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.
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been used for thousands of years by nearly every civilization; however, these days most natural versions have largely been replaced by synthetics.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.
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.
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.
“Craft” might seem like it’s for the amateurs, and “fashion” for the auteurs. Yet we live in an age where creativity and innovation are increasingly found in collaborations between makers and users, crafters and designers, designers and manufacturers, and in the loosening of the boundaries between them. Open sourcing and the emergence of DIY everything (from apps to dresses to education) are THE design stories of the 21st century.
If the philosophers and economists are right, such stories reflect renewed possibilities for building communities, for growing businesses, and for practicing everyday forms of enchantment, ethics, and sustainability. It is time to expand our way of thinking about the relationship between craft and fashion, between the self-made and the ready-to-wear, between fashion as intellectual property and fashion as an open source. What can we learn from the fields of music, product design, and education? Does a backward glance help us see how fashion was at the forefront of these innovations from the start? What is a Vogue pattern if not an open source? What are les petits mains other than artists?
SHIFTING THOUGHTS ON DESIGN, FASHION, COMMUNITY, CRAFT & DIY
Over the four days of New York Design Week (May 19-22, 2012), Alabama Chanin–in collaboration with its fashion and design partners–is organizing a series of talks, workshops, and gatherings with leaders in the fashion, design, and craft/DIY communities. The events bring together a dynamic combination of industry leaders to explore the ways in which the fashion, art, and design worlds are inextricably linked to the world of craft/DIY and how each of these worlds elevates the others. We look to create an intersection–a meeting point–to explore, discuss, and celebrate the role of local production, handmade, and craft/DIY in fashion and design as a way to empower individuals, businesses, and communities.
You know how we at Alabama Chanin feel about open sourcing. We offer our techniques and the information necessary to recreate our products, should you decide that you want to do-it-yourself. After three books, countless DIY Kits, and an amazing array of workshops, we have learned some important things: people will take your ideas and run with them; what you put into the world will come back to you in ways that you never imagined; the world is a creative place; and you never know what people are capable of until you give them the tools and the opportunity to create.
That being said, I think we’ve found a kindred spirit in the musician, Beck. While listening to one of my podcast staples, All Things Considered, I caught an interview where he described his newest album – an album that he, himself, hasn’t actually recorded. Song Reader (published by, awesome, McSweeney’s) is a set of 20 songs that Beck has released only in sheet music format. His hope is that other musicians will take the material and record their own versions. After releasing so many solo albums, he said that crowdsourcing his music seemed like a way to make the process less lonely.
From All Things Considered: “When you write a song and make a recording and put out a record, it’s kind of [like] sending a message in a bottle,” Beck says. “You don’t really get a lot of feedback. This is a way of sending that song out, and you just get literally thousands of bottles sent back to you.”
There are plenty of artists that have taken up this artistic challenge. You can hear many of them at Beck’s Song Reader website. Maybe, you’ll find your own inspiration there.
To hear the entire interview and some of the songs that have been recorded, listen to the All Things Considered segment here.