AMBER GRAIN EMBROIDERY | Growing folklore elements | Root-based materials, wool waste fibers, natural colours & advanced technologies

Root-based materials, wool waste fibers,
natural colours & advanced technologies
AMBER GRAIN EMBROIDERY
Growing folklore elements
BARBARA RAKOVSKÁ

Root-based materials, wool waste fibers, natural colours & advanced technologies
AMBER GRAIN EMBROIDERY | Growing folklore elements

Barbara Rakovská © 2024
INDEX BIOGRAPHY
@ art.raba
facebook.com/barusra
class.textile-academy.org/2024/barbara-rakovska/

ABSTRACT

PREFACE ACKNOWLEDGMENTS

ABOUT | Growing materials STATE OF THE ART | Existing projects research
RootSkin - from soil to soil
Roots and architecture
Zena Holloway
Wheatgrass roots
InterWoven - Diana Scherer
Oat plant roots

STATE OF THE ART | Existing projects research
Rootskin project led by Chiara Farinea. The project
researcher: Fiona Demeur and Ilaena Napier, Andrea
Conserva, Mohamad Elatab. (Archisearch 2022)
Grown root textile - InterWoven© Diana Scherer
Rootskin - biodegradable building skin fabric grown in
soil and by plant roots.
During the project, I had a very interesting conversation with Fiona
about developing textiles for the construction industry. I am
grateful for her inspiration, advice, and tips. The goal of the
project, named RootSkin, was to develop a strategy to harvest
fruits above the soil level for food and roots below the ground to
create a textile. This textile is translucent (depends on density)
and biodegradable, which makes it an excellent skin material for
buildings. The RootSkin research focused on patterns, plants, and
mold and bottom panel material to create the desired textile.
(Conserva, A; Demeur, F; Farinea, C. 2022)

Naturally intertwined root structure of the
wheatgrass, hydroponic cultivation.

BIODESIGN APPROACH | Fabricating textiles
TRADITIONAL: Key manufacturing stages - cotton plant to final product
Fibre
BIODESIGN APPROACH: Key manufacturing stages. The designer collaborates with nature to cultivate and control
materials' properties. Plant roots weave while searching nutrients and water.
NATURE AS A CO-
WORKER
Husbandry
principles Natural nature
Designer =
cultivator
Planting seeds
Roots are growing in
specific pattern
Harvesting roots and
assembling final product
Fabric

PROCESS | root domestication
GRASS SEEDS FOR DRY AREAS (Bermuda grass), Growth in Agar Agar, Coco coir, very fine
roots, fine patterns can be grown in agar
RADISH - fast germination, fragile roots,
grey after drying, high water content
BEANS - a little root interweaving,
no hair roots, fast germination,
good for growing through fabric

OBJECTS OF OBSERVATION | Creating the first samples

GRASS SEED FOR DRY AREAS - BERMUDA GRASS
GRASS GROWTH IN COCO COIR
6x6 cm fine-pattern form
with a pattern thickness of 3
mm
grid silicone mold (originally for waffles), thickness approximately 1.5 centimeters.
As it grows through the mesh - the roots penetrate
and then gradually decompose at the bottom of the
container that holds the water.

GRASS GROWTH IN AGAR AGAR
Relatively fine structures can be
grown in agar.
Photos show the root growth in a 6x6 cm fine-pattern form with a pattern thickness of 3 mm.

GRASS GROWTH IN AGAR AGAR
Freely waving grass roots in agar. During the experiment, I examined how roots behave in a defined border shape within a flat-
bottomed silicone mould. My aim was to explore the interaction between the roots and the mould.
Experiment with very low agar concentration (2g per liter of water) and liner pattern. The low concentration caused very slow
drying and it was difficult to separate the roots from the mould when harvesting. They literally floated in the medium and their
structure was disturbed.
Interaction of grass in agar and mold
with depressions. I placed a flat sheet
of agar on top of the silicone mold, so
the roots grew through and created a
spatial structure outside the agar gel.

OBJECTS OF OBSERVATION | Creating the first samples OBJECTS OF OBSERVATION | Creating the first samples
GRASS GROWTH IN SUBSTRATE - SOIL
Photos show the root growth in a 6x6 cm fine-pattern form with a pattern thickness of 3 mm.
Black bean roots and jute fabric Black bean roots wool fibers

WHEATGRASS & BARLEY |
Suitable properties

WHEATGRASS | Growth characteristics
Day 1 Day 2 Day 3
Seeds are germinated in 3 days
Wheatgrass root density after 11 days, possibility to
grow HYDROPONICALLY
Roots hairs that create friction between fibers. This
friction acts as its own binding mechanism, similar
to what is typically seen in non-woven fabrics Wheatgrass growth in agar agar,
INGREDIENTS: 4g agar / 1l water
Day 1 Day 2 Day 3
Seeds are germinated in 3 days
Wheatgrass root density after 11 days, possibility to
grow HYDROPONICALLY
Roots hairs that create friction between fibers. This
friction acts as its own binding mechanism, similar
to what is typically seen in non-woven fabrics

ROOTS AND
BARRIERS
- changing the
shape using
moulds
(patterns)
GROWING
MEDIUM
- Agar, water,
soil, wool
MOULD
MATERIAL
-PLA
-Beeswax
CUTTING
ROOTS
-Growing fine
sheets
MATERIAL
WITH SEDS
-Growing 3D
patterns
GEOMETRY
-Moulds,
parametric
design
GROWING
CONDITIONS
MATERIAL
STRUCTURE
MATERIAL
POST-
PROCESSING
COLOR
- Natural dyes
- Beeswax
RESIDUAL
MATERIAL
- Grass, seeds
SURFACE
TREATMENT
- Sodium
alginate
- Beeswax
ENVIRONMENT
-Humidity, light
-Airflow
ELASTICITY
- Glycerol
- Boiling /
soaking
MODIFYING
-(heat)pressing
-Laser cutting
-Sewing
-Moulding
WHEATGRASS
BARLEY
3D patterns with
seeds
Heat-pressed residual
grass and seed layer
Fine sheets
Dried grass

WHEATGRASS | Understanding growth, ensuring appropriate conditions
Growing 3D patterns
Growing through fine fabric
Growth of fine sheets
Overgrowing
objects
Agar agar
Borders
When roots grow in agar, they develop a
residual film that enhances load
distribution. This creates a solid structure.

POST-PROCESSING | Natural dyes POST-PROCESSING | Natural dyes
Natural color - fine
sheet root-based
material
PLASTICIZER COLORANT POST-
PROCESSING
Glycerine
Soaking roots in
10% solution of
glycerine &
water for 12 h
Spraying roots
with high conc.
50% solution of
glycerine & water
Cooking roots
with natural dye
brine
Dissolved
pigments in
glycerol
Vinyl press
temperature 90
C, time 50-70s
Natural dyes,
Mica powders Heat-pressing
Black bean natural dye Natural color - fine sheets

POST-PROCESSING | Sodium alginate coating
POST-PROCESSING | Heat-pressing, natural dyes
Heat-pressed Mica powders & soaked roots
in 10% solution of glycerine & water for 12 h
Sodium alginate with
indigo dye
Properties : Antibacterial, Antiviral Anti-inflammatory,
Biocompostible, Biodegradable, Antifungal, Antioxidative,
Anticancer, Non-toxic
Sodium Alginate
Powdered State
CROSS-LINKING OF POLYMERS (+ CALCIUM CHLORIDE)
Ability to cross-link polymer chains with calcium solutions
resulting an INSOLUBLE, GEL-LIKE SUBSTANCE.
2g Sodium Alginate in 100ml H20
2g Calcium Chloride in 100ml H20

POST-PROCESSING | Natural dyes, sodium alginate coating POST-PROCESSING | Heat-pressing, natural dyes
3D pattern with sodium alginate
coating, indigo dye and mica powders
Cultivated wheat-grass material in 3D
printed mould
DRYING MATERIAL
3D - structures
COLORANT
Mica powders, Indigo dye
COATING
Sodium alginate
Sodium alginate has film-forming properties, which makes it useful for creating films or coatings
that improve quality and shelf life.
Dried material in the oven
60°C
Sodium alginate and &
calcium = spherification
+

processing of the residual grass
and seed layer
by separating the root
layer we get fine sheets
cooking with turmeric brine and
glycerol
Heat-pressed samples after drying
POST-PROCESSING | Residual material process POST-PROCESSING | heat-pressing, laser cutting
When harvesting the root-based
material, we obtain a fine sheet by
separating the root layer from residual
grass and seeds. This leftover material
can be treated with natural dyes,
glycerol, and heat-pressed afterwards.
We obtain a material with a higher
density that is also relatively flexible and
can be easily laser-cut.
Vinyl press temperature 90°C,
time 50-70s

Contrast of material densities - fine
sheet on top of the heat-pressed
residual grass and seed layer

Heat-pressed samples, laser cut patterns, curcuma natural dye
POST-PROCESSING | Residual material process POST-PROCESSING | Residual material process
The pressed material is about 2mm thick. The material does not burn quickly, instead it gradually
decomposes and becomes less compact. I did not observe any problems during laser cutting.
Engraving is not possible.
Laser cutting machine: Trotec SPEEDY 400
2 mm
1 000 HZ
80 1

POST-PROCESSING | heat-pressing, laser cutting, coating POST-PROCESSING | Heat-pressing comparison
Heat-pressed sample, laser cut patterns, sodium alginate coating & indigo dye Comparison of structures heat-pressed sample & dried natural structure
For coating the residual material I experimented with using 2g of Sodium Alginate in 100ml H2O with no Calcium Chloride. I then
heat-pressed the sample.

Harvesting roots and
assembling the final
product.
Roots are growing in specific pattern
POST-PROCESSING | Shaping and stitching fine sheets
I experimented with fine wheat root sheets by softening them in glycerol and felting them with wool fibers to create a 3D cap
shape.

AMBER GRAIN EMBROIDERY
Growing folklore elements
Root-based materials, wool waste fibers, natural
colours & advanced technologies

In my research and work with grains,
I have come across various materials.
GROWING FOLKLORE ELEMENTS

Folklore costume elements
TRADITION
Dožínky - Slavic
harvest festival
- Parametric patterns
inspired by nature, 3D
printed moulds
Digital fabrication Growing wheatgrass &
barley embroidery
GROWING FOLKLORE | cultural heritage AMBER GRAIN | Slavic harvest festival
cultivating the material
under laboratory
conditions
TECHNOLOGY NATURE
Harvest wreath - They used all kinds of cultivated grain and very often wove in meadow flowers, Slavic harvest
festival

Richly decorated Slovak costumes
Šumiac, Horehronie, Slovakia - folklore crown
Traditional folklore embroidery
Traditional lace-making
TRADITIONAL FOLKLORE | Embroidery, lacemaking TRADITIONAL FOLKLORE | Festive folk costumes
Recently, I have become more interested in the folk traditions of my home country of Slovakia. While exploring the material, I was reminded
of the lace and embroidery techniques used in traditional Slovakian folk costumes. By utilizing root structures in the context of Slovakian folk
costume, I was able to blend history and culture with modern technology and nature.

PROCESS |
Embroidery cultivation &
advanced technologies

Growing conditions
- Humidity 50% - 60%
- Temperature 20 - 22°C
PROCESS | growing conditions PROCESS | preparation of seeds
- Soaking time ~ 12 h
- Temperature 20 - 22°C

EMBROIDERY PATTERNS | 3D printed moulds
Using Lloyd's algorithm in
Grasshopper to optimize a
Voronoi surface.

EMBROIDERY PATTERNS | 3D printed moulds
Mould parameters
- depth of pattern 7 mm
- average thickness 3 mm

PROCESS | Regular care with love PROCESS | Harvesting
- Drying temperature ~ 60°C
- 7 cm grass = ready to harvest
- Grain: Seeds of barley
- Growing medium: soil & fabric

PATTERNS & MOULDS | Wheatgrass and barley
Barley embroidery - beeswax mould, spontaneous color change to red.
Wheatgrass color change after drying. Fresh roots are bright
almost white. Drying temperature ~ 60°C, hot-air oven.
I designed root based costumes inspired
by traditional folk elements
The material's final appearance is greatly
affected by the shape of the pattern and
the chosen mould material. If we compare
wheatgrass and barley, barley retains its
light beige color even after complete
drying, while wheatgrass turns brown. For
creating the lace and embroidery of the
costume, I used 3D printed PLA and
beeswax molds.

Cultured patterns in 3D
printed PLA moulds

PATTERNS & MOULDS | Wheatgrass PATTERNS & MOULDS | Barley
After drying, patterns with straight lines proved to be ineffective as the roots couldn't interweave in multiple directions,
resulting in a fragile pattern that didn't adhere to the pile.
Wheatgrass Barley embroidery
I observed a shallow mould on barley with a 2mm pattern depth. The roots grew into the space and formed a thicker
pattern.

PATTERNS & MOULDS | Barley & beeswax mould PATTERNS & MOULDS | Symbiosis with other materials
I created the beeswax molds by casting and carving them into traditional inspired floral
patterns. This embroidery covers the largest surface area and forms the front of the vest.
Through experimentation and various changes in growing conditions, I was able to create an array of root embroidery
patterns, which I then incorporated into garments inspired by traditional Slovak folk costumes. The second crucial step
of my research was figuring out how to apply the root embroidery and lace to the garment. My primary objective was to
use only natural materials that have a connection to traditional uses. This led me to consider using wool. I was further
inspired by a workshop by the exceptionally talented Dutch artist Claudy Jongstra, where I learned about traditional wet
felting and needle felting techniques. The primary source of wool I use is short fibers of waste wool from Mallorca.
Unfortunately, since the middle of the last century, the rise of synthetic fibers has led to a steady decline in the
importance of wool in the textile sector. Nowadays, wool is a marginal fiber on the textiles market. Large quantities of
unmarked raw wool have become problematic waste, which is often burned or landfilled, instead of being an income
source for sheep farmers. (Rajabinejad, H. & Buciscanu, I. & Maier, S. 2018)
Through my experiments with beeswax, I discovered that it can be used as a natural binder for dried grass fibers. As I
take a holistic approach to materials, I try to utilize all of their components. Thus, I was excited at the possibility of
incorporating a layer of seeds into the garment, particularly on the reverse side, to provide the wearer with a unique
tactile sensation that connects them with nature.

WOOL WASTE FIBERS | Growing
medium & garment material

WOOL AS A GROWING MEDIUM | Experiments
Wool is a highly absorbent natural material that can hold
moisture better than most other natural materials. This
property enables wool to regulate the environment around
it, making it an excellent temperature regulator. The
breathable nature of wool fibers also allows for good
aeration and root growth. Not only did I find inspiration in
wool's traditional use in clothing, but I also experimented
with reusing the wool growth medium for felting. After
harvesting the wool, I dried it and felted it..
Wheatgrass growing in wool
fibers, 3 days old sprouts
Pattern grown on felted piece
of wool fibers
Reuse of wool as a substrate for
felting

inside of the vest - furry
dried grass with seeds
Traditional vest pattern
Inspired by traditional
folklore vest pattern
wool is used for the
base of the costume
felted wool skirt with
pockets made of roots
with grass inside (sewn
on top)
headband - roots
furry barley roots
Beeswax mould
dried wheatgrass fringes
glued with beeswax
Color palette
CREATIVE PROCESS | Sketches & ideation
I used an electric sander to wet wool. This
method saved me a lot of time and allowed
me to work on larger pieces. To use it, I placed
the wool in between two layers of bubble wrap
or plastic and turned the sander on the lowest
setting.
WOOL BASE | Electric sander felting

AMBER GRAIN COSTUME | Materials, details
Raw wool - wet felting
Barley embroidery -
beeswax mould
Dried grass and fine
sheets
Needle felted pattern to
pressed sheet
Cultivated wheatgrass
structure in 3D printed mould
Felted wool sandals with
barley embroidery
Decorated double layer wool
fabric skirt
Barley embroidery decorated
belt with wheat pattern
Wheatgrass roots collar with
wheat pattern
Wheatgrass crown with felted
wool base
wool vest (wet felting) with
large embroidery grown in
beeswax mould
Heat-pressed roots with seeds laser
cut patterns curcuma natural dye

DECORATED DOUBLE LAYER WOOL FABRIC SKIRT
Barley embroidery -
beeswax mould
Simple wraping skirt
pattern
Needle felted pattern to
pressed sheet
Felted woolen fabric
Heat-pressed roots with
seeds laser cut patterns
curcuma natural dye

Wheatgrass crown with felted
wool base, collar, vest
Raw wool - wet felting
Cultivated wheatgrass
structure in 3D printed mould
Dried grass and fine
sheets
WHEATGRASS CROWN WITH FELTED WOOL BASE
Cultured patterns in 3D
printed PLA moulds

FELTED WOOL SANDALS |
Barley embroidery

Felted wool sandals with barley embroidery

GUBA | Traditional coat of woolen
fabric worn in eastern Slovakia

GUBA | Coat of woolen fabric
The guba is a type of outerwear made of woolen fabric with a long pile on the surface, mostly worn by men but
sometimes by women. It has a simple straight cut with a cross seam at the chest, reaching below the waist, and
sometimes below the knees. The guba is draped over the shoulders and tied with a pair of woolen cords below the neck.
The neckline is roughly lined with red stitching. It is more commonly found in white, but can occasionally be found in
darker colors. The guba was traditionally worn in eastern Slovakia as part of everyday and festive winter clothing. It used
to be a compulsory garment for the groom until the beginning of the 20th century.

GUBA | Coat of woolen fabric, elements
Barley embroidery
Heat-pressed roots with seeds laser
cut patterns curcuma natural dye
Heat-pressed sample, laser cut patterns,
sodium alginate coating & indigo dye
Natural undyed brown & black
wool fibers - wet felted coat

The main advantage of bio-based materials within the
fashion industry is that they originate from renewable
resources and therefore enable resource-efficient
components. This, in turn, can reduce our environmental
impact and help mitigate the effects of climate change.

CONCLUSIONS
The project Amber Grain Embroidery incorporates a biodesign approach to fabricating textiles, aiming to support eco-
design and sustainable solutions in the fashion industry. As a designer, I act as a cultivator who collaborates with nature
to control and cultivate material properties. My primary focus is on researching innovative root-based materials by
experimenting with different grain seeds, growing media, patterns, and environments. The key principles of the process
involve planting appropriate seeds and allowing their roots to grow within a specific pattern or border. The material
weaves itself.
Specifically, I am cultivating textile-like materials from wheatgrass and barley seeds. Wheatgrass and barley grains are
ideal for root structures due to their dense fibrous root systems and fine root hairs that create binding friction. Through
this process, I have discovered various post-processing techniques, including coloring, altering flexibility, and applying
biodegradable coatings.
Currently, I am in the experimentation phase and I am seeking to elevate the development of the material to a more
professional research level. I have been conducting research on root structures from wheat and barley for a period of
three months at Fab Lab Barcelona @IAAC. Additionally, I have sought consultations from various experts, including
Robert Thompson, the Scientific Director of Materfad, who provided valuable advice on the potential direction of material
development. I would also like to thank the opportunity to consult with a team of researchers from Rootskin.
Root-based textiles are biodegradable, meaning they can naturally decompose at the end of their lifecycle, reducing
waste and pollution. This contrasts with synthetic materials like polyester, which can persist in the environment for
hundreds of years. These textiles offer opportunities for customization in terms of texture, color, and properties. By
adjusting growth conditions and processing techniques, manufacturers can create textiles with specific characteristics
tailored to various applications. In my opinion with ongoing advancements in biotechnology and material science, the
potential for innovation in this field is vast.

BIBLIOGRAPHY | PHOTOS | PICTURES
UNEP. (2023). “The Sustainable Fashion Communication Playbook”. (https://www.unep.org/resources/factsheet/sustainable-
fashion-communication-playbook)
Conserva, A; Demeur, F; Farinea, C. (2022). “RootSkin. From Soil to Soil” UOU scientific journal #04, 112-119.
Encyclopaedia Britannica (2021). “Root - Definition, Types, Morphology, & Functions”. (https://www.britannica.com/science/root-
plant)
Scherer D. Interview with Diana Scherer: Weaving roots at the interface between art, fashion and science. Plants, People, Planet,
2019;00:1–4. doi:10.1002/ ppp3.48
Symbio(s)cene (2021). “Interview: Zena Holloway” (https://symbioscene.com/interview-zena-holloway/)
Camere, S., Karana, E. (2018). “Fabricating materials from living organisms: An emerging design practice”. Journal of Cleaner
Production, 186, 570–584.
Rajabinejad, Hossein & Buciscanu, Ingrid-Ioana & Maier, Stelian. (2018). Current Approaches For Raw Wool Waste Management And
Unconventional Valorization: A Review. Environmental engineering and management journal. 18. 10.30638/eemj.2019.136.
Camere, S., & Karana, E. (2018). Fabricating materials from living organisms: An emerging design practice. Journal of Cleaner
Production, 186, 570–584.
Zhou, J., Barati, B., Wu, J., Scherer, D., & Karana, E. (2021). Digital biofabrication to realize the potentials of plant roots for product
design. Bio-Design and Manufacturing, 4(1), 111-122. https://doi.org/10.1007/s42242-020-00088-2
PICTURES
Rootskin: https://www.archisearch.gr/architecture/tab-2022-edible-or-the-architecture-of-metabolism-interview-with-lydia-
kallipoliti-and-areti-markopoulou-the-curators-of-6th-tallinn-architecture-biennale/attachment/14_image3-rootskin-by-chiara-
farinea-project-lead-ilaena-napier-project-researcher-fiona-demeur-andrea-conserva-mohamad-elatab-1152x1536/
InterWoven © Diana Scherer: (https://dianascherer.nl)
Holloway, Z. (2023). “Grown from Root : Woven by Nature” (https://zenaholloway.com/root/reef-dresses)
PHOTO & VIDEO (results): Petra Garajová, Lina Córdoba MODEL: Isabela Cotecchia

AMBER GRAIN EMBROIDERY | Growing folklore elements | Root-based materials, wool waste fibers, natural colours & advanced technologies

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AMBER GRAIN EMBROIDERY | Growing folklore elements | Root-based materials, wool waste fibers, natural colours & advanced technologies