Our Camisole Dress from Alabama Studio Style is highlighted in a video class on Traditional Appliqué at Creativebug.com. You fill find the pattern sheet for this dress at the back of the book and can follow along step-by-step with our instructions on Creativebug. We now offer this project as a DIY Kit from our online store and all the supplies we used are listed below.
Creativebug is a subscription service and just in time for the holidays has gift subscriptions available starting at $24.99 for a month. I love this as a gift for my crafting friends as there are so many great classes available for the holiday season.
About our appliqué class from the Creativebug website:
“Appliqué is beautiful way to add texture, pattern and color to a project. Natalie uses applique to stunning effect in her Alabama Chanin collection, and in this workshop, she’ll share with you her basic technique. She’ll also show examples of how using different stitches and thread result in dramatically different finished looks.”
Our camisole dress is shown in Apple (double-layer) with Anna’s Garden appliqué in Natural placed around the bottom of the dress . The appliqué is sewn with a whipstitch with a single layer of Cream #256 Button Craft thread. We used Red #128 Button Craft thread for construction of the dress and also for the Cretan stitch along the binding. Seams are felled on the wrong side (inside of the garment).
September’s Desktop of the Month features our Anna’s Garden pattern worked with an appliqué technique.
Create your own Studio Style garment using these techniques with our Anna’s Garden stencil, our Dove and Dark Grey 100% organic medium-weight cotton jersey fabrics, and the help of our Studio Books. Notions and other necessities for our DIY projects can be found under the Fabric + Sewing tab of our website.
This hi-resolution photograph is for use as your computer desktop background and is now available to download on our Resources page.
Continuing our conversation around design, craft and fashion, this week we present a Tracy Reese pattern from Vogue Designer Patterns for DIY Thursday. In all my years as a designer, I have not had the chance to meet Tracy, although I have been familiar with her work since the launch of her collection in the mid-1990s. At that time, I was working as a stylist in Europe and spent much of my time in boutiques, reading fashion magazines, and working with clients.
In an effort to understand Tracy Reese’s philosophy, we reached out to her press office for information and received a note stating that they could “not provide any information at this time.” However, this is what I found on the CFDA website:
“Detroit native Tracy Reese is a graduate of Parsons School of Design. Reese apprenticed under designer Martin Sitbon and worked as design director for Women’s Portfolios at Perry Ellis before launching her eponymous collection in 1996. The collection blends the ultra-feminine and nostalgic with modern polish. plenty by Tracy Reese, was introduced in 1998, after a trip to India provided endless inspiration. A joyful color palette, art-inspired prints and playful details are seen on essentials with a bohemian spirit. With flagships in Manhattan and Tokyo, the Tracy Reese and plenty brands have expanded to include footwear, handbags and home goods.”
Martine Stibon remains one of my all-time favorite designers and I used those pieces often during my days as a stylist. I do love the dress that emerged using our organic lightweight cotton jersey fabric with Tracy Reece’s pattern.
Crocheting was one of my first creative outlets, once I felt the distinct urge to make. When I had a crochet hook in hand, making hats, scarves, bags, whatever I might need, the process came to me like second nature. Often, I couldn’t find patterns to fit what I needed so I ended up making them myself, using trial and error. When Natalie asked me to review the book, So Pretty! Crochet! Inspiration and Instructions for 24 Stylish Projects, I was hesitant; I felt like I had already seen every book and pattern on the market. For me, crochet books rarely used the right kind of yarn, they were at times overly wordy, the photos weren’t always helpful, the patterns were sometimes hard to read, etc. As you can tell, I’m a harsh critic when it comes to this type of book.
However, as I scanned through the pages of So Pretty! Crochet, I felt inspired. We adapted a pattern from this book to make the nesting bowls found on page 115. Instead of using the cotton yarn they suggest, we made our own yarn out of ½ inch strips of the organic cotton jersey fabric that we use to make our yarn balls. The bowls seemed a unique use for our scrap materials. The instructions in the book are easy to follow and exact, when using yarn. Our sizing is slightly different because we used cotton jersey rope rather than cotton yarn, but it doesn’t cause much of a problem. I used the size crochet hook they suggested, but you may want to experiment to see which size hook works best for you.
A helpful resource for your sewing box or design studio. The book categorizes many types of needles: bodkins, embroidery, quilting, sharps, and more.
With another Studio Weekend under our belt, we are happy to begin the work week with new friends, ideas, and projects.
In January, we began a conversation about the intersection of Fashion, Craft, and DIY. That dialogue started with our friends at Vena Cava and progressed to our Makeshift events, and continues with adapting patterns from designers like Anna Sui and Donna Karan (one of my personal favorites that I wear often). This week we extend the conversation with a collaboration and pattern from textile designer Anna Maria Horner.
Below are instructions for Alabama Chanin’s basic version of Anna Maria’s dress pattern in Light Golden and Goldenrod, the newest colors in our hand-dyed, cotton jersey fabric collection. These fabric colors, like our Indigo and Coral, are hand-dyed in Nashville, Tennessee, using the osage orange wood and myrobalan fruit in varying amounts to create variation in shades.
When working on a new collection, part of the design process involves creating fabric swatches in various colorways and patterns, and using an assortment of embellishment techniques. These “samples” help us quickly and sustainably choose the perfect finish for our garments.
I’ve written before about our Sample Block library and swatches as part of a sustainable design practice. Unfortunately, not all created swatches make their way into the final collection and library. Subtle changes might happen in the design process or a color dropped from the line altogether. However, these swatches are all beautiful in their own right. A stunning way to display them (rather than having them collect on my desk) is to incorporate these swatches into a Sampler Block Shawl, modeled after the Sample Block Quilt.
The 10” x 16” dimension is based on the size of the binders we use to store our fabric blocks. You can use any dimension of fabric block you’d prefer by cutting organic cotton jersey to your desired size.
Alabama Chanin is a celebration of deep Southern roots merged with contemporary style. As a company, we strive to connect to those roots by integrating age-old skills and techniques into our current work. Along the way, we have made new connections, created relationships with friends and pieces that play a role in our story. There are those that have been with us from the beginning and others that have come and gone, but one thing remains constant, they stay with us through memories.
We have the ability to link objects and feelings to those memories; a lifetime of emotion can be evoked from a single touch or sighting. Maybe your grandmother’s wood-handled kitchen knife brings back memories of your education in chopping vegetables without losing a finger. Or perhaps your mother’s overflowing recipe book holds all of the secrets needed to prepare for your very first dinner party. The rocking chair you built with your grandfather holds a feeling of accomplishment within its structure.
We will host our first One-Day Retreat of the fall season in New York’s beautiful Hudson Valley on Sunday, September 16th. Our day will be spent in a restored nineteenth century factory and will feature local food from Barbara Goldstein of Blima’s.
We were able to talk to friend Melissa Auf der Maur from Basilica to find out a little more about the history of the space, future plans for the center, and where to spend the rest of our weekend in the Hudson Valley.
Below we share what learned – which includes lessons on historic preservation and roof gardens.