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.
Classics styles, like our Corset and Long Fitted Skirt, are combined with new stencil designs like ‘Aurora,’ ‘Marie,’ and ‘New Leaves.’ Other classic designs like our ‘Daisy’ and ‘Magdalena’ remain. Choose from neutral shades, or a burst of Really Red—one of our newest colors. Look for new designs, colors, and an updated website over the coming weeks…
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?
Beginning October 13th, 2014 and as part of our ongoing Makeshift conversation, Alabama Chanin will host a series of discussions and lectures about design, art, business, community, and plenty of other topics. Events will be held at the Factory on the second Monday of each month. The format will shift, depending on topic and presenter, but you can look forward to informal talks, multi-media presentations, and hands-on workshops.
Makeshift began over three years ago as a conversation about design, craft, art, fashion, and DIY—how they intersect and how each discipline elevates the others. Since its beginnings, we have expanded the conversation, discussing how making in groups can build relationships and communities, all the while examining what the design community can learn from the slow food movement.
Last year, I was introduced to Inez Holden over a glass of dry white wine at a fundraising event in our community. Mrs. Holden’s story, told with humor and passion, reminded me that the fashion industry runs deep here in our community. Before Alabama Chanin and Billy Reid, there was Bubbles Ltd.
As Alabama Chanin continues to explore the world of machine-made fashion with our new line and manufacturing division, A. Chanin and Building 14, respectively, Mrs. Holden reminded me that we humbly follow in a line of companies that completely designed and manufactured a fashion line in The Shoals and the surrounding area.
Around 1983, Mrs. Holden got her start as a designer quite by accident. She bought an oversized top and banded bottom pant that she loved the style and fit of, but the material was very rough and scratchy. So, she asked a friend of hers to help her make more sets in a similar style, but out of jersey fabric. She had about five sets of these pantsuits made in different colors, but kept giving them away because so many of her friends and family wanted them.
We often speak about our home, our state, and our community that provides an incredible amount of inspiration for our work. We are not alone: friend and occasional collaborator, Billy Reid, also headquarters in the same community. It has been mentioned (and is remarkable) that Alabama has the third largest membership in the Council of Fashion Designers of America (CFDA), numbering at two; we rank just behind New York and California. And just as there is a rich history of textile production in our community, there is a somewhat unknown or unrecognized group of designers that have emerged from our home state.
Sass Brown’s ReFashioned: Cutting Edge Clothing From Upcycled Materials, is the second in a series focusing on the eco-fashion movement. Previously, in Eco Fashion, she examined designers and labels (including Alabama Chanin) practicing sustainability in the fashion industry. In ReFashioned, she features 46 international designers who create using recycled and upcycled textiles. The result is a stunning volume of forward-thinking design that also opens a discussion on the current state of fashion and its many wasteful practices.
Sass is one of the most knowledgeable and thoughtful voices in the eco-fashion movement. She considers herself a fashion activist, writing, “As a designer and writer, I like to tell the stories around our clothes, to help revive our material connection to our clothing.” She says, “It became equally important for me to reveal the hidden price tag of fast fashion, as a means to promote conscious consumerism.”
MAKESHIFT began three years ago as a conversation about the intersection of the disciplines of design, craft, art, fashion, and DIY—and, on a bigger level, using this intersection as an agent of change in the world. Since then, we’ve explored making as individuals, and how making as a group can open conversations and build communities.
For MAKESHIFT 2014, we have once again partnered with Standard Talks in New York to host the conversation, and will cover a range of topics, including raw materials, craft, fashion, global communities, food, and the act of making. 2014 James Beard award-winning chef Ashley Christensen will also participate in the discussion, helping answer the question: What can design learn from food?