Previously, I shared the story of my first encounter with Jill Dumain of Patagonia. Meeting Jill and hearing her speak not only opened my eyes to the good work that company was going; it opened my eyes to what is possible. Years of conversation finally resulted in a collaboration between Alabama Chanin and Patagonia, as part of their Truth to Materials initiative. By repurposing garments that have reached the end of their lives into new products—Reclaimed Down Scarves—we create a new product, with a life cycle of its own. We recently had the chance to speak with Jill Dumain about this project and about Patagonia as a company, and she generously took the time to answer some questions.
AC: Your title at Patagonia is Director of Environmental Analysis. That sounds like a pretty expansive area of oversight. How would you describe your primary responsibilities? What issues that you address are nearest to your heart?
Jill Dumain: Yes, it is certainly an expansive area, and that can be a little daunting at times. I think what also makes it especially daunting is that people look to Patagonia to see what we’ll do next. It’s a challenge and an opportunity to meet that expectation. I, personally, look at what we do from a business standpoint and examine how we can be doing better from an environmental perspective. It runs the gamut from evaluating new carpet to bioswale installations to new products to communication on our website. But for me, it’s really about how I do my job and empower people at the same time. I look for the projects that “teach people to fish” versus just giving people fish. It’s thrilling when I’m able to encourage my colleagues and get them excited about bringing environmental work into their lives. It’s good for the company. It spreads knowledge throughout the ranks and gets the greater Patagonia family involved in the process, not just my team. And they’ve really become experts in their areas. We recently switched our catalogue to be printed on 100% recycled content, and that decision came from within our creative department. It’s a huge win to see it work that way!
Quite a few years ago, I loaded up the car with scissors, needles, and an array of other sewing supplies and took a trip with a group of friends and fellow stitchers to a women’s prison facility (at their invitation, of course). My friend Kyes had organized this meeting in the hopes of developing a program within our Alabama Prison system for training life and job skills. The scissors wound up staying in the car for security reasons, but the experience was life changing. The intent of the day was to show these women—on their way out of prison and back into the “real” world—how to hand stitch and work together. We wanted to help them see that they could make something beautiful with their own two hands and, at the same time, perhaps challenge all of our preconceived notions about our neighbors and the world at large. It’s fair to say that I walked away from that day and the experience a different person. At that point, I’d begun to realize that education was going to be an important element in the life of my company. I wanted to help others understand how essential “living arts” are—and what it would mean if we lost connection to those skills and our shared history.
Slowly, Alabama Chanin added stitching workshops to our traveling trunk shows. We scheduled intimate one-off events that were as much about storytelling as they were stitching (as Blair Hobbs famously exemplified with her “granny panties” story years ago). We were creating a community through making. It was happening. And so we committed to this enterprise of creating communities for makers, of building workshops both here at The Factory and across the globe. Alabama Chanin and our customers have become part of one another’s lives in ways I never imagined; we’ve made lifelong friends, helped create wedding gowns, hosted classrooms of college students, and traveled across the country. I’ve met some of my personal heroes through sharing ideas on making and sustainability.
Newsletter #21 features our upcoming Sample Sale beginning on Tuesday, October 7, both in-store at The Factory and online. On October 10, Drew Robinson and Nicholas Pihakis of Jim ‘N Nick’s Bar-B-Q join us for our fourth and final “Friends of the Café” Dinner of the year. The dinner is a fundraiser for the Fatback Collective’s “Fatback Fund.”
October 13 launches the Makeshift: On Design series at The Factory. Our first event will feature a presentation by Natalie titled “The School of Bauhaus + Creative Process”. The newest Alabama Chanin collection launches October 14 and will feature new designs, stencils, and colors.
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xoNatalie and all of us @ Alabama Chanin
Through our Journal’s Heirloom series, we’ve been exploring the things we value and why we hold them dear. Each story reveals the value of tradition and honors possessions that were made to last. While these items may not be valuable to the world-at-large, to the owner they are priceless.
This week, Kasey, our Production Coordinator for the Alabama Chanin collection shares memories of the clock she inherited from her grandmother.
My grandmother, Peggy Louise, was a mother of 6, grandmother of 14, and great-grandmother of 17 – and she somehow knew how to make each of us feel special. The time we spent together was filled with food, stories, and – above all – laughter.
New season = new colors.
For a limited time, we are offering our new (bright) autumn colors bundled together in one yard cuts. This fabric stack includes one yard lengths, each, of Dusk, Gold, Persimmon, Autumn, Wine, and Teal.
Our medium-weight 100% organic cotton jersey is 56” wide, made in the USA from domestically grown organic cotton, and comes to you pre-shrunk and ready-to-use.
Enjoy free shipping on orders over $300.
The October Swatch of the Month highlights one of our most popular embroidery treatments—Alabama Fur. The technique, first presented in Alabama Studio Sewing + Design, combines our Spiral stencil with backstitch-worked embroidery floss, and incorporating exposed knots and tails. Simple, yet time consuming, the end result is a hypnotic continuation of curves that is both a beauty to behold and touch (the texture is irresistible).
To create the swatch, begin by stenciling the design to the top layer of fabric using your transfer method of choice. (The Spirals stencil is available for download from our Resources page.)
Align your top and backing layers of fabric, with right sides up and pin together. Using four strands of embroidery floss (or two strands doubled) thread your needle. When you knot off, use a double knot and make sure to leave a 1” tail of floss (note that this tail is longer than we use when working with Button Craft thread, for effect).
Join us at The Factory on October 10th for the last “Friends of the Café” Dinner of the year, a fundraiser for the Fatback Collective’s Fatback Fund, featuring Drew Robinson and Nicholas Pihakis of Jim ‘N Nick’s Bar-B-Q.
The evening will include cocktails and a four-course meal with craft beer pairings. The menu features regionally and sustainably-sourced fare, like Pickled Gulf Shrimp, Fatback Pig Project Porchetta and White Oak Pastures Guinea Hens with vegetables from the Jones Valley Teaching Farm.
Friday, October 10, 2014 6:30 Cocktails 7:30 Dinner
$88 per person (includes drinks and dinner) Purchase tickets here. Pre-paid reservations must be made in advance online or in-store. Casual attire
Alabama Chanin @ The Factory 462 Lane Drive Florence, AL 35630
For more information, contact Alabama Chanin: +1.256.760.1090
Eight years ago, and three months after Maggie was born, I stood in the wings on a stage in New York City, waiting to go on and tell the story of Alabama Chanin. I was nervous and jittery, waiting my turn while a woman named Jill Dumain talked about the sustainability work of the company she had worked with for over a decade. It was an unexpected life-changing moment. Instead of thinking and preparing for my own talk, I got carried away by the story of Patagonia and their mission. I had always been a fan, but that day I became a devotee.
My own talk on that massive stage paled in comparison to the sharp wit and factual detail that Jill Dumain offered—the same determination that she brings daily to the job she loves. Jill and I became friends over the course of that weekend, and we stayed in touch over the following years. Two years ago, she emailed me about the possibility of collaborating on a project using Patagonia down jackets that had reached their end-of-life. The “dogs” she called them: jackets that really couldn’t be recycled as usable garments. They were garments with beautiful stories, jackets that may have been down and/or up mountains, weathered many a winter with their wearer, and come to a final resting place in a warehouse. You see, Patagonia takes responsibility for every garment they make—from design to discard method, they are involved.
Any garment you purchase from Patagonia can be returned to Patagonia—at the beginning of its life or at the end of its life. Over the years, the company goal is to extend the life of a garment through good design and great materials, as detailed in their Worn Wear stories. At the same time, Patagonia has implemented buy-back programs for used garments in good condition and have offered initiatives like the Common Threads Partnership that repair garments, extending their lives beyond one user. Their newest initiative, Truth to Materials, is the culmination of this work towards Cradle-to-Cradle design and manufacturing. The ultimate goal is for every product to reflect sustainability from the beginning of life as a raw material, through design, manufacturing, active life, and end-of-life processes. Garments that have reached the end of their lives become an active part of the environment through composting or upcycling into a new form, like our reclaimed down scarves.
I picked up the TIME magazine pictured above at an airport kiosk some time ago. While traveling that day, I lingered over this inspiring—and disturbing—story about Kym Worthy. It is true that some leaders find their calling early and some crusaders know their mission almost from birth. Others come to leadership by accident or they pick up the mantle of responsibility simply because no one else will. Perhaps Kym Worthy falls more into the latter group, but she is no less driven because of it. In fact, she is an example of how one person can have a massive impact on the life of another person, a community, and a national conversation.
In 2009, Detroit Assistant Prosecutor Robert Spada discovered over 11,000 unprocessed rape kits in an abandoned Detroit police warehouse. As Michigan’s Wayne County prosecutor, Kym Worthy couldn’t help but be shocked by this discovery. As she told Katie Couric, “These [rape kits] were women’s lives. They go through this examination thinking that this evidence was going to help find their perpetrator. And it’s sitting on a shelf, gathering dust. And this was their life—and nobody cared.”
Since that discovery, Worthy—herself a survivor of rape—has made national headlines for her work, bringing attention to the nationwide backlog of untested rape kits. She has worked at the local and national level to fight for funding to have the kits tested, eventually receiving a $1 million federal grant to begin testing Detroit’s massive backlog. Worthy said that she and her team had to literally dust off the kits, physically open and inventory each one to collect victim information. The statute of limitations on many of the cases had long since passed. Still, Worthy’s team manually cross-referenced the kits with police reports and incomplete investigations. DNA evidence is only one component of any case—and each of these cases had to be re-established and reinvestigated (or, sadly, investigated for the first time).