Thanks to Ari Weinzweig at Zingerman’s, I have been working on a “Vision of Greatness” for Alabama Chanin over the last few months (well, closer to a year to be more exact). However, over the last few weeks, I feel that I made real progress and worked out a growth chart and mission statement that is a good fit for both me and for our staff (more on that soon). Part of our Alabama Chanin growth mission includes committing ourselves to education on all levels and to finding even more ways to give back to our community.
Last month, we found a company – just around the corner from our own factory – who is doing just that.
Featured in our Mother’s Day 2012 Gift Guide, our Studio Design Gift Set is the newest, most comprehensive kit in our DIY store. The gift set has everything needed to start a home design studio- or to add the best tools and supplies to an already existing studio.
I’ve been trying my hand at making the perfect Old-Fashioned Cocktail for our Visiting Artist Series tomorrow evening, and my friend Angie Mosier suggested that I try The Julian, Julian Van Winkle’s version of the Old Fashioned. Created by Sean Brock at HUSK in Charleston, South Carolina, the drink highlights the – now famous – bourbon founded by Julian Van Winkle’s grandfather, “Pappy” Van Winkle. Pappy started his family business in the 1870’s and was the creator of their original wheated bourbon recipes that are still used and aged today.
The Old-Fashioned happens to be Faythe Levine’s drink of choice, so I thought – what better time to showcase my new-found knowledge on homemade bitters and use the Van Winkle Special Reserve Bourbon so graciously sent to us by Julian at the Old Rip Van Winkle Distillery in Frankfort, Kentucky.
Excerpt from *blue highways*
– William Least Heat Moon –
(Lovingly translated to typewriter by my friend Jeff)
“I drove onto the Natchez Trace Parkway, a two lane running from Natchez to near Nashville, which follows a five hundred mile trail first opened by buffalo and Indians. Chickasaws called it the Peace Path. In 1810 th Trace was the main route for Ohio Valley traders who rather than fight the Mississippi currents, sold their flatboats for scrap in Natchez and walked home on the Trace. The poor sometimes traveled by a method called *ride and tie* two men would buy a mule, one would ride until noon, then tie the animal to a tree and walk until his partner behind him caught up on the jack that evening. By mid-century, steamboats made the arduous and dangerous trek unnecessary, and the Trace disappeared in the trees. Continue reading
In anticipation of our Visiting Artist Series with Faythe Levine, I’ve been reading through a weaving book that was re-discovered on our newly organized book shelves.
Weaving Without a Loom is the kind of book that summarizes a ‘living art’ that has periodically made appearances in stages of my life. (Sewing has had a constant presence.) Perhaps for others it’s knitting, pottery, or any combination of craft. I remember weaving with yarn and Popsicle sticks in elementary school- just as Maggie is doing now. I remember such joy when I completed my first crochet purse one summer vacation. We purchased a large floor loom last year with the intention of weaving rag rugs; however, the loom has yet to be warped and this has proven to be an intimidating task for me. (Anyone want to come and warp it for us?)
Last week, as we started to learn about organic cottonseed, we discovered that there are significant challenges associated with seed supply. Our conversation began with industry leaders, as we had our fair share of questions. This week we continue our discussion on the process of growing organic cotton in an interview with Lynda Grose.
Lynda has been involved with sustainable fashion and textiles since 1995 when she co-founded ESPRIT’s ecollection, which was the first ecologically responsible clothing line developed by a major corporation. Lynda currently serves as assistant professor in CCA’s Fashion Design Program and works with the Sustainable Cotton Project in California, and many more businesses and non-profits.
Lynda Grose, an inspired activist and friend for years – a part of the heart and soul of Alabama Chanin. Continue reading
In Chapter 7 of Alabama Studio Sewing + Design, we present various methods of appliqué using a variety of stitches and decorative elements. These techniques include Appliqué with Beaded Parallel Whipstitch, Appliqué with Straight Stitch, Appliqué with Blanket Stitch, Appliqué with Backstitch, Appliqué with Beaded Straight Stitch, and Appliqué with Beaded Backstitch. This month, for our Desktop of the Month, we’re featuring Anna’s Garden Appliquéd with a Beaded Straight Stitch as shown on page 102; however, the chop beads in this version have been substituted with our White Bugle beads.
Living in a community that has an abundance of farmland and agriculture, one might not think that ‘guerrilla gardening’ is exactly required. However, like any community, The Shoals is dotted with the occasional abandoned lot and neglected space in our downtown area. And we are of the opinion that most any space can benefit from the addition of colorful flowers.
During my visit to Berlin for the Hello Etsy conference, I noticed an abundance of green spaces and gardens that were situated on vacant lots throughout the city.
For a small company in a small town, we’ve received quite a bit of media attention. This is particularly amazing when you consider our nonexistent advertising budget. With the exception of a couple of classified listings in our local paper, I can’t recall having ever purchased an ad. Even though we have been fortunate in this particular area I can say, without a doubt, that our approach would have been different had I read this book sooner.
Amy Flurry’s Recipe for Press has been called “THE DIY guide to being your own publicist!” and I couldn’t agree more.
Having seen Maria Moyer’s recently-released collaboration with West Elm, I can’t help but visualize which surfaces in my home and at the Factory will best display the porcelain vases and tea lights. I’m certain there will be quite a few.
As a sculptor, Maria appreciates the ‘craft’ behind the design, which translates beautifully into her work. There’s a lovely purity of form paired with incredible attention to detail in each piece.