This take on our Long Fitted Skirt—one of my longtime favorite go-to pieces—is available for a limited time in our DIY Sewing Kit Collection through The School of Making. I own many versions of this skirt in a range of colors and wear them throughout the year, from one season to the next. The Long Fitted Skirt is fitted at the waist and flares to the hem, which has a slight train in the back.
This version is worked in our Anna’s Garden design using negative reverse appliqué with our medium-weight 100% organic cotton jersey—choose your fabric and thread color. This and all of our DIY kits can be personalized to your specific design choices and worked in any technique from our books or Swatch of the Month to embellish. Create your own version using the custom DIY kit.
View all DIY Sewing Kits and purchase your own Anna’s Garden Long Skirt kit here.
There’s a peace that surrounds you when you drive through the gates at Blackberry Farm. The sense of calm grows as you settle in. It’s the kind of feeling that comes from a combination of quiet reflection and good fellowship. The Smoky Mountain setting feels almost magical, but the people at Blackberry Farm are warm, hospitable, and grounding. The 4,200-acre working farm makes an impressive effort to preserve Appalachian foods and culture; the authentic atmosphere and delicious food are enough to make even the most citified visitor feel like a native—if only for a short time.
The School of Making is firmly in place.
2015 Workshops are already in the works.
Our new collection of DIY Kits if being loved (and completed) by many.
The occasional frustration of writing a book is now replaced with the joy and pride of making something new and beautiful.
Now, we can hardly believe that the arrival of Alabama Studio Sewing Patterns is just around the corner.
At almost any workplace, you can hear employees talk about their co-workers with a closeness and familiarity; after years of working alongside one another, your officemates can (in some cases) begin to feel like family. In the past, that has actually been the case here at Alabama Chanin. Studio and dye house directress Diane Hall has worked alongside her daughter—who has also been one of our artisan stitchers. Some of our other artisans have been sisters, mothers and daughters, aunts and nieces, cousins, and almost any other combination of relations. And all these years, it never occurred to me that I would have the opportunity to work with my son, Zachariah, known by everyone here as “Zach.”
The company that has become Alabama Chanin started in New York City, first in Brooklyn Heights and then at the Hotel Chelsea on 23rd street, in a borrowed apartment that was my first hand-sewing studio. The apartment was three rooms and a tiny kitchen. The front room, looking out over 23rd street, housed my bed, ironing board, and sewing center; the middle room was Zach’s. In those early days, he was enlisted to carry wet fabrics to the laundromat around the corner, keep me company on jaunts to the 26th Street Flea Market, and generally assist where needed.
I guess I should have known that he would eventually come to assist me in my design efforts. In fact, at my graduation from the School of Design at North Carolina State University, they asked Zach to stand, as he had completed most of my college education with me. He stood to a round of applause as the youngest “designer” to graduate from the program. (He is blushing as I write this…)
Paul Rand is considered by many to be one of the most significant visual communicators and commercial artists in history. His first book, Thoughts on Design, is one that invigorated the design world and has become a seminal text for design students and professionals. Rand’s simple, straightforward approach to design eventually helped him create some of the most iconic corporate logos, many of which are still in use today (think IBM, the American Broadcasting Company, Westinghouse, and the United Parcel Service).
Rand was just 33 years-of-age, with much of this notable work still ahead of him, when he published Thoughts on Design in 1947. The book is an idealistic, passionate call to arms for designers to integrate form and function. Rand summarizes this simply, saying that design should reflect “the integration of the beautiful and the useful,” and asserts that one’s work “is not good design if it is irrelevant.” Furthermore, he urges designers to create from their singular point of view: “The system that regards aesthetics as irrelevant, which separates the artist from his product… will, in the long run, diminish not only the product but the maker as well.”
Our On Design conversation in December focused on the practice of stenciling—including examples of designs throughout history and various techniques used over time. Stenciling is at the core of our Alabama Chanin collections; currently it is the sole means by which we transfer decorative patterns onto our fabrics. We have explored DIY stenciling in our Studio Book series, and are even offering a one-day workshop on the topic next year.
The use of stencils dates back over 37 thousand years, as evident in Neanderthal cave art found in Spain. These paintings are outlines of hand prints; it is theorized that Prehistoric man or woman would place their hand against the wall, and then blow finely crushed pigment around it. These stencils were accompanied by shapes from the natural world and daily life: animals, hunting scenes, and ritual all figure prominently.
The photo above, by Stephen Alvarez, can be downloaded to use as wallpaper for you desktop here. Link through to see the color version and see more of his caving photos here.
In October of 2014, and as an extension of our Makeshift initiative, we began a new series of events and conversations called On Design. This series explores art, design, makers, relationships, and how those who create can elevate craft in general. Natalie hosted our inaugural event, which was an exploration of the school of Bauhaus and the creative process. While it’s no substitute for being there in person, here are some of Natalie’s thoughts from the presentation. Feel free to share your own thoughts and join the conversation. (And we look forward to seeing you at the next event.)
When making plans to expand The Factory beyond a space used solely for manufacturing, I initially imagined a place for our workshops to be housed along with a kitchen for catering. We now have a beautiful space for working and making, as well as a kitchen that accidentally developed into a weekday, lunch-only café that works in-service to our store and design + manufacturing facility.
This space has further developed into a place for the community to meet over tables and food and design and conversations and (hopefully) more.
I grew up in the community of Central, which is about 10 miles west x northwest of The Factory, as the crow flies. I grew up in a time when there was very little art in the school curriculum, but there was still much making being done in the home. My grandmothers and grandfathers planted gardens, raised cows, put up tomatoes, made bread, tatted lace, and made their environments as beautiful as possible with the resources they had available. This work came to inspire my entire work history and the space known as The Factory today. I always said that I went to the art school of “Pinkie and Blue Boy.” Those were the only paintings that hung in our home as I was growing up. These, along with several other paintings, with names like Tyrolean Hof, and Jesus on the Rock, were always in the background, subtle inspiration for our daily lives.
We began our 2015 Swatch of the Month back in January but neglected to write about the swatch and share pictures here on the Journal. Many of you reached out to let us know that you missed these posts. We heard. We listened. And herewith, our February post (and the slightly late January below).
Here’s what February has in store for me:
February 1 – Super Bowl Sunday. Watch the Puppy Bowl with Maggie instead.
February 2 – Groundhog Day. (Note: Groundhog Day movie marathon on television)
February 3 – Full moon. Literally anything can happen.
February 7 – National Send a Card to a Friend Day
February 14 – Valentine’s Day
February 17 – National Act of Kindness Day. I will buy lunch for some guests at the Factory Café.
February 22 – Downton Abbey finale (It’s a guilty pleasure. No apologies.)
February 24 – Start seeds: broccoli, cauliflower, peas
Make time to begin February’s Swatch of the Month—backstitched reverse appliqué. For a detailed description of this technique, view page 97 of Alabama Studio Sewing + Design.
You can experiment with different versions of reverse applique: traditional reverse appliqué, beaded appliqué, outside reverse appliqué, or any other technique that suits you.
Purchase a membership to our Swatch of the Month club for 2015 here (or start with Swatch of the Month 2014 here).
When we first opened our Building 14 division in July of 2013, we learned quickly that there was still SO MUCH to learn. So, with the concept of The School of Making firmly in place, we began at the beginning to work on a set of finishing examples for our Building 14 machine-made division. Like our Alabama Chanin Library of hand-embellished fabric swatches, this library documents the capabilities of the machines, folders, and attachments we have available in the factory and the endless variations and combinations that create everything from collars to hems and in between.
In 2015, and as we fold our MAKESHIFT programming into The School of Making, we foresee many more conversations about design, fashion, DIY, and community. And, of course, we will continue sharing the evolution of our manufacturing systems—including this new sort of maker’s library—to explore their part in the larger making process.
Photos from Abraham Rowe, Angie Mosier, and Rinne Allen
Part of our A. Chanin collection, the A. Chanin Long Sleeve Cardigan is a must-have piece for cooler weather. Constructed of lightweight cotton rib, the casual cover up is machine sewn and hand dyed here at The Factory.
The Cardigan features raw edge detailing along the placket and hits at the natural waist—accentuating curves. Measures approximately 17 inches from shoulder and is hand dyed to order in Dark Indigo.
Like our other A. Chanin basics, the Long Sleeve Cardigan integrates beautifully with Alabama Chanin garments—layer over the Panel Tunic for a feminine silhouette, or pair with the Daisy Long Skirt to create a classic look.