I extract from the environment will eventually decompose and return to their original state.”
INTERVIEW
I exclusively use natural, and whenever possible, organic fibres. Moreover, my dyeing methods are designed to be more water-efficient compared to traditional approaches. I intentionally keep my production small and slow-paced to avoid contributing to the fast-consuming jungle of products that, in my view, is unnecessary. It is not possible to mass produce without compromising sustainability.
My primary sources of inspiration lie in the awe-inspiring beauty of natural phenomena. I find immense creative energy in the vivid hues of sunsets and sunrises, the enchanting blossoms of spring, the mesmerising play of sunlight on the sea, the ethereal glow of full moons, and the dynamic power of thunderstorms. The colours, textures, and emotions drawn from these natural wonders become integral components in my creative process.
What I love most is the enchanting interplay of unpredictability, ephemerality, and unity with natural materials. Unpredictability adds a thrilling dimension that requires adaptability and a willingness to embrace the unknown. Ephemerality encapsulates a sense of transience. Unity with natural materials is a deeply enriching journey of understanding and respecting the inherent qualities of each element.
People often witness the beautiful, vivid colours in my work, but what they may not realise is the countless hours of exhausting work that unfold behind the scenes during the creative process.
