Short Stack Editions is a beautiful series of small-format, hand-bound publications that are half cookbook, half food magazine. Each 4 1/2” x 7 1/2” edition is inspired by a single ingredient and written by an array of chefs, cookbook authors, and food writers. To sum it up, Short Stack Editions are a food-lovers’ pocket-sized dream—and are as functional as they are collectible. (Our staff has been poring over the volumes since their arrival at The Factory.)
Ochre: a natural earth pigment containing hydrated iron oxide
Vermeer used ochre extensively when painting flesh tones.
Ochre is the color of harvest, of autumn wheat, and heavenly bodies.
Gold Leaf: gold that has been hammered into thin sheets
The golden bough, sought by Aeneas to protect himself as he journeyed into Hades.
And here: the golden tree of life at London’s Whitechapel Gallery.
Today, see Chinese artist Zhou Xiaoping collaborate with Aboriginal artist Johnny Bulunbulun. Ochre and Ink and rice paper, a cross-cultural experiment in art and process.
Our Arella Top – a selection from Collection #29
The design world is filled with innovators making products that can impact the human experience for good or for ill. The idea of designing and making with positive, spirited intention is growing far beyond its early influencers like Samuel Mockbee’s Rural Studio or the now defunct Architecture for Humanity—inspired by Mockbee’s project. Today, AIGA—one of the oldest and largest professional design organizations—has an entire program dedicated to Design for Good. Design leader John Bielenberg created the innovative and influential Project M that is always generating creative solutions to real design challenges. (See Project M’s Pie Lab in Greensboro, Alabama, for an example.)
One of our earliest “social” collaborations was with an organization called Goods of Conscience, whom we worked with on some of our first indigo dyeing experiments. This was quite a few years ago, when design and social change were words that weren’t often used together. It was one of the early examples in the textile industry we encountered that proved the two ideas could exist together and elevate one another.
All design has social impact, but good design focuses on people as fundamental to the products they make. Designers have a remarkable ability to influence how we communicate and with whom, what we think about, what is relevant, and how social and economic power balances might be restructured. When designing for the good, effective ideas, methods, and products can better a society and humanity. Nest, the non-profit organization we’ve partnered with through The School of Making, has fostered successful initiatives by building deep relationships with the global makers with whom they partner—collaboratively building sustainable solutions to the greatest needs within communities where artisan craft stands to create positive, long-lasting change.
Patagonia’s Worn Wear truck and team arrived in Alabama and to The Factory yesterday morning. They’ve set up in the parking lot and brought fabrics and machines to repair your existing gear. As a bonus, they’ve also brought a slew of jackets that they’re giving away so we can learn to make our own repairs.
I scored this black down jacket which is shown below before repairs and after.
Of course, we added some Alabama Chanin touches. Lucky bonus: I found this tidily rolled dollar bill in the right pocket of my jacket.
Grab a jacket, a taco and a beer, and join come us…
This week, we are pleased to launch Alabama Chanin Collection #29—with never before seen garment styles and stencils. Natalie has been working for many years to grow a talented design team that understands our company mission and helps advance the design story we tell with each collection.
The garments are presented in four main colors—Natural, Black, Ochre, and Peacock, the latter acting as a continuation of our Indigo Blue color story. We drew inspiration from graphic design and interiors as we created the patterns and design motifs. The new, prominently featured Tony stencil was inspired by a vintage book cover; another new embroidery motif—Dots and Dashes—was inspired by an antique wallpaper pattern. The entire collection reflects this same design approach.
We are also employing new techniques—continuing the hand painting technique used in our one-of-a-kind Indigo garments and introducing a new triple-layered technique, a sort-of double-negative reverse appliqué, inspired by a South American textile technique. For the first time, we are introducing garments made from organic French Terry. We have worked with our supplier in North Carolina to ensure this fabric meets the same standards as our organic cotton jersey and are excited about the results.
You will see new styles introduced, including an updated corset, more jackets, and new takes on our popular poncho. These garments are designed to help expand and diversify your wardrobe by just adding one or two new pieces.
Look for highlights of our design process, inspirations, and new designs very soon…
Early on in the life of Alabama Chanin, Natalie had the opportunity to visit the Ventura, California offices of Patagonia. That visit, along with a copy of founder Yvon Chouinard’s manifesto, Let My People Go Surfing, opened all of our eyes to the fact that it is possible to create a healthy workplace, make products responsibly, produce things that are meant to last, and still stay in business. (Or, at any rate, that is certainly our goal…) Patagonia’s The Footprint Chronicles shows the origins of Patagonia products and materials. Their supply chain is completely transparent, and directly inspired Alabama Chanin to document and publish our own supply chain.
Another Patagonia program that we’ve loved is Worn Wear, which documents stories of garments used, reused, repaired, and recycled. (You can read stories of individuals and their garments at the Worn Wear blog.) The Worn Wear program helps garment owners maintain their gear for as long as possible through product care and repair services. It also provides an easy way to recycle Patagonia garments that are beyond repair.
As the Patagonia team puts it, the biggest step we can take to reduce our impact is to do more with what we have. Repeated laundering, ironing, and drying can shorten a garment’s life, just as much as wearing them—so they offer tips for cleaning and care to extend the garment’s life cycle. But, if a garment gets excessively worn, Patagonia urges owners not to toss it, but instead repair it—or send it to them for repair. You can find easy-to-read repair guides on their website. Or, you can ship an item back to Patagonia to be repaired. The company employs 45 full-time repair technicians at their service center in Reno, Nevada. It’s the largest repair facility in North America—completing about 30,000 repairs per year.
Garments that are not salvageable can be returned to Patagonia (postage paid) to be recycled into new fiber, or repurposed. Since 2005, they have taken back over 82 tons of clothing for recycling. Our collaboration with Patagonia used just these cast-offs to create scarves from repurposed material.
Patagonia’s Worn Wear Repair Truck is currently on its fall tour (and upcoming stops can be tracked here). The truck and the Patagonia repair crew will be at The Factory for a special two-day event. On Friday, September 18 from 9:00am – 5:00pm and Saturday, September 19 from 10:00am – 4:00pm, we invite you to bring your well worn, well loved garments—of any brand—to be repaired for free by the Patagonia team. As they say, “If it’s broke, we fix it.”
We will offer regular lunch service at The Factory Café on Friday and a brunch taco stand with other sweet and savory items on Saturday. Alabama Chanin’s School of Making will sponsor a DIY mending station with thread and cotton jersey fabric scraps. Patagonia will also have DIY garments that if you can fix, you can take them home. Click here for more information on the event or visit the Worn Wear site for information on Patagonia.
*All images Courtesy of Patagonia
Our first collaboration with Heath Ceramics, launched in 2011, has built a lasting, creatively symbiotic relationship. That joint development was a beautifully intensive design process that blended our techniques with theirs. Our Heath + Alabama Chanin line of dinnerware is made by hand, just like our Alabama Chanin handmade Collection. The artisans at Heath etch the designs into clay in much the same way that we embroider our garments. And just as our stitchers initial the garments they create, the Heath artists leave their marks on each of the finished products.
Over the last year, as we began experimenting with our indigo dye house, we became excited about the possibilities of this natural color and the richness and variations it creates. This excitement carried over into our ongoing conversations with Heath about expanding our collaboration. The new pieces build upon our previous work together and today we launch two new themes in our Alabama Chanin + Heath Ceramics collaboration: Indigo and Bird’s Nest.
Over the last five years, our work with Cathy Bailey and Robin Petravic has been some of the most productive, exciting, and meaningful work that we’ve had the opportunity to do. Robin and Cathy are husband and wife, parents to Jasper, writers of the new book, Tile Makes the Room, and the owners and operators of Heath Ceramics. Cathy was an early member of our Makeshift initiative and has participated in almost every major Makeshift event since its inception. Our ongoing collaboration with Heath is one of our proudest (and longest lasting) joint design ventures. And throughout the process, Cathy has become a trusted friend.
Prior to her work at Heath, Cathy founded One & Co., a design consultancy with clients like Microsoft, Palm, and Apple. (Prior to THAT, she worked as a footwear designer at Nike in Portland.) In 2004, she and Robin purchased and rehabilitated Heath Ceramics, founded by Edith Heath in 1948 and run by Edith and her family until Edith was in her 80s. When they made the purchase, both were searching for more satisfying outlets for designing and making—and found that at Heath, which required hands-on work to revive and preserve, while keeping the original design aesthetic intact.
I met Stella Ishii over a decade ago, as I was just beginning to define who I was as a designer. She was simultaneously likeable and intimidating—but intimidating only because of her impressive resume and effortless cool. She began her career in fashion not because she was fluent in design technique—but because she was fluent in English. Japanese-born Ishii heard of a job opening for a translator at a design house and eventually was hired to work for Rei Kawakubo at Comme des Garçons. By the mid-90s, she was head of Staff USA—a branch of Staff International, the Italian parent company of fashion brands like Maison Margiela and Vivienne Westwood. Ishii and Staff USA were key to introducing these (and other) brands stateside.
Stella launched The News in 2001, a sales and press agency—slash—showroom and incubator located in a Soho loft. The News has helped nurture and grow designers and brands like Alexander Wang, The Row, and 3.1 Phillip Lim. Just about 3 years ago, she and her business partner Lasse Karlson launched 6397 (N-E-W-S on a telephone keypad), a denim-oriented line of clothing designed by Stella—a true denim aficionado. Stella has long depended on denim as her most reliable (almost iconic) wardrobe staple. 6397 captures the androgynous elegance that well made denim can offer.
This week, we take another look at the lives our clothes have led and the memories forever linked with them. For some reason, we associate memories with objects—or in this case, clothing. Every time I look inside, I think that my closet is, in a small way, some sort of prism through which I see the world.
Project Alabama Garment #17821
Built in September 2005
Pattern: A-359 Long Coat
Fabric: 100% organic medium-weight cotton jersey
Outer layer color: Sapphire
Backing layer color: Black
Beads: Black bugle and chop
Sequins: Gun Metal
Seams: Inside felled
Owner: Natalie Chanin
The Beaded Facets Coat was originally created for the Project Alabama Spring/Summer 2006 Collection, as you can see in the picture above left. It was presented in the first and only runway show we ever produced (thank you Gail Dizon, Jennifer Venditti, Lori Goldstein, Jake Xerxes Fussell, Ruby Jane, and to UPS—who sponsored the show). I just couldn’t believe my eyes when I saw that show made the cover of Women’s Wear Daily the next morning. I had to look three times to realize that it was actually the cover and not from the interior of the magazine. There were eventually 14 of these coats produced in both the Amber and Sapphire colorways shown above for Barneys New York, Bergdorf Goodman, Jeffrey Atlanta, and a few special clients.