Last week, a group of friends in our community gathered together at one friend’s home to fill the living room with piles of their unwanted clothing that they then “shopped”. Part of the “Swap, Don’t Shop” movement, these women, friends and family, got together for their bi-annual clothing exchange party called ‘The Big Swap’. Interested in this growing alternative to shopping, we joined the party and brought along some of our lovingly worn Alabama Chanin garments to exchange.
I recently read a NYTimes article about the comeback of curvy body shapes among the Y- generation. It seems that an increasing number of women in their 20s and 30s are finding the “calendar girl” silhouette appealing. Along with a curvaceous silhouette, the look includes Betty Page style bangs, swing skirts, and bright red lips.
The classic 50s and 60s pin-ups were before my time. By the time the 70’s arrived, the style of the day had evolved. Pin-ups looked different – beach blondes, tiny waistlines and overly-styled looks were on trend. These were the images that surrounded me when I first began to think about my own definition of beauty and develop my own sense of style. I was an awkward teenager. Growing up with limited resources in our small community, my sense of beauty and style was dictated by Seventeen Magazine. And I don’t remember anyone in my little world that looked like me. I remember my mother—who was a teacher at my school—telling me that none of the little kids looked like me. I had black hair, black eyes, a “foreign” look. In fact, years later a friend of the family looked at my cousin and said “Pam, you have just grown up to be the most beautiful young woman.” Then, as her eyes descended upon me, she exclaimed, “And, Natalie, you are so, so, so EXOTIC.” For a shy and somewhat delicate girl, that felt like the kiss of ugly.
This month’s desktop features our organic cotton jersey fabric with Wet-Paint Stenciling from page 48 of Alabama Studio Style. Using an Angie’s Fall stencil, this distressed, painted version of our Faded Leaves fabric was actually an accident. Often times, the best and most exciting things in life come from accidental meetings, accidental spills, and accidental conversations. This fabric is the same.
This hi-resolution photograph is for use as your computer desktop background and is now available to download from our Resource Downloads.
In 2009 and 2010, an exhibition was held at Pratt Institute to help explain the relationship between fashion and sustainability.
For this exhibit (called Ethics + Aesthetics = Sustainable Fashion), curators Francesca Granata and Sarah Scaturro (now Conservator at The Costume Institute at the Metropolitan Museum of Art) displayed garments from our Alabama Chanin Songbirds collection, and also from artists and designers like Susan Cianciolo, Andrea Zittel, Suno, and Bodkin.
Andrea Zittel’s smockshop pattern was included in the “Rethink” portion of the exhibition and provided as a printed pattern at the back of the catalog. From page 36 of the catalog:
A simple double wrap-around garment, the smock as designed by the artist Andrea Zittel, is a versatile and utilitarian garment. For the Smockshop project, it is reworked by a number of artists who reinterpret the original pattern based on their individual skill sets and tastes. In line with Zittel’s motto, “Liberation through Limitations,” the smocks are intended to be worn exclusively for six months, but in an understanding of the idealistic nature of such a practice, the artist is at least hoping “to inspire a more frugal approach to design.” The examples in the exhibition are by the artist Tiprin Follett, who wore her smocks continuously and documented her performance in an interview with Zittel as well as through snapshots.
This summer Kristine Vejar, founder of A Verb for Keeping Warm (one of the first stores to sell our fabrics and supplies in a retail setting), began a project that encourages each of us to make 25% of our wardrobe. Simply stated, this means 1 out of every 4 garments in your closet should be handmade- sewn, knitted, crocheted, or constructed in your desired method. I would also include any accessory- hats, necklaces, socks, shoes, and the like.
A few reasons to pledge to make 25% of your wardrobe:
It’s an ethical choice. You KNOW how your clothes are being made.
It’s an economical choice. You are saving money by making your clothes yourself.
It’s a sustainable choice. You are consuming less because you are buying less.
It’s a creative choice and a beautiful form of self-expression.
Our Camisole Dress from Alabama Studio Style is highlighted in a video class on Traditional Appliqué at Creativebug.com. You fill find the pattern sheet for this dress at the back of the book and can follow along step-by-step with our instructions on Creativebug.com. We now offer this project as a DIY Kit from our online store and all the supplies we used are listed below.
Creativebug.com is a subscription service and just in time for the holidays has Gift Subscriptions available starting at $24.99 for a month. I love this as a gift for my crafting friends as there are so many great classes available for the holiday season.
About our appliqué class from the Creativebug website:
“Appliqué is beautiful way to add texture, pattern and color to a project. Natalie uses applique to stunning effect in her Alabama Chanin collection, and in this workshop, she’ll share with you her basic technique. She’ll also show examples of how using different stitches and thread result in dramatically different finished looks.”
Our camisole dress is shown in Apple (double-layer) with Anna’s Garden appliqué in Natural placed around the bottom of the dress . The appliqué is sewn with a whipstitch with a single layer of Cream #256 Button Craft thread. We used Red #128 Button Craft thread for construction of the dress and also for the Cretan stitch along the binding. Seams are felled on the wrong side (inside of the garment).
Continuing our conversation around design, craft and fashion, this week we present a Tracy Reese pattern from Vogue Designer Patterns for DIY Thursday. In all my years as a designer, I have not had the chance to meet Tracy, although I have been familiar with her work since the launch of her collection in the mid-1990s. At that time, I was working as a stylist in Europe and spent much of my time in boutiques, reading fashion magazines, and working with clients.
In an effort to understand Tracy Reese’s philosophy, we reached out to her press office for information and received a note stating that they could “not provide any information at this time.” However, this is what I found on the CFDA website:
“Detroit native Tracy Reese is a graduate of Parsons School of Design. Reese apprenticed under designer Martin Sitbon and worked as design director for Women’s Portfolios at Perry Ellis before launching her eponymous collection in 1996. The collection blends the ultra-feminine and nostalgic with modern polish. plenty by Tracy Reese, was introduced in 1998, after a trip to India provided endless inspiration. A joyful color palette, art-inspired prints and playful details are seen on essentials with a bohemian spirit. With flagships in Manhattan and Tokyo, the Tracy Reese and plenty brands have expanded to include footwear, handbags and home goods.”
Martine Stibon remains one of my all-time favorite designers and I used those pieces often during my days as a stylist. I do love the dress that emerged using our organic cotton jersey fabrics with Tracy Reece’s pattern.
Yesterday morning, as we headed out the door to school, my daughter Maggie asked for a sweater. It feels like summer is quickly fading, and it’s time to break out light sweaters, ponchos, and scarves. Many of you have asked how we at Alabama Chanin wear our Organic Cotton Scarf, so we’ve compiled a few of our favorite looks for you to try. The versatility of this scarf makes it an essential piece for my closet, year-round.
The variation above is perhaps the most basic ways to wear our Organic Cotton Scarf. Simply double the scarf in length, place around your neck, and insert the free ends through the loop. Voila!
The Olivia Dress is the newest addition to our Indigo + Carmine collection. Designed by (and named for) our Studio Assistant, Olivia, this pull-on dress is hand-stitched and made from our indigo-dyed, organic cotton jersey. Clean lines accentuate the waist and bust line. The right amount of swing in the A-line skirt allows for easy, beautiful movement.