Nana Sacko is the founder of SACKO, a creative studio where natural dyeing, upcycling, and conscious design come together. Guided by her love for craftsmanship, sustainability, and cultural heritage, she shapes the way she works with vintage textiles and eco-friendly dyes, breathing new life into second-hand garments. Drawing inspiration from her Danish and Malian roots, Nana embraces slow fashion, valuing quality, storytelling, and the beauty of imperfection. Through SACKO, she creates one-of-a-kind, naturally dyed pieces while also sharing her knowledge through workshops and collaborations, inspiring a more thoughtful and responsible way of engaging with fashion.

Nana, your work with natural dyeing at SACKO Studio blends artistry with sustainability. Can you share the journey that led you to embrace natural dyeing, and how it aligns with your values around environmental consciousness?

The way I found natural dyeing happened organically and opened up another layer of creativity within myself. It all started when I was on parental leave with my youngest son. Naturally, he wore all of his older brother’s clothes, and over the years, I’ve collected some really nice white vintage cotton tees. Needless to say, there were a few stains here and there, and in an attempt to prolong the life of these garments, I started to play around with color and patterns created by tie-dye. I wanted to use something non-toxic and gentle on my baby’s skin, which led me to research natural dyes. I got completely absorbed.

So much about this meditative process forced me to slow down, follow the rhythm of nature, practice patience, embrace imperfection, and work with my hands. I was captivated and instantly knew I had found my element.

My love for thrifting vintage, textiles, and design blended naturally with this new practice. It became a way for me to upcycle and maintain existing garments and textiles rather than create new ones, which gave me a sense of fulfillment. Eventually, this led me to start my own brand, SACKO, a creative studio focusing on naturally dyed second-hand garments and textiles, small-scale collections, and workshops around slow fashion.

Photo credit: Elna Hultinsson

2. Sustainability is at the heart of both SACKO and ILANGA Studio. How do you see the role of natural dyeing in the broader context of sustainable fashion and design, and how can it shift industry practices toward a more eco-conscious future?

Our industry is going through an enormous transformation where circular practices and solutions are needed. Systematic change requires us to rethink everything and go back to basics, where quality, craftsmanship, and eco-friendly processes are favored and valued.

Someone wise once said that when we try to find solutions, our answers will be found in nature. I find this to be very true, especially when looking at small-scale designers who produce in a way that can actually be sustained and does not exploit the environment, nature’s resources, or humans.

In the part of the world where I live, my experience is that we have a disconnect from production as we’ve outsourced most of it to other parts of the world. This distance leads to a lack of knowledge. We are not the ones directly affected by the chemicals used in production, the dark side of the industry, and the piles of textiles resulting from production and overconsumption, but we are the ones creating it. Telling the story of natural dyes and their deep roots in culture and history is one way of spreading knowledge and inspiring alternative ways of making things and adding value. I would love to see designers and brands embrace natural dyes not only as a trend but also as a permanent element in their collections and as a given part of their overall sustainability work.

Photo credit: Mira Wickman

3. Natural dyeing involves a deep understanding of both the materials and techniques. Can you walk us through the process you use, from sourcing dyes to achieving the perfect color, and any unique methods you’ve developed at SACKO Studio?

My process starts with the material. I spend a lot of time sourcing materials in the second-hand market. Preparing the natural fiber for dyeing is a way of “getting to know” the fabric and its texture so that I can get a sense of how it will behave and react to the dye. When it comes to dyes, I love working with extracts. Not too long ago, I tried liquid dyes for the first time, and because they’re so concentrated, I could extract color even at colder temperatures, allowing me to work hands-on and touch the fabric more, which I truly enjoyed.

I’m not a dyer who harvests most of my dyes myself. Besides limited time, another reason is that I live up north and don’t have access to materials year-round due to the colder weather. However, in summer, I do enjoy growing and harvesting flowers, which adds another layer to the experience.

I’m naturally drawn to earthy colors, and this color palette is what I try to achieve. Many times, I modify the color by experimenting with the pH level, using soda ash, citric acid, and iron sulfate to manipulate the color, creating variations in shades or patterns. 

Photo credit: Mira Wickman

My favorite and go-to technique is bundle dyeing because it’s so forgiving and allows complete creative freedom. 

4. Circularity is a key principle in modern design thinking. How does Sacko Studio incorporate circular practices in your creative process, and how do you envision a future where circularity is the norm in the fashion industry?

The core of SACKO is circular practices—taking care of what already exists—while the DNA combines natural color with second-hand materials. My vision is to explore the field of redesign further and challenge the way I look at discarded garments or textile “waste,” using it as a component in my design process to make new garments out of garments. One question that often comes up regarding circular businesses is how they can be scalable. I spend a lot of time thinking about this in relation to my own small business. Scaling is not equal to increased volumes and repeating the same pattern as in a linear business model. I want to create unique pieces that tell a story, that naturally change over time, and that are forgiving when it comes to imperfections. Pieces that can be rented out and loved by several owners over the years.

My vision is for a fashion industry driven by values, where we invest in quality, care for the things we own, and honor the craftsmanship behind every item.

5. ILANGA celebrates diversity and cultural fusion. As someone with Danish and Malian heritage, how have your mixed cultural roots shaped your artistic journey and approach to natural dyeing? Are there any specific traditions, colors, or cultural symbols from these two places that have influenced your work with natural dyes?

I grew up in a home filled with African art and textiles, and these same elements are visible in my own home today and serve as a source of inspiration. I find great comfort in having them around me, not only because they remind me of my heritage and roots but because I find them to be extremely beautiful and powerful. Our home was a mix of everything, and there really were no rules or distinct style. I believe this sparked my creativity and made me embrace personal style and uniqueness. I feel extremely rich when it comes to culture, growing up in such a diverse home. However, I did not value this as much growing up as I do today as an adult, which led me to seek information on my own. I’m particularly drawn to Bogolan textiles and mineral mud dye and had the privilege and opportunity to study and try the technique during one of Aboubakar Fofana’s classes. If I had access to the materials needed to practice, I’m sure it would be my main technique and influence all of my work.

I have so many questions I want to ask my father about these textiles—he is no longer with us—but I’m connected to him through my creative practice, which is also the reason for using our family name, SACKO, as a way of honoring him.

Photo credit: Mira Wickman

6. As a female entrepreneur in the sustainability and art world, what challenges have you faced, and how do you hope your work inspires other women to pursue their creative passions?

Being a Black woman in Sweden working in fashion, I often struggled with finding a community and someone who looked like me to identify with and look up to. Natural dyes opened up a new world to me, and I was able to find my community online. I’m very grateful for connecting with Cara Marie Piazza, who took me under her wing, mentoring me, and to Botanical Colours for granting me scholarships and being a source of both knowledge and inspiration, as well as a great platform to connect with other creatives from different backgrounds.

I want to encourage women feeling the same way to try reaching out to the people who inspire them the most and build from there. It might not be right in front of you, but it’s out there.

7. Finally, for those of us who are still learning about natural dyeing and sustainability, what advice would you give to individuals or brands seeking to start integrating more mindful and circular practices into their creative work?

I believe the first step would be to research, learn more about these areas, and see what sparks your interest the most. If you have the possibility, join classes to learn more. Collaborate with creatives who are experts in their fields and try to broaden your perspective. There is no quick fix, but rather a slow learning phase that should be implemented over time. My final advice would be to remind yourself that even small steps in the right direction count and, over time, make a difference.

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