I met photographer Rinne Allen years ago, through mutual friend Angie Mosier, and have adored her ever since. Her work inspires me over and over again as it is always stunning and captures intimate aspects of life that many overlook.
In 1939, Eugene Von Bruenchenhein met a 19-year-old girl named Eveline Kalke, whom he nicknamed “Marie,” at a state fair in Wisconsin. The two married in 1943, and settled into their daily lives in Milwaukee where Eugene worked as a baker. Unlike most bakers, Eugene spent his free time composing poems on the subjects of love, nature, reincarnation and time travel. He made fantastical paintings of unknown universes, ceramic vases pieced together from dozens of hand-sculpted leaves, towers and thrones fashioned from chicken bones, concrete masks, and perhaps most importantly, elaborately-staged photographs of his wife and muse, Marie.
Belle Adair. Photo: Ashton Lance
Name: Matthew Green
Band: Belle Adair
Instrument(s) you play: Guitar and bass
Place of Birth/Hometown: Muscle Shoals, Alabama
Presently residing: Tuscumbia, Alabama
Ben Sollee recording in the Mosquito Hut. Prospect, Kentucky. 2013. Photo:PMJ
Ben Sollee spent a few days this past summer trying to capture the songs and sounds that influence his life and music. The makeshift recording studio, a small house nestled in a hollow near Prospect, Kentucky, provided the backdrop for the project, a covers record, including songs by Arthur Russell, Otis Redding, Paul Simon, Harry Belafonte, The Zombies, Howard Finster, Bill Monroe, Fiona Apple, Tom Waits, and Gillian Welch. Screened porches, hallways, decks, and living rooms lend their own particular character to the recordings, and the hollow’s voice can be heard throughout: bugs chirp, birds whistle, water flows, and the wind blows. More collaborators than background, the house and hollow provide the listener with a rich audial scenery and shape Sollee’s voice and cello as he seeks to capture his own versions of the songs that have shaped his development as a musician and songwriter.
The Mosquito Hut. Prospect, Kentucky. 2013. Photo: PMJ
October’s Desktop of the Month highlights the detail of a herringbone embroidery stitch along the rib binding of our Basic Tank Dress, featured on page 69 of Alabama Studio Style. The herringbone stitch is an impressive stitch because of the variation created by the small slanted stitches and it has appeared often in our collections. As with all embroidery stitches, the herringbone stitch takes time and patience to perfect (especially when working within the 5/8” space of a rib binding, along the curved edge of a neckline or armhole).
A parallel whipstitch, seen in the photo on our open-felled seams, is another alternative to the herringbone when attaching the binding. You will find other decorative stitches which can be used for bindings and open-felled seams on page 71 of Alabama Studio Style and look to Elegant Stitches by Judith Baker Montano for a wealth of alternatives for both simple and more elaborate embroidery stitches.
This hi-resolution photograph, for use as your computer desktop background, is now available to download from our Resources page.
The photograph above highlights one of the many options available when creating a Custom DIY Kit. There are hundreds of options to choose from, including fabric, colors, thread, stencil, embroidery or treatment, and garment or item. View our Alabama Chanin Custom DIY Guide for ideas to create your own project. Click here to design your own Custom DIY Kit.
OUR DESIGN CHOICES
Garment – Tank Dress from Alabama Studio Style
Fabric weight – 100% organic medium-weight cotton jersey
Fabric color – Faded Leaves
Thread – Slate #26
Rib binding (or stretch) stitch – Herringbone
Seams – Open-felled on right side
We frequently talk about the heirloom aspect of our hand-made clothing, the timeless design and lasting quality that allows for an Alabama Chanin garment to be worn for years and, in some cases, passed along to a younger family member. While we know this to be true, we don’t often have the opportunity to witness a specific garment change and evolve over time. Perhaps a perfect example: my daughter, Maggie has been wearing the above dress for five years (and counting).
The dress was made for her, cut from an oliver + s pattern, when she was a curly headed, cherub faced two year old. Made with our organic cotton jersey in Butter and Natural, the dress has been through about a million washes and worn on too many occasions to count. It’s been stained, ripped, appliquéd (to cover the rips), and dyed blue (to cover the stains). No longer a dress but a summer top, she will not give it up.
I’ve known Heather Ross for almost five years now. We first met in New York, at a show celebrating our collection based on the work of famed Alabama photographer Charles Moore. Heather arrived with my editor, Melanie, and I was bowled over by her beauty AND her spirit. When Alabama Studio Style launched back in 2010, the book went on a wonderful (digital) Blog Tour with a stop by Heather’s blog. The interview that ensued is one of my favorites to date.
Heather Ross is almost universally beloved in the sewing and craft communities. Her designs are whimsical and totally unlike any other options on the bookshelf. She excels when designing and illustrating for textiles and paper, with lines of fabric and stationery; she has also illustrated children’s books and has even worked on a line of surfboards for young girls. She has published a range of books, from the highly popular Weekend Sewing to a children’s book called Crafty Chloe.
We often receive thank you gifts and hand-made cards here at the studio. This enticing stack of books recently arrived from New York, a gift from MAKESHIFT Chair Workshop attendee, Megan Nicolay. Megan works for Workman Publishing, which has put some of our new and old favorite design and cook books on the shelves. Thank you, Megan for this beautiful new library.
Cemetery Shadow, 2012
A few years ago, Walgreens launched a clever promotion for a reusable film camera in a world full of digital devices. The cheap plastic cameras, which retailed for about ten dollars, advertised “free film for life” in big letters. The catch was that you had to have the film processed at Walgreens, but it seemed like an opportunity to Lina Tharsing, a young painter and photographer from Lexington, Kentucky.
Lina Tharsing is best known as a painter but has been making photographs since she was a child. According to Tharsing, “I remember my first roll of film exactly. I was only eleven, and in an effort to amuse a bored child, my mother handed me a camera and told me to go out into the yard and take some pictures. At that moment, my view of the world changed, the lens revealed something my eyes hadn’t seen before. It was the ability to capture a fleeting moment and freeze it forever, to frame a scene.” Tharsing carries a camera with her everywhere she goes in a relentless pursuit of light and a self-described “singular moment where reality and fiction intersect.” She seeks out the brightly lit tree in the middle of a forest or the deep shadow that forms a portal into some other dimension. The resulting images of figures, interiors, suburban scenes, and natural landscapes challenge our perception of truth, offering a composed tension of multiple realities that would otherwise be forever lost.
Portal Light, 2012