I’ve written before about the importance of organic cotton and the residual chemical damage traditional cotton leaves behind in our land and our bodies. As many of you know, we planted and raised our own organic cotton here in Alabama last summer, and every Alabama Chanin product is made with 100% organic cotton. We are a sustainable design company, making as much use of everything we have so that we throw away very, very little. Cotton scraps become pulls for tying hair or curtains, smaller pieces are reworked into something larger. In honor of Earth Day this coming Monday, we’ve taken the EPA Pick 5 challenge to go a little deeper and consider some ways cotton can be reworked into our daily routines.
As readers of our journal, many of you have read about our attempts to grow organic cotton here in Alabama. While researching the process and details of what it means to grow organic cotton, we discovered, to our surprise, that only a small amount of the world’s organic cotton is grown in the United States. We are part of an effort to change that, as are other companies, like Zkano. We must ask the questions – What makes cotton organic? Who makes the rules? And who regulates the whole system?
A food or agricultural product can be labeled as organic, meaning that it was inspected and met the USDA’s established regulations for organic products. Organic products cannot be grown using chemical fertilizers or any type of genetic engineering, among other criteria. The National Organic Program (NOP) oversees all organic crops, including raw cotton fibers. While food crops and products must meet very rigid requirements to be labeled as organic, the same does not hold true for fibers or the products made with those fibers. While the NOP makes rules and manages the process of certifying cotton fiber as organic, it doesn’t make any rules about what happens to the fiber after it has been harvested.
“One has to dream. And one has to stand out from the rest.” – Armi Raita, Marimekko creator
I’ve been wearing Converse sneakers for years. They’re comfortable, durable, inexpensive, and I love them with our hand-stitched garments. Just in case I wasn’t standing out from the rest already, Marimekko + Converse should grab some attention, right?
P.S. Refinery29 is sharing this DIY Missoni-style sneaker project. Make your own DIY Marimekko sneakers?
Last week we wrote about Dust-to-Digital’s Drop on Down in Florida, a 2 CD release highlighting African American music traditions in Florida, paired with a 224-page hardcover book. Dust-to-Digital is a unique recording company: part archivist, part celebrator of cultural artifacts. We will be talking about several of these awesome (by the original definition) releases over the next few weeks.
…i listen to the wind that obliterates my traces: music in vernacular photographs, compiled by Steve Roden, is a 2 CD set and 184-page hardback book exploring an unusual collection of recordings and old photographs related to music.
Writer, artist, and curator Phillip March Jones’s latest book, Points of Departure, is a collection of roadside memorial Polaroids depicting scenes of reality, often stark eulogies on road sides, highways, and Interstates, that we routinely speed pass by in our busy lives. The collection demonstrates an irony between our hurried motion and the absoluteness of departure the memorials commemorate, as if the two, at least at moments, exist in parallel universes.
A busy man himself, Phillip March Jones is the founder of Institute 193 – a non-profit contemporary art space, small-scale publishing house, and cultural centre in Lexington, Kentucky – and the director of the Souls Grown Deep Foundation, committed to raising public awareness of African-American vernacular art of the South. We were able to catch up with Jones for a quick Q&A about his newest book.
Natural dyes have been used for thousands of years by nearly every civilization; however, these days most natural versions have largely been replaced by synthetics. With consumers today demanding to know more about what they wear and where it comes from, there is a resurgence of people who are learning and practicing the art of natural dyeing.
Today, we launch a full range of Natural Dye Organic Cotton Jersey in nine shades, some old, some new, each made with a variety of natural plants and minerals.
From far away, Ghanaian artist El Anatsui’s large-scale artworks take on the appearance of textiles and tapestries with patterns resembling those a master weaver might create. But upon closer inspection, the poignant pieces are actually constructed with simple bottle tops connected by copper wire. Flattened then stitched, their unique assembly allows the works to move, flow, and take almost any shape. They speak volumes about El Anatsui’s education and home.
As a small business with an artisan-based production system, we are aware that Alabama Chanin is unique in the way that we create our products. We would not exist without the skill and hard work of our artisans. Our cottage industry-style method of production is a subject of interest at many trunk shows, workshops, and forums. We are proud of what we have accomplished as a company and proud that we have been able to keep our manufacturing local. We are also excited to see a trend emerging among other small companies: DIY Manufacturing.
We recently learned about the work of Amor Muñoz in a New York Times article. Muñoz creates a specialized form of electronic textile and seeks her workforce by pedaling down the streets of Mexico City shouting through a megaphone. She has created a “maquiladora,” or factory that pays workers roughly the same as American minimum wage – well over the average rate of pay in Mexico. “It’s about community,” Ms. Muñoz said. “I’m interested in sharing the experience of art.” She wants to create art, but she wants to improve the rate of compensation for workers. This strategy runs counteractive to government agents’ strategy of keeping wages low to make Mexico competitive with China when manufacturing contracts are being signed.
Once there was nothing but paper and pen. Not so long ago (a little over a decade), before the email, the text, the tweet, or the Facebook post, there was simply paper and pen.
Think about how special it feels when you get an actual hand-written note in the mail. When you were a child and wrote that super-secret note to your pen pal, covering the envelope in stickers – think of the pure excitement when a response finally arrived. When I was young and corresponded with friends, summer camp bunk-mates, or cousins, I remember watching as they grew and their handwriting changed: a visual representation that we were getting older. As we moved through junior high and high school, the passing of the note in class became high art. As we got older, silly little love notes were left under car windshield wipers, tucked into coat pockets, left on pillows. Some were sappy, some embarrassing, some beautiful – all with one intent: to express affection.
But, at some point we stopped.
This post – part of our new “Real Women” series for 2013 – is dedicated to two of the most “real” women I know: Davia Nelson and Nikki Silva of The Kitchen Sisters. Without their dedication to telling the “real” story, I would not be the designer, or the person, I am today. Lost and Found Sound changed my perception of storytelling in the Autumn of 1994. I remember the first moment I heard their tracks: in the third story of a rented house on a green square in Savannah, Georgia. Boom. Life changed.
Ira Glass said of their work, “The Kitchen Sisters have done some of the best radio stories ever broadcast. I know people who got into radio because they heard Nikki and Davia’s work, and had no idea anybody could do anything like that on the air.”
These women are my heroes. (Along with a slew of others you will meet this year.) They continue their storytelling on real women with their series: The Hidden World of Girls, and a new series entitled: The Making of…
Through a Peabody Award winning Lost and Found Sound broadcast, The Kitchen Sisters spurred my interest in this relatively unknown, yet groundbreaking group of women.
“1000 Beautiful Watts.” This was the slogan for WHER Radio – 1430 on your AM dial in Memphis, Tennessee. In October 1955, Shoals native and founder of Sun Records, Sam Phillips and his wife, Becky, took an original concept and made it reality: an all-female radio station. Though the station wasn’t technically the first female station to exist, it proudly referred to itself as the “First All-Girl Radio Station in the World.” As such, WHER broadcast for 17 years in the Memphis, Tennessee market.