When we first opened our Building 14 division in July of 2013, we learned quickly that there was still SO MUCH to learn. So, with the concept of The School of Making firmly in place, we began at the beginning to work on a set of finishing examples for our Building 14 machine-made division. Like our Alabama Chanin Library of hand-embellished fabric swatches, this library documents the capabilities of the machines, folders, and attachments we have available in the factory and the endless variations and combinations that create everything from collars to hems and in between.
In 2015, and as we fold our MAKESHIFT programming into The School of Making, we foresee many more conversations about design, fashion, DIY, and community. And, of course, we will continue sharing the evolution of our manufacturing systems—including this new sort of maker’s library—to explore their part in the larger making process.
Photos from Abraham Rowe, Angie Mosier, and Rinne Allen
Evergreen: adj. 2. Perennially fresh or interesting; enduring.
Our new Evergreen collection features a selection of hand-sewn and machine-made garments, all over-dyed by hand in our indigo vats here at The Factory. The slow process of dying one garment at a time creates rich color variations and shades of color in each of these one-of-a-kind pieces.
We love to pair this (perennially) fresh color with indigo and cream for the holidays—and all year long.
Available for a limited time.
P.S.: Photo of joyous woman and evergreen tree from a box of photographs liberated from the Museum of Wonder.
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.
Not quite terra cotta red; not exactly pinkish; not really coral, but really red.
Pinkish: an adjective meaning somewhat pink.
Coral: also an adjective meaning a reddish yellow; light yellowish red; pinkish yellow.
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.
New season = new colors.
For a limited time, we are offering our new (bright) autumn colors bundled together in one yard cuts. This fabric stack includes one yard lengths, each, of Dusk, Gold, Persimmon, Autumn, Wine, and Teal.
Our medium-weight 100% organic cotton jersey is 56” wide, made in the USA from domestically grown organic cotton, and comes to you pre-shrunk and ready-to-use.
Enjoy free shipping on orders over $300.
You asked for Lime; you got it. For a limited time, and in limited stock, you can purchase our 100% organic cotton jersey in our collection color, Lime. Available in both light and medium-weight.
As a designer, I am constantly in search of inspiration for new patterns. Often, I find ideas in nature. Other times, I’m drawn to simple geometric shapes – such as circles or dots – and how they interact with one another. Polka dots, with their equal size and relative spacing, create a classic pattern on a garment. In fact, polka dots have quite an interesting history throughout fashion.
The spotted design gained popularity in the mid to late-19th century, as the polka dance came into fashion. Martha Stewart describes the origins of the term in her book, Encyclopedia of Sewing and Fabric Crafts:
“To capitalize on the popularity of the polka in the late nineteenth century, one enterprising American textile manufacturer coined the term “polka dot” to describe the dots on one of his fabrics. The name stuck, and today the term refers to round, evenly spaced dots of identical size.”
Our longtime friend and collaborator Anna Maria Horner has created a new line of knit jersey fabric – Anna Maria Knits. On my recent visit to Nashville for Anna Maria’s newest venture, Craft South, we hosted a joint workshop that focused on combining machine and hand techniques with both Alabama Chanin and Anna Maria Horner knits. Before Craft South, we got a sneak peek and explored what might come of applying our techniques to the colorful designs.
Her 100% cotton interlock fabric is available in 5 prints with 3 different colorways each, for a total of 15 different pieces. When planning these new textiles, Anna Maria opted for a knit she felt would work well with a sewing machine, in addition to hand stitching. Those who love texture and pattern can experiment with combining our Alabama Chanin stencil designs and techniques with these patterned knits.
Alabama Chanin Cotton Jersey in Peacock with Sealing Wax Knit as Reverse Applique backing using our new Large Polka Dot stencil
At Alabama Chanin, we’ve spent years working with textiles to find the perfect medium for our techniques and products: 100% organic cotton jersey. We are drawn to artists who utilize what some might call ordinary materials and tools to create extraordinary work. Dana Barnes has done just that; she has taken familiar techniques like crochet and felting and combined them with a common material, merino wool. But, her results are not ordinary. Rather, they are unexpected and exquisite.
Dana Barnes is a renowned fashion designer, having created collections for lines like Elie Tahari, Adrienne Vittadini, and Tommy Hilfiger. Her exploration into wool and textiles sprang from a practical issue – one that many mothers face: as her young daughters ran and played, they made a little too much noise for the neighbors living beneath the family’s expansive loft. At the time, Dana was experimenting with wool and felting and wondered if she could make a rug that was big enough to cover the family’s living space. What resulted was a massive rug sewn together by hand from large crocheted squares of felted, unspun wool.