Sustainability

The research also draws on the diversity of Brazil's plant resources — bark, leaves and fruit — which widen the possibilities of colour and deepen the relationship with the land. Choices take into account origin, seasonality and availability, respecting the limits of each material and avoiding predatory practices.

During an artist residency devoted to textiles and sustainability in Denmark, Bruna deepened her research through the lens of place. The project involved local wool, gathering dye plants and experimenting with techniques and knowledge rooted in Danish textile traditions.

The experience broadened her understanding of the relationship between material, territory and process. Working responsibly with locally available resources showed how each place can build its own language from the materials it offers — a perspective that has stayed with Lapso's research ever since.

Dyestuffs come from the atelier's own cultivation, from personal gathering in familiar areas, or from suppliers chosen for the clarity of their origin, not for the lowest cost.

The practice includes textile upcycling — reusing offcuts and production leftovers — and reusing mordant and dye baths whenever possible. Rainwater is prioritised at the atelier, and baths are disposed of through progressive dilution, reducing environmental impact and allowing materials to return to the environment in a less concentrated form.

A piece that endures reduces waste and extends the life cycle of its material. At the Lapso atelier, durability lies in how the piece is made and in how colour is applied and fixed, through stable, safe, low-impact processes.

Well-fixed colour keeps its intensity for longer, standing up to use and washing — which reduces resource consumption and avoids premature disposal.

The practice also includes textile upcycling, which gives new meaning to existing materials and extends their useful life, resulting in timeless pieces that stay relevant beyond trends.