Seasonal Profile: Fall Foliage

Plant Spotlight

Oak - Quercus sp.

The oak is the backbone of the Portuguese forest. Several native species, such as Quercus suber (Cork Oak), Q. ilex(Holm Oak), and Q. faginea (Portuguese Oak), are endemic to Portugal, supporting countless insects, birds, and mammals. The most famous oak in Portugal is Q. suber - whose outer bark is harvested for cork. Though there are many more introduced species, including Q. Negral which is one of my favorite for printing. Oaks contain strong tannins that produce rich browns and dark grey-blues in the dye pot. Their fallen leaves, acorns, gallnuts and bark all carry potential for natural color. Not all oaks lose their leaves in the autumn, but my favorite ones to print with all naturally shed their leaves.

Liquidambar (Liquidambar styraciflua)

Originally from North America, liquidambar has become a beloved ornamental tree across Portugal, especially in public gardens and boulevards. Its star-shaped leaves blaze through shades of yellow, orange, and red in the Fall and is often mistaken for a Canadian maple. Distinguish between the two by the seedpods - maples will always have flat 'helicopter' seeds while liquidambars form spikey balls for their seeds. Regardless of the color on the surface of the leaves, Liquidambar foliage will leave the same strong prints.

Walnut (Juglans regia and J. nigra)

Common walnut (J. regia) was introduced by the Romans, while black walnut (J. nigra) came later from North America and is extremely rare in Portugal. The leaves of both are incredibly detailed printers and the husks of black walnut are among the most permanent of natural dyes. In Portugal, common walnut trees are extremely easy to find, growing well in valleys, near riverbanks, and large gardens. For Juglans Nigra I have found only one tree that is accessible in public space. Leaves, walnut husks, and shells can all be used in the dye studio. The smell of fermenting black walnut husks marks the true start of fall production in the studio.

Tree of Heaven (Ailanthus altissima)

Ailanthus arrived in Europe as an ornamental curiosity planted in aristocratic gardens, valued for its tropical look and fast growth. Today, it’s known for its invasiveness and its uncanny ability to thrive in neglected spaces. It grows through cracks, behind walls, and in empty lots - almost nothing will kill it and cutting it down challenges it to grow back even stronger. Once celebrated, now reviled, it reminds me of how labels shift with human perspective and makes me reflect on how the most threatening tree to the native landscape is barely on people's radars. In the studio, the large-format foliage gives dramatic detailed prints.

Pomegranate (Punica granatum)

I use pomegranate skins for dyeing olive greens in the Fall collection. The plant is native to regions stretching from Iran to the Mediterranean, pomegranate has long been part of Portuguese rural life, planted in home gardens for its fruit and beauty. The prized fruit is of no use to the natural dyer, where the pinks will quickly fade to grey in the sun. Instead, it's the tannin-rich skins that produce warm yellows, soft browns, and olive greens. For my practice, I collect a large amount of pomegranate skins from the fresh juice machines of my local supermarket and forage directly from the ornamental pomegranate trees that produce small fruit that is mostly rind.

Concept and Inspiration

Autumn is a lesson in generosity and timing. The trees shed what they no longer need, leaving behind an abundance of leaves and showing a perfect embodiment that the planet is designed to give - we just need to wait for the right moment. This natural cycle of release and renewal reminds me that working in collaboration with the landscape means learning when to take and when to wait. States of abundance happen when the right conditions are set and consumption can be sustainable when part of a cycle of shedding and regrowth.

Consumption is not inherently bad, we all need inputs to survive. When consumption is designed to align with natural cycles of excess production or shedding there is no depleting energy or resources. Naturally, I take advantage of these freely given leaves that the tree looses in the Fall. Some come from native trees, others from introduced species. Each has its own story in the Portuguese landscape, from keystone to problematic species, but they all have the commonality that come winter they will have naturally shed their leaves.

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