Passion. It takes passion to make a difference. When you truly want something, you find a way to make it happen, naysayers be damned. In the moments when it seems your project is doomed for failure, you carry on. You learn to ask for help and to count your blessings. Our organic Alabama cotton is a story of passion.
Our company is built on the concepts of sustainability, ethical production, and using American-made and local resources. Organic materials are an integral part of our mission and our goals. Though sourcing organic materials is easier than when we began working over a decade ago, it is still difficult to obtain American-made organic materials in the quantity that we require.
It’s no secret that we at Alabama Chanin have long been admirers of Heath Ceramics – their work, their approach to responsible manufacturing, and their embrace of beautiful, sustainable design sets them apart from so many companies today. We have also been honored (and excited) to collaborate with them on several projects, including a line of dinnerware, the MAKESHIFT conversations, and most recently, two clocks designed to celebrate the 10 year ownership of the company by friends Cathy Bailey and Robin Petrovic.
Edith Heath originally founded Heath Ceramics in Sausalito, California, in 1948. She was an accomplished ceramist who cared deeply for the craft and believed in the importance of using quality materials. She grew up in rural Iowa during the Great Depression, which made her a natural conservator. In the late 1930s she worked with Bauhaus artist Laszlo Moholy-Nagy, which influenced her design aesthetic. Heath searched constantly to source the right materials and experimented for years to find the best techniques and glazes; she was once quoted as saying that she wanted to use clay that had “character” and “guts”.
Edith’s attempts to adapt her hand-thrown techniques using industrial production methods were met with controversy. She was told that machine-produced items didn’t qualify as “craft,” which prompted her to respond, “The machine doesn’t decide what the shape is going to be; a human being has to decide that… Just because you make it by hand doesn’t make it good, or a work of art.”
Last year, I was introduced to Inez Holden over a glass of dry white wine at a fundraising event in our community. Mrs. Holden’s story, told with humor and passion, reminded me that the fashion industry runs deep here in our community. Before Alabama Chanin and Billy Reid, there was Bubbles Ltd.
As Alabama Chanin continues to explore the world of machine-made fashion with our new line and manufacturing division, A. Chanin and Building 14, respectively, Mrs. Holden reminded me that we humbly follow in a line of companies that completely designed and manufactured a fashion line in The Shoals and the surrounding area.
We’ve previously spoken about the rich history of textile production in our community and some of the local manufacturers who led the nation in textile and t-shirt production, but we were excited to discover Bubbles Ltd.
Around 1983, Mrs. Holden got her start as a designer quite by accident. She bought an oversized top and banded bottom pant that she loved the style and fit of, but the material was very rough and scratchy. So, she asked a friend of hers to help her make more sets in a similar style, but out of jersey fabric. She had about five sets of these pantsuits made in different colors, but kept giving them away because so many of her friends and family wanted them.
Maria Popova is the founder of Brain Pickings, a website designed to introduce you to a broad variety of subjects that feed one’s mind and inspire creativity. Since founding Brain Pickings, Maria has spent countless hours researching and writing – hours that have taught her many life lessons. In honor of the website’s 7th birthday last fall, she was generous enough to share 7 things she learned from those 7 years of reading, writing, and living.
The 7 Lessons:
- Allow yourself the uncomfortable luxury of changing your mind.
- Do nothing out of guilt, or for prestige, status, money or approval alone.
- Be generous with your time and your resources and with giving credit and, especially, with your words.
- Build pockets of stillness into your life.
- Maya Angelou famously said, ‘When people tell you who they are, believe them’. But even more importantly, when people try to tell you who you are, don’t believe them.
- Presence is far more intricate and rewarding an art than productivity. As Annie Dillard memorably put it, “how we spend our days is, of course, how we spend our lives.”
- Debbie Millman captures our modern predicament beautifully: “Expect anything worthwhile to take a long time.”
We often speak about our home, our state, and our community that provides an incredible amount of inspiration for our work. We are not alone: friend and occasional collaborator, Billy Reid, also headquarters in the same community. It has been mentioned (and is remarkable) that Alabama has the third largest membership in the Council of Fashion Designers of America (CFDA), numbering at two; we rank just behind New York and California. And just as there is a rich history of textile production in our community, there is a somewhat unknown or unrecognized group of designers that have emerged from our home state.
I have done a bit of traveling and it has been my lifelong habit to observe local fashion trends – what crosses regional boundaries or doesn’t, what I predict will be a passing fad, and what has become a mainstay. In the last couple of years, it has become evident that tweed is reappearing in a big way all across the globe. Years ago, it was considered by many to be an old man’s fabric, representative of a stuffy, moneyed culture. It is refreshing to see that contemporary designers and connoisseurs have adopted tweed and added modern styling touches. Tweed is timeless. And today, certain varieties of tweed are still hand woven by individual artisans in their own homes; a skill that is reminiscent of our own artisans.
Tweed was first crafted in Scotland and Ireland in the 1700s; a coarse cloth woven from virgin wool, it is naturally wind and water resistant and well suited for the local farmers working in damp, cold climates. In fact, surplus cloth was often traded among farmers and workmen – becoming a form of currency in the Scottish Isles; it was not uncommon for islanders to pay rent in tweed blankets or bolts of cloth. There are a remarkable number of types and classifications of tweed. There are clan tartan tweeds, which are used to identify members of a specific family, and estate tweeds, which were used to denote people who lived and worked on an individual estate. Some tweeds are named for the type of sheep who produced their wool (like Cheviot or Shetland); others denote their region of origin (Donegal or Saxony). There are also brand names of tweed – such as Pendleton Woolen Mills and Harris Tweed (the latter being one of the most well-known).
The process of starting our own dye house began with an exploration into the materials and methods that involve the chemistry of dyeing. That exploration began with indigo.
In its natural form, indigo is a tropical, leafy shrub and a member of the legume family, and a version of the plant is native to our own Alabama climate. The wide range of blue shades that this ancient plant can produce as a dye has made it one of the most popular (and successful) dye plants throughout history (and present day).
Alabama Chanin has experimented with indigo and other natural dyes for years, and recently set up two dye vats in-house, that we can better produce our classic Indigo colors here at The Factory. Diane, our head seamstress (and now head dye master), is overseeing the project with the assistance of Maggie, one of our studio team members. The vats were set up with the help of Zee Boudreaux — a friend we met during our time at Penland — who has spent time studying indigo and other natural dyes.
Zee worked here in our studio with Diane and Maggie during our beginning phase and generously answered a few questions for us about indigo and his experiences with natural dyeing.
AC: How did you first become involved with natural dyes?
ZB: In 1995, I was traveling and met a weaver/dyer who introduced me to textiles; she wasn’t using natural dyes, but my established environmental awareness and love for traditional processes led me to look for a natural dye class. I found natural dyer Cheryl Kolander and attended one of her workshops. I even apprenticed with Cheryl after the workshop. Seeing natural color come out of the dye pot for the first time was all it took to lead me down this path.
Garden & Gun magazine, in partnership with the Savannah College of Art and Design, has launched their fifth annual Made in the South Awards.
The awards are split into five categories: Food, Drink, Style + Design, Outdoors, and Home.
Entries for Southern-made products are being accepted through August 1, 2014.
Natalie will be judging the Style + Design category. Stay tuned for more information soon… (and good luck).
About four years ago (to my dismay), Diane Hall, our head seamstress and studio directress, turned in her five-year notice. However, as her retirement grows closer, it has become evident to all of us at the studio that we will continue to see her around The Factory after her “official” retirement.
Diane has developed a passion for natural dyeing—in addition to sewing, pattern making, etc. She first encountered natural dyeing with indigo during our workshop at Shakerag in 2012. Her experience there with the renowned dyer Michel Garcia left a lasting impression. Last summer, while our entire company was writing a 10 year vision, Diane wrote that she envisioned a natural dye house here at The Factory and volunteered herself as the head dye master after her retirement.
After that simple act of writing our vision, the dye house miraculously began to take shape.
Each month, we feature a favorite Alabama Chanin embroidery technique as part of our Swatch of the Month Club. Additionally, we offer suggestions as to how you might put your completed swatches to use. Past month’s project offerings have included the DIY Clutch, DIY Book Covers, and DIY Swatch Pillows. This month – with 6 completed swatches to utilize – we offer instructions on how to construct a Tied Wrap. Our wrap uses our completed swatches from January through June; each reworked using a White/Natural colorway.
6 completed Swatch of the Month panels (or 6 – 10” x 16” cotton jersey fabric swatches of your choice)
1 – 20” x 48” rectangle of cotton jersey fabric, for optional backing layer
2 cotton jersey ropes 18” long (see page 8 of Alabama Studio Sewing + Design)
Basic sewing supplies: scissors, needles, thread, pins, and Alabama Studio Sewing + Design, which includes all necessary instructions for completing swatches and Tied Wrap.