In Closing: The Life and Death of an American Factory, Cathy N. Davidson writes:
“When the last worker passed through the doors of White Furniture Company in May of 1993, hardly anyone beyond the city limits of Mebane, North Carolina, noticed. In national terms, it made little difference that 203 men and women were out of work or that a venerable, family-owned firm (the ‘South’s oldest maker of fine furniture’) had been sold to a conglomerate and now was being shut down. After all, what happened to White’s is hardly unique. In the 1990s, in every walk of life and on all social levels, Americans have had to learn a new vocabulary of economic anxiety – layoff, outsourcing, buyout, off-shoring, downsizing, closing. The statistics are mind-numbing: 70,000 people laid off from General Motors in 1991; 50,000 workers from Sears and 63,000 from IBM in 1993; 40,000 from AT&T in 1996. In these times, why should we care about the closing of one furniture factory in a small southern town?”
Davidson’s text accompanies Bill Bamberger’s photographs, which document the closing of this small American factory and capture the artisans, many of whom were masters of their craft. White’s Furniture Company operated by assembly line, though many of the details were executed by hand. The company was small, almost unknown, but to people in the know, White’s was regarded as one of the highest quality furniture crafters in America. Though Closing was published in 1999, nearly fifteen years ago, the trend of downsizing and outsourcing has continued, and our American factories have all but disappeared. Production, as we well know, has mostly been shipped overseas.
In February, we launched our Basics line of Alabama Chanin garments in clean, unadorned silhouettes: garments for everyday life, to wear with everything. As temperatures climb into the 90’s here in North Alabama, the Basics have found their way into the wardrobe rotation more frequently, particularly the Halter Top.
Hand-stitched in 100% organic cotton medium-weight jersey, the Halter Top (shown here in our color, Denim) is a comfortable slip-on piece with an adjustable tie behind the neck, Cretan stitch finish on the rib, and a tapered, feminine fit through the chest and waist. Top hits at the hip, measuring approximately 23” from the center neckline and 17” from the back to bottom edge.
We love it with our Pleated Skirt or jeans or over a swimsuit on our way to the lake. The Halter Top comes in a variety of lightweight and medium-weight cotton jersey colors.
Wash gently + Hang to dry. Free shipping. Made in the USA.
Regular Price: $145
On Sale Today Only: $120
Growing up in small town Florence, Alabama, a trip into downtown meant a visit to colorful shops, recognized by equally colorful signs. Ye Ole General Store had a block letter, serif-type sign across the entrance way and inside, we could find canteens and hats and overalls for backyard battles and explorations. Next, we’d walk to Court Street and look for the black and orange store front that meant Wilson’s Fabrics. The simple lettering, enhanced by the high contrast color choices, told my grandmother to come right in – the “Tall Man with the Low Prices” had just the cotton and muslin she needed. Finally, the best part of our trip was our visit to Trowbridge’s for hot dogs and milk shakes. The hand painted awning, with its swirling cursive script, told us we were headed in the right direction. The front window advertises: SANDWICHES, ICE CREAM, SUNDAES. We would slide into a booth and look at the hand-painted menu hanging behind the ice cream counter. That beautiful menu is still there today, challenging me to choose between the hot dog and the chicken salad sandwich. I think the town would riot if it were ever taken down.
This sentimental love I have for hand painted signs was rejuvenated when friend and fellow maker, Faythe Levine, and her co-writer Sam Macon published Sign Painters. This book chronicles the histories and modern-day stories of sign painters. In the 1980’s and 90’s, the art of painting signs became doomed to obscurity, or worse -extinction- with the invention and widespread use of vinyl lettering and digital design. In today’s world, full of Adobe software and inflatable dancing tube men, it is hard to remember that every grocery store sale sign, billboard, storefront, and banner was once carefully designed and painted by hand.
May all your dreams come true…
xo Natalie and all of us @ Alabama Chanin
P.S.: Belt buckle, pants, and shirt thanks to Neilan Tyree
In honor of Independence Day, we chose stars from our Indigo American Flag quilt for July’s Desktop of the Month. The variations of our natural dyed Indigo fabric mirror the diversity that defines our nation and its origins.
This photo displays the intricate stitching and details of each appliquéd star, plus the natural color changes of our Indigo organic cotton jersey. The shades of Indigo vary from piece-to-piece, giving the quilt – and this photograph – depth. View the entire quilt here, or the more traditional version here.
This hi-resolution photograph, for use as your computer desktop background, is now available to download from our Resources page.
We’ve written about our friend Phillip March Jones on our journal before – we carry his newest publication, Points of Departure, in our online store. Institute 193 in Lexington, Kentucky, is his gallery, a music venue, and multi-faceted publisher, which recently released a compilation of recordings from artists who have performed in the space. Phillip joins us as a contributor to the journal, with an introduction to 193 SOUND.
Sound is a mechanical wave that is an oscillation of pressure transmitted through a solid, liquid, or gas, composed of frequencies within the range of hearing. 193 SOUND is a collection of musical sounds: continuous, regular, and in this case, site-specific vibrations that tell the story of our small space, Institute 193, in Lexington, Kentucky. This compilation records the artists, performers, musicians, and general sound-makers who have emitted, transmitted, and radiated their own SOUNDS from within our walls and that now travel into your range of hearing.
Institute 193, a project I began in October 2009, is a non-profit contemporary art space and publisher that collaborates with artists, musicians, and writers to document the cultural production of the modern South. We produce exhibitions, books, and records with the goal of unearthing significant ideas from the region and sharing them with the world. Institute 193 engages and directs, steering and shaping projects into reality without sanitizing the vision of the artist.
“A Carafe, that is a blind glass.
A kind in glass and a cousin, a spectacle and nothing strange a simple hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.”
This is how Gertrude Stein begins her Cubist experiment in verse. Tender Buttons, Objects has been called a masterpiece, a failure, confusing, nonsense, and a beautiful collage. It has been supposed a practical joke, too obscure to have real meaning, or too meaningful to describe (the last presumably said by an unenthusiastic poetry student).
Most of us don’t really think about color, or what color is or how it’s made, and yet our entire day is filled with too many shades to count or record. In Victoria Finlay’s 2002 book, Color: A Natural History of the Palette, she writes, “the first challenge in writing about colors is that they don’t really exist. Or rather they do exist, but only because our minds create them as an interpretation of vibrations that are happening around us.”
This leaves quite a bit of objective opinion about color, much of it based on what we are physiologically able to absorb and interpret. The human eye perceives color in different ways, often depending on how light affects the color we are observing. We’ve all witnessed the changing shades of green in the trees or greys and reds on the buildings around us from dawn to dusk as the temperature and quality of light shifts throughout the day. Each person sees color in different ways, notices subtle differences, and has a biased personal interpretation of color. Isn’t one of the first things we learn to answer about ourselves as children, what’s your favorite color?