Tag Archives: Community

#thankful

#thankful

It’s been an inspiring few months (and a most amazing year). Thank you for making this journey
with us.

We are grateful one and all…

Happy days to you and yours,
Natalie and all of us @ Alabama Chanin

#thankful

VIVIAN HOWARD + BUTTERY TURKEY

VIVIAN HOWARD + BUTTERY TURKEY

Thanksgiving is a holiday rich with memories, traditions, and foods we only eat this time of year. For about two days leading up to Thanksgiving dinner, I can guarantee that there is nearly always something either going into or coming out of my oven, and aromas both sweet and savory waft throughout the house.

Our friends at Local Palate share a love of food and storytelling through their magazine, recipes, and blog (look for more on their revamped website and a Q&A in the coming weeks). You can find quite a few delicious seasonal recipes in their catalogue (conveniently sorted by holiday), including this offering from North Carolina-based chef Vivian Howard.

“This combination of turkey, cranberry, pecan, and sorghum, will make you hide your gravy boat for a year or two. All joking aside, these components, when paired with a green bean dish and side of sweet potatoes, would compose a perfectly balanced Thanksgiving plate all by themselves. And if turkey’s not your thing, this profile works beautifully with chicken, ham, or duck.” – Chef Vivian Howard

BUTTERY TURKEY WITH WARM SORGHUM VINAIGRETTE and CITRUS SWEET POTATOES WITH PECAN CRANBERRY RELISH

–From Chef Vivian Howard of Chef & the Farmer in Kinston, North Carolina, star of the PBS show A Chef’s Life, and featured on the November 2014 cover of The Local Palate magazine 

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GRAVY #53: FOOD & SOCIAL JUSTICE

“Gravy is the SFA’s collection of original stories—fresh, unexpected, and thought-provoking. Like all of the SFA’s work, Gravy shares stories of the changing American South through the foods we eat. Gravy showcases a South that is constantly evolving, accommodating new immigrants, adopting new traditions, and lovingly maintaining old ones. It uses food as a means to explore all of that, to dig into lesser-known corners of the region, complicate stereotypes, document new dynamics, and give voice to the unsung folk who grow, cook, and serve our daily meals. Gravy the print journal lands in the mailboxes of SFA members four times per year. Gravy the podcast releases a new episode every other week.” –Southern Foodways Alliance

Gravy: The Podcast is now available every second Thursday by iTunes subscription:

“Gravy, a biweekly podcast, doesn’t profile star chefs. We don’t pander to cookbook authors. We don’t narrate recipes. Gravy tells stories of people and place through food…”

Join this important conversation (and get your own copy of Gravy mailed to your door) with your Southern Foodways Alliance membership. (Membership also makes a great holiday gift – think #givingtuesday.)

The piece below, written by Catarina Passidomo, reflects this year’s Southern Foodways Alliance theme, “Who is Welcome at the Welcome Table?” and can be found on page 13 of Gravy #53. View the entire issue in digital form here.

FOOD JUSTICE

“WHY STUDY FOOD JUSTICE??
Lessons from A Post-Katrina New Orleans” by Catarina Passidomo

When I tell people that I study food, the response is usually one of curious interest. When I go on to explain that I study food justice—that is, the connections between food systems and race, class, gender, and other means of oppression—the look of curiosity changes slightly. Is that confusion? Agreement? Concern? People who experience one or multiple forms of oppression in their own lives generally nod with understanding. But for many of us, the connections between food and social justice are abstract. The interlocking systems that bring food from field or factory to fork, spoon, fingers, or chopsticks are mostly obscured from view. Or they are so familiar that we don’t notice them. But if we look closely and critically, we can begin to see through food to broader systems of oppression and dominance. This makes food a powerful tool for thinking and teaching about social justice. Continue reading

REAL WOMEN: SOLA

REAL WOMEN: SOLA

Do you remember your first day of school? I don’t remember the actual day, but I do have photos of myself, standing outside my first grade classroom, smiling, wearing a plaid dress and knee socks. I do remember my children’s first school days—the nervous excitement they showed and the bittersweet pride I felt at witnessing this important milestone. While I don’t take those moments for granted, there was never a doubt that those moments would come. It’s common now to see Facebook, Twitter, and Instagram light up with school photos that document every moment of our children’s educational lives. A few months ago, I received an email from an old friend that provided some much-needed perspective.

The email offered a link to a Ted Talk by a woman named Shabana Basij-Rasikh, co-founder of SOLA—Afghanistan’s first all-girl boarding school. The word “sola” means “peace” in the Pashto language, but it is also an acronym for School of Leadership, Afghanistan. Shabana was 6 years old when the Taliban took over Afghanistan and made it illegal for girls to go to school. So, for five years, her family dressed her as a boy and sent her to a secret school to learn. Even at this young age, she understood the risks that she—and her parents—were undertaking. She would walk for 30 minutes, even an hour, to schools. The locations would move, and she would walk different paths each day; sometimes class would take place in the morning and other times in the afternoon.

REAL WOMEN: SOLA

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THE SCHOOL OF MAKING

THE SCHOOL OF MAKING

Alabama Chanin as a concept and a company began as a DIY enterprise. I made the first garments by hand, to fit my own body. Our entire business model was created because I couldn’t find manufacturing for the sort of garment I wanted to make—and so, we created our own manufacturing system, one stitch at a time.

Because those first garments were made from recycled t-shirts, many of our customers took the concept and re-imagined it for themselves, making their own patterns and clothing. Others felt that—with just a little help—they could create something similar, something that was their own. Almost accidentally, our garments were stirring in others the desire to make. Slowly, and as the internet became more robust, sewers formed groups on the internet to share their Alabama Chanin-style garments and swap ideas. This was the beginning of a more formal DIY presence in our company.

These things were happening at the same time as I began writing our first Studio Book, Alabama Stitch Book. Writing that book helped me crystallize my thoughts on making, open sourcing, and education. It was, in essence, me putting voice to what was important about sharing ideas and creating a community of makers. Throughout the writing process—and as the company grew and evolved over the years—I returned again and again to the idea of keeping the living arts alive. It’s the belief that survival skills for food, clothing, and shelter, are important arts that we live with every single day. And these arts—often considered secondary arts—are equally (and perhaps more) important as the “primary” arts of painting and sculpture.

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FRIENDS OF THE CAFÉ + JIM ‘N NICK’S BAR-B-Q

FRIENDS OF THE CAFÉ + JIM 'N NICK'S BAR-B-Q

The t-shirts for Jim ‘N Nick’s Bar-B-Q read, “You can smell our butts for miles”. This was certainly the case on Friday, October 10, as their giant meat smoker nestled up to Alabama Chanin’s front entry and sent out the signal for our final “Friends of the Cafe” dinner of 2014, featuring chef Drew Robinson and Nicholas Pihakis. The two were in town—along with members of the Fatback Collective—to provide lucky diners with an exclusive, elevated barbecue experience.

Good People Brewing Company provided craft beers for each course. The Birmingham, Alabama, based brewery showcased a few of their “Ales from the Heart of Dixie.” There may not be a dinner more currently in demand across the United States than beer and barbecue; on this night, we had the best of best.

FRIENDS OF THE CAFÉ + JIM 'N NICK'S BAR-B-Q

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ALABAMA COTTON REVISITED

ALABAMA COTTON REVISITED

A warm “thank you” to Debbie Elliott and everyone at National Public Radio for their story about our collaboration with Billy Reid on Alabama grown cotton.

And, thank you to K.P. and Katy McNeill, Erin Dailey, and Lisa and Jimmy Lenz—they all know how to dream big (and work hard to get there).

If you haven’t heard this piece yet, you can listen online here.

REVIVING A SOUTHERN INDUSTRY, FROM COTTON FIELD TO CLOTHING RACK
National Public Radio, October 10, 2014

You’ve probably heard of “farm to table,” but how about “field to garment”? In Alabama, acclaimed fashion houses Alabama Chanin and Billy Reid have a new line of organic cotton clothing made from their own cotton field.

It’s not just an experiment in keeping production local; it’s an attempt to revive the long tradition of apparel-making in the Deep South. North Alabama was once a hub for textile manufacturing, with readily available cotton and access to cheap labor. But the industry all but disappeared after NAFTA became law, as operations moved overseas.

Now, Sue Hanback is again working a sewing machine in a cavernous building that was once part of the biggest cut-and-sew operation in Florence, Ala.

“I’m gonna five-thread this shirt,” she explains, stitching cuffs onto an organic-cotton sweatshirt.

Hanback was last laid off in 2006 when this was a T-shirt factory. Her husband worked in the dye house. She’s been a seamstress all her life.

“Ever since I was 18 years old,” Hanback says. “So that was like, 48 years.”

ALABAMA COTTON REVISITED

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HOW TO STUDY FASHION IN THE SOUTH

HOW TO STUDY FASHION IN THE SOUTH

Written by Ted Ownby and Becca Walton

Situated at the intersection of necessity and creativity, southern fashion lets us ask questions about place and historical context, power, and identity. Every garment has a designer, maker, wearer, and viewer, and we can study all of them.

We can tell local stories about designers and seamstresses, farmers and factory workers. At the same time, we can see the South’s centuries-long engagement with a global economy through one garment, with cotton harvested by enslaved laborers in Mississippi, milled in Massachusetts or Manchester, designed with influence from Parisian tastemakers, and sold in the South by Jewish immigrant merchants.

It isn’t clear where to start, and that’s exciting. The term “southern fashion” doesn’t seem to be clearly defined by terms or limits, so we may not need to spend energy overturning conventional wisdoms. Do we start with creative reuse, with Dolly Parton’s “Coat of Many Colors” or with Scarlett O’Hara’s curtain dress? Do we start with osnaburg, the so-called “negro cloth” of the 19th century, or with farm families wearing garments cut from the same cloth, or with women who did sewing every day but Sunday?

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OCTOBER PLAYLIST 2014: DANIEL ELIAS + EXOTIC DANGERS

OCTOBER PLAYLIST 2014: DANIEL ELIAS + EXOTIC DANGERS

The music that flows through our community is nothing short of amazing. I’ve written many times about the rich musical history of The Shoals area—and I’m proud of all the up and coming artists, producers, and managers that strive to create great music in our hometown (including members of the Alabama Chanin staff).

Our graphic designer, Maggie, and her husband, Daniel, are gaining attention with their new rock ‘n roll band Daniel Elias + Exotic Dangers. Below, they share how they got involved with music, along with some of their favorite songs.

Name(s): Daniel and Maggie Crisler
Band: Daniel Elias + Exotic Dangers
Instrument(s) you play: Daniel – guitar, harmonica, vocals; Maggie – electric organ and percussion
Hometown: Daniel – Florence, AL; Maggie – Sheffield, AL
Presently residing: Florence, AL

AC: When did you start playing music?

DC: I remember my pop first teaching me a couple of chords on the guitar around age eight. I learned the piano, as well. The Blues was and is my first musical love, so that’s what I learned, forming the foundation for everything I play—no matter what the style is. I played (and still do) in the church band for many years before writing my first song or playing my first rock ‘n roll show.

MC: I’ve always loved music. When I was growing up, I heard a lot of Motown and classic rock because that’s what my parents listened to. I started playing piano when I was six and took lessons for about ten years. In that ten years, I also learned to play violin, clarinet, and bass guitar. I picked up the keys again when Daniel bought me a vintage Farfisa organ and asked me to play with him in a new project (which developed into this band).

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FRIENDS OF THE CAFÉ DINNER FEATURING JIM ‘N NICK’S BAR-B-Q

FRIENDS OF THE CAFE DINNER FEATURING JIM 'N NICK'S BAR-B-Q

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