Tag Archives: Community

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

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

THE FACTORY CAFE CHEF SERIES: JIM ‘N NICK’S

THE FACTORY CAFE CHEF SERIES: JIM 'N NICK'S

My love for barbeque is no secret. Though I might be partial to our local fixings, I can honestly say most of the barbeque I’ve experienced throughout Alabama and the South is both distinctive and delicious. Each region and territory has its own unique recipes and tastes. One of the most well-known barbeque establishments from our state is Jim ‘N Nick’s, founded in Birmingham in 1985 by father and son team, Jim and Nick Pihakis. The company is rooted in community (with claims that it is “the key ingredient in any good bar-b-q”) and their belief that good food brings people together. Each Jim ‘N Nick’s location is locally owned and operated, which encourages every restaurant to develop relationships within their respective communities and advance the company principles of education, health and wellness, and local farming.

I’ve known Nick Pihakis for several years now. He is one of the most generous folks I’ve ever had the pleasure of meeting—always in good spirits (and never one to turn down a good bourbon libation). In fact, Nick and several other renowned Southern chefs, writers, and farmers formed the Fatback Collective while discussing barbeque competitions over glasses of bourbon. The Fatback Collective has participated in competition barbecue events, while keeping the focus on quality flavor and sustainable techniques; members include John T. Edge, Ashley Christensen, Angie Mosier, and John Currence. The collective, as well as Jim ‘N Nick’s establishments, all source their pork from the farms that are part of the Fatback Pig Project—a collaboration that supports pasture-raised, heritage breeds.

THE FACTORY CAFE CHEF SERIES: JIM 'N NICK'S

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SEPTEMBER PLAYLIST 2014: GREAT PEACOCK

SEPTEMBER PLAYLIST 2014: GREAT PEACOCK

Nashville-based duo Great Peacock, formed by Alabama native Blount Floyd and Mississippi-born Andrew Nelson, combine rock and roll guitars with country influences and a heavy dose of harmony. The result is what Nelson calls “pop, with folk tendencies.” In the past year, they have tackled a heavy touring schedule, making appearances on Paste’s South by Southwest stage, PBS’ Bluegrass Underground, and Music City Roots. Blount put together this playlist, inspired by the hours spent in their touring van and it includes some of their most listened-to songs. He laughed, “These are some of the songs we jam out to while chasing the rock-and-roll dragon.”

Name(s): Blount Floyd and Andrew Nelson
Band: Great Peacock
Instrument(s) you play: BF – vocals, acoustic git-fiddle, keyboard, drums and percussion; AN – vocals and guitar
Place of Birth/Hometowns: BF – Dothan, Alabama; AN – Floewood, Mississippi
Presently residing: Nashville, Tennessee

AC: When did you start playing music?

AN: I started playing when I was about 15.
BF: I started playing fiddle around age 10 and my parents have some horrible home videos of me wearing a Garth Brooks-style western shirt, squeaking away something awful. I started playing guitar around the 8th grade.

AC: What are some of your proudest moments as a musician (or in your life)?

BF: Playing Bluegrass Underground was a pretty surreal experience.
AN: Every time I write a new song that won’t get out of my head. There’s the same excitement and pride that follows every time. It’s the ultimate drug.

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THE HEART: MAGGIE CRISLER

THE HEART: MAGGIE CRISLER

Over the last several years, The Factory has expanded in leaps and bounds and the Alabama Chanin team has grown to keep in-step. Working in a creative industry, it takes a while to find the perfect mix; some people must be true creatives, while other jobs require a tactical mind. It is special when you find someone with both a free-spirited artistic mind and a love of logic, puzzles, and problem solving. Luckily, we found just that someone in Maggie Crisler.

Maggie works as a graphic designer, but also has a hand in managing inventory and works in the dye house. (See: a Jill-of-all-trades.) She came to us, as do many of our team members, through word of mouth. Back in 2012, our Director of Design, Olivia Sherif, mentioned to friends that we were looking for someone with a flexible schedule and some fabric cutting and sewing experience to work part time in our production department. Maggie volunteered herself and began working for us just before Christmas of that year. Her talents for illustrations and graphic design became quickly evident, so she was promoted to a full-time member of our media team.

THE HEART: MAGGIE CRISLER

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HOMEGROWN COTTON

ALABAMA ORGANIC COTTON - PHOTO RINNE ALLEN

Two years ago this week, we were picking organic Alabama cotton. Today, The New York Times – T Magazine shares that journey. Thank you (and a BIG hug) to Rinne Allen for taking this journey with us.

From Rinne:

Two years ago, I found myself knee-deep in a field in rural Alabama, picking organic cotton by hand. A few hundred other pickers were there too, bent over the rows of white cotton with bags at their hip, repeating the same hand-to-plant-to-bag motion over and over again. It was a picking party hosted by Natalie Chanin, the founder and creative director of the clothing line Alabama Chanin, and the fashion designer Billy Reid to celebrate and harvest their first homegrown, organic cotton crop.”

More here: Homegrown Cotton

A GIANT thank you to our entire community, Jim ‘N Nick’s Bar-B-Q, and the legions of friends, family, and perfect strangers who came to help.

ALABAMA COTTON

ALABAMA ORGANIC COTTON - PHOTO RINNE ALLEN

 

MAKING PICTURES: THREE FOR A DIME EXHIBITION

MAKING PICTURES: THREE FOR A DIME EXHIBITION

One Saturday morning in the mid-1930s, Mancey Massengill, a wife and mother of two, saw people having their pictures made in a dime store photo booth in Batesville, Arkansas. According to her son Lance, “she watched close, and got the name off the camera, then wrote to the company and ordered the lens. She got the money for that by taking about two dozen pullets in for sale.” Her husband, Jim, built a box to house the lens and outfitted a trailer to create a mobile photo studio. On weekends, they would set up in little towns across the state and make pictures, three for a dime.

Jim and Mancey Massengill started this family side-business to make ends meet. The country was in the throes of depression and on the verge of entering the Second World War. Work was scarce in rural Arkansas, but the Massengills understood that even in rough times, life continues. Babies are born, children play, couples meet, and we all grow older. Someone needed to be there to capture those moments and that person could perhaps make a living doing it.

A few years later, the Massengill’s sons, Lance and Lawrence, and their wives, Evelyn and Thelma, worked their way into the business. They outfitted their own trailers and made their own pictures, traveling across the state in search of clients. The surviving family diaries and notes from this period attest to a very strong and entrepreneurial work ethic, with little mention of aesthetics or technique. The men and women of both generations describe where they went, what they did, and how much they made with only fleeting mention of life’s details. With few exceptions, the stories are left to be told by the pictures they made.

MAKING PICTURES: THREE FOR A DIME EXHIBITION

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DESIGN: GAEL TOWEY

DESIGN: GAEL TOWEY

I have known many storytellers in my life. Some have a natural and unrehearsed style that feels captivating and immediate; some present new or unfamiliar points of view; others are quite deliberate and thoughtful in approach; all of them are enthralling to me. As a storyteller born into a family of storytellers, I find master storyteller Gael Towey both compelling and inspiring. She has a distinct perspective and is skilled at many things: crafting a storyline, discovering and highlighting the unique qualities of her subjects, eliciting a response from the audience, and designing beautiful visual elements. Her work has informed contemporary visual language in a way we can barely imagine.

I was lucky to be among Gael’s subjects as part of her series of short films about artists called “Portraits in Creativity” www.portraitsincreativity.com (and I especially love her piece on friend and heroine Maira Kalman). Each of her portraits uncover the unique qualities of her subjects and reveal Towey’s fascination with the creative process. For over two years, we have been speaking with Gael about her past, her present, and the creative processes, media, and methods she uses to propel her ideas forward.

Gael was raised in New Jersey and was the oldest of six children. She revealed that, as a child, she was mildly dyslexic and almost flunked the second and third grade because she couldn’t spell; she reversed all her consonants and vowel combinations.  She was drawn to art and studied it enthusiastically through college. “I loved printmaking and accidentally signed up for a class in typography, and I fell in love with it from the first lecture,” Towey says. “I’d never looked at the design of a letter and had not noticed how beautiful they are.” She switched her major to graphic design and graduated from Boston University, College of Fine Arts. Gael said, “I was extraordinarily lucky. I have met so many young people who don’t know what they want to do, but I always knew.  I struggled academically and art was the only thing I was good at… And it’s funny that I wound up working in the publishing business since I had no confidence in my ability to write properly.”

DESIGN: GAEL TOWEYGael worked on the book, In the Russian Stylewith Jacqueline Kennedy Onassis.

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