Tag Archives: Open Source

DIY MAGDALENA A-LINE DRESS

DIY-Magdalena-A-Line-Dress-(1)-CROP

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.

DIY MAGDALENA A-LINE DRESS

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ON DESIGN: THE HISTORY OF STENCILING

On Design - The History of Stenciling

Join us this Monday at The Factory for the third conversation in our On Design Series. This week Natalie discusses the practice of stenciling—including examples of designs throughout history and various techniques used over time, alongside a short, hands-on introduction to making stencils.

Monday, December 8, 2014
10:30am – 11:30am

Alabama Chanin @ The Factory
462 Lane Drive
Florence, AL 35630

$7.00

Open-to-the-public, the cost includes admission, participation in the conversation, and a cup of The Factory blend coffee, a cold drink, or tea.

Register here for our third event.

P.S.: If you can’t make it to the lecture and want to experiment with stencils on your own, we have a selection of stenciling materials and design resources on our website and a suggested reading list here.

If you are interested in learning more detailed stenciling techniques, we are offering our first One-Day Stenciling Workshop on May 14, 2015. During this workshop, we will design and create stencils through combinations of original artworks and existing stencils. Workshop participants have the opportunity to work with a variety of stenciling materials, experiment with mixing fabric paint, and explore a variety of stencil transfer methods like airbrushing, painting, sponging, permanent and fabric markers, fabric pastels, and transferring inkjet patterns onto fabric.

Learn more about this and all of our workshops through The School of Making.

ASANTE SANA

ASANTE SANA

In March of this year, we unexpectedly received an email with the subject line, “Asante Sana (Thank You) from Kenya!” It was sent by a woman named Nirvana, who is part of a team working to empower rural Kenyans with life and entrepreneurial skills. It seems that their goal is to inspire people to challenge the current social and cultural systems that tend to keep rural Kenyans impoverished. Read part of Nirvana’s first email to us:

Dear Alabama Chanin,  

You inspired 39 rural Kenyan women and men to start a tailoring class to learn hand sewing! They thought they had to have a sewing machine to learn tailoring. They also thought only poor people sewed by hand!

My American team and I are living in rural Kenya to teach Kenyans how to move beyond survival entrepreneurship. When so many community members said they wanted a tailoring class, I had to get creative. I knew there had to be a way to empower these youth without having to buy or find at least 20 sewing machines. So I Googled “hand sewing.” Of course, that led me to Natalie and Alabama Chanin!

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VOGUE #V8860 (AN ALABAMA CHANIN DIY COAT)

VOGUE-COAT-01

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 Patternswhich 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.

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LAUNCHING: ALABAMA STUDIO SEWING PATTERNS

LAUNCHING: ALABAMA STUDIO SEWING PATTERNS

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.

LAUNCHING: ALABAMA STUDIO SEWING PATTERNS

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THE SCHOOL OF MAKING

THE SCHOOL OF MAKING

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.

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DIY POLKA DOT THROW

DIY POLKA DOT THROW

Since the launch of Alabama Studio Style, our DIY Eyelet + Angie Throw (also known in my family as a “couch saver”) has been a favorite do-it-yourself kit among home sewers and our workshop participants alike. Today we launch another design option for this project: the Polka Dot throw. This 36” x 48” throw, made from our medium-weight 100% organic cotton jersey, is patterned with our Medium Polka Dot Stencil and can be worked in a variety of techniques. The throw is shown here sewn in alternating double-rows of quilting, appliqué, and reverse appliqué, and then finished with a blanket stitch that runs around the entire outside edge. Find instructions for all of these techniques and more in our Alabama Stitch Book, Alabama Studio Style, and/or Alabama Studio Sewing + Design.

This DIY kit comes with the backing layer in Navy blue; choose your top layer and appliqué colors. Our production team will match the thread color based on your choices. Or, design your own throw with our Custom DIY option.

From Alabama Studio Style:

Couch savers were a permanent fixture in my grandmother’s home. All manner of crocheted, quilted, and plain fabrics were safety-pinned to upholstered couch backs as well as the arm sand heads of chairs in order to protect the fabric from undue wear and tear. In homage to Gramperkins, who taught me just about everything I love about domesticity, I created this couch saver. To make one of your own, cut a 36” x 48” piece of cotton jersey and embellish as shown. I love to read, relax, and watch movies in bed rather than on my couch, so that is where I display and enjoy this beautiful work.

DIY POLKA DOT THROW

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JONATHAN HARRIS: NAVIGATING STUCKNESS

JONATHAN HARRIS: NAVIGATING STUCKNESS

Over the past thirty-five years, public radio producer Jay Allison has accumulated a wealth of inspiration in his extensive audio archive of human experience. A personal hero of mine, he has brought innovative storytelling to the forefront of radio journalism. His new project, Transom.org, won the first Peabody Award ever given exclusively to a website. This site provides resources and community for young journalists, diarists, artists, and reporters by combining the power of the recorded spoken word and the internet. It also brings otherwise unheard stories to a broad audience.

I discovered this inspiring piece written by artist and computer scientist Jonathan Harris on the Transom Review, a collection of written narratives on Transom.org. “Navigating Stuckness,” is an unashamed look at the journey Harris has taken to understand life’s meaning and the loss and gain of momentum in the long run. The story of his work is actually the story of his life. This may be one reason I found the piece so appealing.  Our work is a direct reflection of our developing state.

JONATHAN HARRIS: NAVIGATING STUCKNESS

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SWATCH OF THE MONTH: OCTOBER 2014

SWATCH OF THE MONTH: OCTOBER 2014

The October Swatch of the Month highlights one of our most popular embroidery treatments—Alabama Fur. The technique, first presented in Alabama Studio Sewing + Design, combines our Spiral stencil with backstitch-worked embroidery floss, and incorporating exposed knots and tails. Simple, yet time consuming, the end result is a hypnotic continuation of curves that is both a beauty to behold and touch (the texture is irresistible).

To create the swatch, begin by stenciling the design to the top layer of fabric using your transfer method of choice. (The Spirals stencil is available for download from our Resources page.)

Align your top and backing layers of fabric, with right sides up and pin together. Using four strands of embroidery floss (or two strands doubled) thread your needle. When you knot off, use a double knot and make sure to leave a 1” tail of floss (note that this tail is longer than we use when working with Button Craft thread, for effect).

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BECK’S SONG READER (+ DIY MUSIC)

BECK'S SONG READER

In December of 2012, songwriter and musician Beck released an “album” called Song Reader that challenged modern recording industry standards and the traditional definition of what an album should be. With Song Reader Beck took a unique approach by releasing 20 songs in sheet music format and asking artists to interpret and record them as they saw fit.

The concept is – at its core – a DIY approach to songwriting and an invitation to other artists to participate in a collective music-making experience. We view the approach as very much aligned with our embrace of open sourcing. All art is interpreted through the lens of the viewer or listener; this takes things a step further by inviting the audience to actively interpret the art.

Beck seemed excited about the possibilities and told McSweeney’s, “I thought a lot about making these songs playable and approachable, but still musically interesting. I think some of the best covers will reimagine the chord structure, take liberties with the melodies, the phrasing, even the lyrics themselves. There are no rules in interpretation.”

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