A “Fat Eighth” is a term well known to many quilters and practiced crafters. For those of you who have never seen or used them, Fat Eighths are bundles of 1/8 yard cuts of fabric often used by quilters to make patchwork patterns. This technique allows makers to create a varied, often colorful quilt that features an array of techniques, shapes, and patterns.
We began offering basic Fat Eighths and Stenciled Fat Eighths in our DIY Store when we learned just how many uses our Studio Book readers were finding for scraps and small pieces of fabric. These fabric squares have uses that stretch far beyond quilting. Readers have related using them as appliqué pieces, shared stories of using the squares to patch holes in well-loved garments, and even reported using scraps as gift wrap. We designed a Quilt of the Month that featured Stenciled Fat Eighths, which was simple, colorful, quite beautiful, and a quick project for both beginning and advanced stitchers.
We have added new options to our selection of Stenciled Fat Eighths: Paisley and Anna’s Garden stenciled squares. In combination with our popular Facets pattern, these options should allow you greater artistic freedom when designing your projects. All Fat Eighths are 9” x 20” and are cut from our 100% organic medium weight cotton jersey. Your stencil selection will be sprayed on each fabric square using our Cream colored textile paint. The bundle contains 25 squares and you can choose from Color Card 1 or 2, or purchase both.
Visit our website for more information on our Stenciled Fat Eighths here.
Each week we share DIY projects with our Journal readers. Those DIY posts often feature DIY Kits that we sell in our online store. In these kits, makers can choose variations of our design choices (change the top layer or bottom layer fabric color of a garment, for example). But, sometimes we makers prefer to have more options when it comes to creating our own projects. During our Studio Weekend and Studio Week workshops, participants have the opportunity to build their own Custom DIY item, with the guidance and feedback from our skilled staff.
In May of last year, we made the Custom DIY option available to all makers. This allows a maker to build their own, highly tailored DIY kit, offering the ultimate opportunity to create a one-of-a-kind piece. We’ve recently added several more options, including new stencils, new projects, and our Natural Dyed selection of 100% organic cotton jersey fabric.
Read more about the Custom DIY options here.
Get started on your Custom DIY project with the help of our Custom DIY Guide and by filling out a Custom DIY form, or call us at + 1.256.760.1090 for assistance in building your one-of-a-kind DIY kit.
We learn our first real poem around the age of 2 — the ABC Song. Soon, we graduate to nursery rhymes, then rhymes for jumping rope. By the time we reach junior high and high school we’re reading Epic Poems, like The Odyssey, and reciting Shakespeare in Iambic Pentameter—well sometimes. Songs can be poems set to rhythm. If we’re lucky, perhaps someone has written a love poem or a song—or two—for us.
Poems are rhythmic—they have patterns, beats, stanzas, couplets, and verses. They have been instrumental at critical moments in our history. Witness:
The process of writing a book is involved. Don’t let anyone tell you otherwise. Each draft gets written and edited, reviewed, passed from hand to hand, rewritten, reedited, and re-reviewed until – after many (many) drafts – you finally arrive at a finished product. It’s a shiny new representation of years of hard work. And in a best case scenario—like a perfect dinner party— it looks effortless.
Each author wants her books to be perfect, especially considering the blood, sweat, and tears that go into every word. You haven’t just written the pages, you have rewritten, proofed (see photo below), had projects produced, reproduced, pages designed, and then redesigned again. It’s all part of the glorious process of eliminating errors, removing comma splices, making things pretty, laying a foundation, and inspiring a person to want to hold your book, to open it and, in the end, find it perfect.
As this posts to our Journal this morning, part of our Alabama Chanin team will be in the air and on their way home from MAKESHIFT 2013. We hope that you have followed our explorations and conversations during New York Design Week via Instagram and have had conversations of your own. Leaving MAKESHIFT this year, we are even more convinced about the importance of making, sharing, and finding common ground. You can expect a full recap of our experiences from New York Design Week in the next days, plus expanding conversations about design, fashion, food, craft, and DIY over the coming months.
One thing we do know is that, as we continue to open source our ideas, our Alabama Chanin conversations series and workshops will continue to grow. These events—like MAKESHIFT—have become an intimate, extraordinary way for us to connect with fellow makers, designers, and like-minded creators across the country (and the world). See more in the coming weeks about the bag project we started at MAKESHIFT 2013. In the meantime, here are some instructions for a different kind of bag (with an equally important message).
In the early spring of this year, Alabama Chanin designed and created a one-of-a-kind bag to support the Council of Fashion Designers of America’s “You Can’t Fake Fashion” campaign. We loved the finished product so much that I wanted my own version, adapting the OrganicTote Bag #3. This bag measures 17 1/2” x 13 3/4” x 4 3/4” and is large enough to use as a purse or laptop bag or to carry your sewing projects. The tote has been double-layer appliquéd all-over using our Paisley stencil in Alabama Indigo fabric.
The bag comes in Natural. We chose to customize this tote to match our CFDA bag by dyeing it indigo, but your design choices are endless.
We’ve loved every plate, bowl and serving dish from our collaboration with Heath Ceramics that has come through the studio. But it’s this newest addition, the Camellia pattern, that is easily my favorite, and the most elegant. Each piece is hand-etched by a Heath Ceramics artisan and comes in Opaque White. The design is offered on the Deep Serving Bowl, Dinner Plate, and a Serving Platter, and is a natural addition to the current Alabama Chanin @ Heath Ceramics collection.
The Alabama Chanin @ Heath Ceramics collection is available in Heath Ceramics stores, on the Heath Ceramics website, and our online store.
This week, we’ve been exploring Finnish design company, Marimekko, well known for creating colorful, often bold patterns and fabrics. While their designs were first made popular in the 1960’s by Jacqueline Kennedy, the bright and vibrant garments remain classic choices, appropriate for any generation. Personally, I love to add a bold pattern or color to my regular wardrobe from time-to-time, and re-visiting the Marimekko story inspired this Tunic.
This pattern is a variation of our T-shirt Top, available in Alabama Studio Sewing + Design cut to tunic length. The tunic has a bit of a flare starting at the waist, which makes it comfortable and forgiving. We also have variations of tunics – the Camisole Tunic and the Tank Tunic – available as patterns in Alabama Studio Style.
In addition to our Little Flowers and Little Folks stencil collaboration with Anna Maria Horner, we’re also introducing a new DIY Kit: the Little Flowers A-line Tunic. This is one of our few kits available in lightweight organic cotton jersey (along with our Random Ruffle T-shirt and the Paisley Skirt). The relaxed fit and the flow of the lightweight jersey makes this tunic an easy favorite in my day-to-day wardrobe. Think absolute comfort.
The top is fitted through the bust with an empire-style flare that lands just below the hip, providing a comfortable, yet feminine shape. It measures 31 ½” from the shoulder.
The kit comes stenciled with Little Flowers and ready-to-sew with all notions for the project. We also feature our variegated embroidery floss in this project.
While we don’t offer the A-line Tunic pattern in our Studio Book Series, you can simply follow the construction instructions for the Fitted Top on page 52 of Alabama Studio Sewing + Design.
OUR DESIGN CHOICES
Garment – A-line Tunic; follow instructions for the Fitted T-shirt Top in Alabama Studio Sewing + Design
Fabric weight – Alabama Chanin 100% organic lightweight cotton jersey
Fabric color top-layer – Black
Fabric color bottom-layer – Natural
Stencil – Little Flowers
Button Craft thread for construction – Coats & Clark #2 (Black)
Embroidery Floss – Variegated Black #53
Embroidery technique – Backstitch reverse appliqué; instructions available in Alabama Studio Sewing + Design
Seams – Inside Felled
Click on image to enlarge.
To create Little Folks: 1. Stencil fabric using Little Folks stencil and the stenciling technique of your choice. 2. Backstitch square shapes by stitching directly on stenciled edge. 3. Backstitch circle shapes inside of the flowers by stitching 1/8’ inside stenciled line and cut 1/8” outside of stenciled line. 4. Backstitch diamond shapes by stitching directly on stenciled edge and cut 1/8” inside diamond shape. 5. Backstitch flower shape then cut 1/8” inside the backstitch. 6. Whipstitch straight lines inside the flower shapes. 7. Add satin sequins using eyelet stitch. 8. Add French knots in between satin sequins.
Two years in the making, we are thrilled to officially introduce our Anna Maria Horner collaboration to Alabama Chanin’s Studio Style DIY. In-depth conversations, back-and-forth emails, and Nashville-Florence meetings with Anna Maria resulted in two textile pattern designs called “Little Flowers” and “Little Folks”.
Our collaborative process illustrates the infinite design possibilities that emerge when you start a conversation on design; our collaboration is an enlargement and elaboration of Anna Maria’s textile pattern: Little Folks.
I’ve been a fan of Anna Maria and her lively prints for years. Seeing the evolution of many of these prints into complete fabric collections made me curious to see what one would look like worked in our Alabama Chanin style. Little Folks had all the elements I was interested in incorporating into an Alabama Chanin design: simple forms, intricate detail, and repeating geometric patterns. This elemental approach focused on the essence of her design, evident in the laser-cut stencils.