Kristina’s Rose is one of our newest fabric designs and stencil patterns, seen in Alabama Studio Sewing + Design. The undulating circular pattern is reminiscent of the Circle Spiral Applique from page 156 of Alabama Studio Style, but translated using more elegant techniques.
Highlighted in Chapter 8 of Alabama Studio Sewing + Design.: Fabric + Fabric Maps, the Kristina’s Rose fabric (page 126) uses the folded stripe appliqué technique from page 108 of Chapter 7 in combination with the stripe with beaded chain stitch on page 105, and the beaded rosebud stitch from page 79 of Chapter 5 – all worked in loose, undulating circles.
As a child, I ate molasses these ways: drizzled over my biscuits at my grandmother’s table, in Shoofly Pie, barbeque sauce, and baked in fresh gingerbread. As an adult, I’m beginning to notice plenty of restaurants adding this sugar cane syrup to their dishes in glazes and sauces, salad dressings, and many delicious cocktails. I have eaten molasses-rubbed pork tenderloin, a tuna sashimi with pomegranate molasses, and at Blackberry Farm, I had a to-die-for cocktail sweetened with molasses.
Molasses is making a comeback. Like beer, there are modern versions that might be considered “craft” molasses. Today’s molasses is more than a sweet syrup – it’s also a presence in the re-emergence of handmade, small, traditional, and local goods. Continue reading
Our Visiting Artist Series with Faythe Levine – co-author and director of Handmade Nation, is quickly approaching- and we still have a few open spots for the Friday seminar. Register here + find out more information about Faythe on our Workshop Resources page.
Open to all.
Thursday, April 12, 2012 from 7pm-9pm
Anyone Can Craft: An interactive exhibition and open conversation with Faythe Levine. Admission is free.
Friday, April 13, 2012 from 10 am-Noon
Levine will be conducting a seminar, limited to 25 guests. Cost $60.
Join all of us @ Alabama Chanin
462 Lane Drive
Contact us for more information: +1.256.760.1090 or email email@example.com
As we posted last Tuesday, I highly recommend that you start a library to document your design work. As you create your samples, make them the same size so that your (master) pieces can be easily stored. And even if you don’t want to keep the samples for posterity, you can work towards making a Sampler Throw like the one shown above. As we develop our many fabrics, it often happens that a particular sample, as beautiful as it may be, just doesn’t fit neatly into one of our Fabric Swatch Books or collections. That was the case with the swatches that became the basis for this Sampler Throw. You may even find that you want to make the Sampler Throw not as a way of developing different fabric swatches, but just because it’s a beautiful and easy project. Either way, I urge you to explore our stencils, colors, techniques, and stitches to sustain rewarding design experiences.
Shakerag Workshops have been taking place on the campus of St. Andrew’s-Sewanee School for some eight years now. Among the rolling hills of the Cumberland Plateau, Shakerag operates as a community where artists + those eager to learn a craft come together in a creative learning environment. Similar to our sewing workshops, the instructors work closely with students in a full-immersion studio course. This summer, I am eager to travel here with our studio Directress, Diane, to teach sewing, to learn, and explore the Sewanee Hollow.
We will be teaching Open Design: Sewing and Construction during the week of June 17-23, 2012, as part of the second session. This is how I intend to spend my days at Shakerag: coffee + breakfast, sewing, delicious lunch, more sewing, and a relaxing yoga session or a hike on the St. Andrew’s-Sewanee Perimeter Trail. To end the day, a locally-sourced dinner- featuring adapted recipes from A New Turn in the South- followed by enrichment + faculty artist’s lectures. And of course, Hugh Acheson’s lecture, Wednesday evening, June 20, 2012, is a welcome interruption in the schedule. Continue reading
Organic cotton is the heart of Alabama Chanin. It binds all aspects of the company: sustainability, fashion, DIY, and craft. All of our garments- couture or DIY- are made with these naturally grown fibers. We have examined the influence cotton has had on our community. We have thought about its global impact. We have voiced our concerns.
I have spent countless hours contemplating major business decisions because I feel it is vital to my own ethical truths and the philosophy of our company to buy and sell only organic cotton. But, we have our own supply chain issues that affect commitment to organic cotton (more to come on this very soon). Continue reading
Whether you plan to purchase a DIY KIT or make a garment from the Alabama Studio Book Series, we suggest that you keep a set of our medium-weight organic cotton color cards on hand. The cards show you what our fabric colors look like in person so that you can choose the exact shades that are right for your projects. They also make it easier to choose corresponding thread, notions, and bead colors.
I keep a set of color cards for inspiration and to mix and match my materials before starting a design project. With 50 colors of organic cotton jersey and special jacquard fabrics to choose from even the most seasoned designer can benefit from a visual aide.
For our weekly Studio Lunch, my son Zach prepared a savory Grilled Vegetable + White Cheddar Quiche with cherry tomatoes. In a move that delighted me, he delivered it to the studio and included a heaping salad of fresh greens- Butterhead lettuce, Red Oakleaf, and arugula- all from Jack-o-Lantern Farms, one of our local farmers’ markets. For the salad, he also made strawberry-balsamic vinaigrette, with which I (for certain) over saturated my greens.
Quiche is one of my all-time favorite dishes. It can be eaten for breakfast, brunch, lunch, or dinner depending on your choice of ingredients. Continue reading
Fabric designs are the basis of all our collections at Alabama Chanin. Each design starts as a simple 10” x 16” rectangle of our organic cotton jersey that is embellished using a variety of techniques and manipulations that may include stenciling, embroidery, beading, and/or appliqué.
My decision to use a 10” x 16” rectangle was based on the mere fact that we can easily obtain 3-ring binders to store and display swatches this size. These binders also provide us a simple way to organize our designs by color, season, and/or pattern.
It is no secret that I feel a commitment to my community; it is equally evident the role that growing up in Florence, Alabama, had on my development as a designer. Textiles – the growing, picking, spinning, knitting, cutting, and sewing – were a part of the vernacular of small southern towns from the late 1800s until the signing of NAFTA. My community has been no different.
This textile history is present in our studio today and we are surrounded by friends, colleagues, and families who have worked textiles, their parents worked textiles, and their grandparents worked textiles. My great grandmother “worked socks” at the Sweetwater Mill in East Florence. Continue reading