This Cardigan is a modified version of our Casual T-shirt Top from Alabama Studio Sewing + Design. We’ve created the cardigan simply by cutting our t-shirt front panel down the front to create two pieces (or alternatively, you can choose not to cut the pattern on the fold). When cut this way, it creates a cardigan or cover-up from our Casual T-Shirt pattern. Produced in a double-layer, the organic cotton jersey adds warmth but not bulk.
The kit is shown here in Black and has been produced in our backstitched reverse appliqué treatment. But, this and all DIY kits can be customized for any of our embroidery techniques or embellishments. Choose your own fabric color to go with our Variegated Black embroidery floss, or you may also design your own T-Shirt Cardigan through our Custom DIY option. When purchasing this DIY kit to work as a cardigan, you may want to choose one or two sizes larger than you would normally wear, to allow for additional layering room.
For the first time, and in anticipation of our newest book Alabama Studio Sewing Patterns, we are offering a DIY Sewing Kit for our A-Line Dress. This dress is part of our new DIY Sewing Kit Collection. Made from our medium-weight 100% organic cotton jersey, the dress is patterned with our Magdalena Stencil and shown here worked in negative reverse appliqué; however, you may choose a technique from any of our books or Swatch of the Month to embellish this kit.
The A-Line dress has been a popular style around our studio because it flatters almost every figure; in fact, we use this dress as part of our uniform for The Factory Store and Café. The kit—or the finished dress—also makes it an excellent gift, as it does not require strict measurements to fit. It is substantial enough to be worn in any weather and works as a versatile layering piece. My daily uniform consists of the A-Line Dress paired with a basic or embellished version of our Every Day Long Skirt.
2014 has been a big year for Alabama Chanin’s Do-it-Yourself endeavors. We started the year by announcing our 2014 Swatch of the Month Club, and recently announced the new 2015 subscription for the upcoming year. In September, we launched our DIY Collection with new kit styles and stencil options. And the biggest news was the introduction of The School of Making—which oversees our workshops, Studio Style DIY, Makeshift, and all things educational in the company.
In our 2014 DIY Gift Guide, we reflect back on the year and offer savings on a selection of new and favorite kits, stencils, and many more things along the way. Find the perfect gift for the person in your life who loves to make—even if that person is you.
The Camisole Apron is an embellished version of an apron my grandmother wore nearly every day for most of her life. It is beautiful and incredibly practical—especially for those of us that need full-coverage protection in the kitchen. This DIY kit—created from our Camisole Dress pattern from Alabama Studio Style—is available for a limited time as part of our DIY Gift Guide. The apron is fitted for a woman’s body and features a large, two-sided pocket across the front. It comes with our faded fabric as a backing layer and our Black Variegated embroidery floss; choose your outer layer and thread colors.
Our final Swatch of the Month for 2014 combines several techniques explored (and hopefully mastered) in previous months’ swatches—including appliqué, negative reverse appliqué, and eyelet beading. The design, titled Natalie’s Dream, is beautifully intricate and one of my personal favorites (hence the name).
To create the swatch, begin by stenciling the design to the top layer of fabric using your transfer method of choice. (The Facets stencil employed here is available for download from our Resources page.)
Align your top and backing layers of fabric, with right sides up, and pin together. Thread your needle and knot off.
Using your stenciled top layer of fabric as a guide, select a flower shape and begin straight-stitching directly on the edge of the stenciled shape. Cut the top layer of fabric 1/8” outside the edge of the stenciled flower shape, leaving a sliver of top-layer fabric beyond your stitching line. This creates the negative reverse appliqué effect.
One of our more popular series of do-it-yourself posts has been our ongoing adaptation of commercially available patterns in the Alabama Chanin style. Among the patterns we have reworked are: a dress from an Anna Sui Vogue pattern, two variations of a Vogue dress from Vena Cava, an open-sourced jacket pattern from Yohji Yamamoto, and other varied pieces.
This series first began as a part of our ongoing Makeshift conversations that explore the intersection of design, craft, food, DIY, and fashion. With this series, we look at makers of all sorts and embrace open-source knowledge, materials, and patterns to create new conversations and collaborations.
We know that it takes skill and patience to complete a garment from another designer’s pattern; however, personalizing those garments—bringing your own body shape, style, and design sensibilities to existing patterns—is sometimes the only option for creating garments that truly fit your life and lifestyle. (You will find much more on this idea of customizing a wardrobe in our upcoming book Alabama Studio Sewing Patterns—which is now available for pre-order.)
We are excited to resume this important experiment with a Vogue coat pattern. I’m in love with the results.
In 2014, we were inspired by our extensive fabric library—and readers expressed interest in trying new techniques—to create our first Swatch of the Month Club. Our library of sample swatches archives over 500 techniques, embroideries, fabric treatments, and colorways that we have experimented with or used in past and upcoming Alabama Chanin collections.
If you have visited one of our trunk shows or attended a workshop, you have likely browsed giant binders of these swatches. Each individual sample represents a small moment in our company’s history and growth—as a whole, they represent a decade of design history. In 2015, we are offering a new Swatch of the Month Club with an expanded selection of stencils and techniques. We learned a few things about this process during our 2014 run and have updated the program this year to reflect those lessons and streamline, saving packaging and reducing our carbon-footprint.
When you enroll in Swatch of the Month 2015, you will receive the full year’s necessary notions (thread, embroidery floss, and a label), along with the first month’s swatch in a beautifully wrapped box. For those who want to add additional embellishment to swatches, you have the option to add 6oz. of chop beads, 6oz. of bugle beads, and 1oz. of sequins for an extra $30—or you may choose to purchase sequins and beads separately. Select this option upon ordering and you will receive all beads, along with your notions, in your first package. After the initial shipment, we will mail your 10” x 16” fabric swatches and an informational insert via United States Postal Service (USPS) at the beginning of each month.
The Swatch of the Month for November highlights one of my all time favorite designs, Climbing Daisy. The technique uses ribbon embroidery, which beautifully adds dimension and detail to projects and garments. The concept is simple: we use cotton ribbon rather than thread or embroidery floss to stitch the design. This technique can be applied to almost any of our stencil designs and combined with any of our stitching practices.
To create the swatch, begin by stenciling the design to the top layer of fabric using your transfer method of choice. (The Climbing Daisy stencil is available for download from our Resources page.)
Stitch the larger petal shapes using 100% cotton tape and a large-eyed embroidery needle. (Note: over the years, we’ve found that upholstery needles with a large eye also work quite well with this technique.)
After the larger petals are stitched, create French knots (see page 75 of Alabama Studio Sewing + Design) with the cotton tape at the center of the petal shapes, as well as along the stems.
Next, stem-stitch (see page 85 of Alabama Studio Sewing + Design) long, curving stems using the embroidery floss. Repeat this process until you have stitched each of your stenciled shapes.
As I’ve mentioned before, writing a book is no easy feat. It involves months (often years) of planning, drafting, edits, new designs, reviews, rewrites, photo shoots, patternmaking…basically, equal parts labor and love. So, I honestly surprised myself when I agreed to write another one. While still a work in progress, the end is in sight, and I’m proud to officially announce Alabama Chanin’s upcoming book, Alabama Studio Sewing Patterns. This is the fourth (yes, fourth) book I’ve worked on with my editor (and friend), Melanie Falick, of STC Craft and Abrams.
Around the studio, we’ve been referring to this project as the ‘addendum’, as it acts as a supplement to our Studio Book Series—Alabama Stitch Book, Alabama Studio Style, and Alabama Studio Sewing + Design.
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.