Tag Archives: Stencils + Patterns

December 13, 2018

BUILD A WARDROBE 2019

Our 2019 Build a Wardrobe subscription launches today with modern, brand new styles to add to your closet. In planning for 2019, The School of Making design team set the tone with our color of the year: Verdant. They have also developed three new stencils: Abstract, Canopy #1, and Canopy #2. And they combined these elements in Design Bundle #6, which is the perfect starting point as you plan out your hand-sewn wardrobe projects for 2019.

And we introduce our 2019 line-up, starting with The Fractal Dress. This is a modern style that will complement any woman’s body. The shape is relaxed yet tailored for a flattering fit, and the panels allow the opportunity to play with color and engage the pattern in creative ways. Available in top, dress, and an asymmetrical crossover top, this style will add a modern edge to your wardrobe.

Quarter two introduces The Jumpsuit. Our team developed this pattern with a utilitarian design in mind. The jumpsuit has a fitted bust, snap-up placket, drawstring waistline, and a flowing wide leg. The shirt dress variation is a mid-length fashion, and the shirt is a functional, comfortable snap-up style with a collar. At the same time, we will introduce three bonus pocket patterns—Cargo, Darted Stripe, and Oversize Patch—that can be used on all of our Build a Wardrobe styles.

For quarter three, The Asymmetrical Trench debuts with double-breasted front panels, snaps, optional storm shield, and back vent. This garment can also be made in a stripe version, or pockets may be added for further customization. The Asymmetrical Peacoat is an additional body variation we include with the pattern. With this pattern, our team looked to create a staple and classic piece for your wardrobe. The coats launch in July, which gives you plenty of time to make yours for the upcoming fall and winter season.

Our final pattern is The Pencil Skirt—another classic style with a feminine touch. The skirt has plenty of shaping built into the pattern and is offered as a basic pull-on version and with slits in the front or back—or as a crossover version with a waistband and snaps.

When you purchase (or gift) a membership to Build a Wardrobe, you receive:

Digital inspiration and information packet of garment and treatment ideas for your wardrobe
Digital link to a form where you will choose your fabric and thread colors for the year
Discount coupon for 25% off stenciling supplies for those who want to stencil their garments (one-time use)
Subscription to an exclusive quarterly Build a Wardrobe newsletter

(Please note that the first quarter pattern and materials ship out at the beginning of January.)

By subscribing, you will have a year’s worth of content in-store that can be created from start-to-finish using techniques presented in The School of Making Book Series. As always, each quarter will bring a new DIY garment pattern that you can customize to fit your own personal style. This program offers participants full freedom to take each garment and make it their own.

Subscribers will also have access to order custom DIY kits for each of the four new garment patterns at a discounted rate. These new styles are exclusively available as DIY kits to subscribers during the 2019 Build a Wardrobe program. As we’ve done the past three years, subscribers can order custom kits beginning with The Fractal Dress during the first quarter of 2019, with the new patterns being added every quarter.

Below you will find an overview of the materials that are included with each quarter.

Quarter One: The Fractal Dress pattern

Fractal Dress Pattern in both printed and digital formats. This pattern provides three style variations for the garment body (top, crossover top, and dress), two sleeve variations for this garment (short and 3/4), two neckline options (Crew and Funnel), optional side-seam pocket, and all necessary instructions.
5 yards of our 100% organic medium-weight cotton jersey in two colors (2.25 yards each color) for completing a double-layer Fractal Dress or any variation of your choice
1 spool of thread in the color of your choice
An exclusive digital link to a Custom DIY form that gives you the option to purchase DIY Kits for The Fractal Dress—cut and stenciled to your specifications

Quarter Two: The Jumpsuit pattern

The Jumpsuit Pattern in both printed and digital formats. This pattern provides 3 style variations for the garment body (shirt, shirt dress, and jumpsuit) and all necessary instructions.
7 yards + 1/2 yard for pocket variations of our 100% organic medium-weight cotton jersey in two colors (3.75 yards each color) for completing a double-layer Jumpsuit or any variation of your choice
2 spool of thread in the color of your choice
13 #7 silver snaps
Bonus pocket patterns for the entire year: Cargo, Darted Stripe, and Oversized Patch

Quarter Three: The Asymmetrical Trench pattern

The Asymmetrical Trench Pattern in both printed and digital formats. This pattern provides 2 style variations for the garment body (peacoat and trench), and all necessary instructions.
7 yards + 1/2 yard for pocket variations of our 100% organic medium-weight cotton jersey in two colors (3.75 yards each color) for completing a double-layer Asymmetrical Trench or any variation of your choice
1 spool of thread in the color of your choice
6 #7 silver snaps

Quarter Four: The Pencil Skirt pattern

The Pencil Skirt in both printed and digital formats. This pattern provides 5 variations for the garment body (pencil skirt, skirt with front slit, skirt with back slit, asymmetrical skirt and crossover skirt), and all necessary instructions.
3 yards + 1/2 yard for pocket variations of our 100% organic medium-weight cotton jersey in two colors (1.75 yards each color) for completing a double-layer Pencil Skirt or any variation of your choice
1 spool of thread in the color of your choice
1 yard fold-over elastic in the color of your choice
6 #7 silver snaps

As in past years, anyone can join at any point throughout the year. By participating and purchasing materials through Build a Wardrobe, you will automatically receive approximately 25% off the total retail value of the materials—plus the printed pattern and notions needed to complete your garments and free domestic ground shipping. International orders may incur extra shipping fees.

Each quarter, we will release the Build a Wardrobe garment pattern with instructions, for sale as a digital download on our Studio Books + Patterns page.

Throughout the year, we will show several of our own takes on each garment, using a variety of techniques, colorways, stencils, and embroideries. Use those as inspiration or tailor the garments to your own unique style. Follow along on the Journal and on social media using the hashtags:

#theschoolofmaking
#buildawardrobe2019

As with most of our patterns, each of these new styles is created with multiple length or style variations—allowing each person to choose the version that best fits their personal figure best.

We chose patterns for the year to build on our three previous subscriptions. If you make a basic of each variation of every pattern offered through this year’s subscription, you can end the year with 23 hand-sewn garments. Pattern possibilities, by the numbers:

The Fractal Dress – 12 garment variations (top, crossover top, dress X 2 necklines X 2 sleeve lengths)

The Jumpsuit – 3 garment variations (shirt, shirt dress, and jumpsuit) with three pocket variations for each style

The Asymmetrical Trench – 3 garments (peacoat, trench, and stripe trench) with three pocket variations for each style

The Pencil Skirt – 5 garments (basic, front slit, back slit, asymmetrical, crossover) with three pocket variations for each style)

December 06, 2018

ABSTRACT + CANOPY STENCILS FROM THE SCHOOL OF MAKING

Expanding on design programing, we developed three new stencils for The School of Making that build on the design series’ connection to nature and geography. Inspired by strong graphics and the natural world are Abstract and Canopy.

With bold shapes and leaf motifs throughout, Abstract (35.5” x 31) is available as both a Mylar stencil and a downloadable PDF that can be used to create your own stencil. Abstract’s graphic design lends itself well to a variety of appliqué, embroidery, couching, and an array of beading techniques.

Comprised of two separate stencils, the elements of the nature-inspired Canopy (35.5” x 28”) can be used alone or layered. The stencils have registration marks to help with their alignment if you choose to utilize both in your design. Choose to paint both stencils in different colors, a combination of layered paint and embroidery, or for a textural 3-D effect, use embroidery techniques on both on stencils. Like Abstract, Canopy is available in Mylar and PDF formats.

Pair Abstract, Canopy, or any of our other stencil designs with our School of Making book series for appliqué, embroidery, sewing, and beading instructions.

Follow The School of Making on Instagram and Facebook for all the latest updates and launches.

October 25, 2018

NEW PAPER PATTERNS FROM THE SCHOOL OF MAKING

As we continue to build out our paper pattern library, today The School of Making releases the Maggie Dress, Full Wrap Skirt, Alabama Sweater, Walking Cape, Unisex T-Shirt, T-Shirt Top, and Baby Bundle patterns in paper versions. Previously only offered in digital forms, these patterns will add new dimension and styling options to your hand-crafted wardrobe. They round out our current collection with paper options for every single pattern we offer.

Like all of our paper patterns, these each include nested sizes XS – XXL (except for the Walking Cape and Baby Bundle, which are offered in one size).

Maggie Dress
Offering a unique design and flattering shape, the Maggie Dress and can be customized to the length of your choice, from top, to tunic, to floor-length dress.

Full Wrap Skirt
The versatile Full Wrap Skirt comes with three different skirt variations: the Full Wrap Skirt, Pull-On Skirt, and Apron Skirt, with four length options for each variation.

Alabama Sweater
The Alabama Sweater is a wardrobe staple that boasts a relaxed fit, wide v-neckline, and two sleeve options.

Walking Cape
The seasonless Walking Cape can be a basic topper worn throughout the cooler and transitional months or intricately embellished for a special occasion.

Unisex T-Shirt
This men’s and women’s style offers a classic, everyday tee option with a relaxed fit and straight cut.

T-Shirt Top
The T-Shirt Top provides a more feminine version of the classic t-shirt in a fitted version with a cinched waist.

Baby Bundle
Our Baby Bundle includes a blanket, bunny, bib, and bucket hat for baby. These projects work up quickly and make beautiful gifts. Choose to make and give one or all.

For in-depth sewing, embellishment, and appliqué instructions pair any of the patterns with our Studio Book Series.

With 15 patterns (and counting), The School of Making’s pattern collection continues to grow. (Look for more additions to our pattern collection in 2019 with four new Build a Wardrobe styles.)

Shop Studio Books + Patterns here.

P.S.: If you are a store owner and are interested in carrying our paper patterns please contact Bonnie, Wholesale Coordinator for The School of Making, at workshops (at) alabamachanin.com.

October 04, 2018

2018 BUILD A WARDROBE: THE EZRA COAT PATTERN

Always striving to help you expand your own hand-made, sustainable wardrobe, The School of Making has released its much-anticipated coat pattern, the Ezra Coat, as the fourth (and final) installment of the 2018 Build a Wardrobe.

The Ezra Coat dates back to 2012 when we first created the pattern inspired by the photographs of Jim and Nancy Massengill. This classic coat pattern is tapered at the waist with a fuller skirt that beautifully highlights embroidery techniques from The School of Making. It’s deep pockets and versatile lengths, from Jacket to Long Coat version, make this an important wardrobe staple.

Spend the Fall making this new (and sure to be favorite) cold-weather style that is flattering to a variety of body types and lends itself well as both a basic, everyday coat or an elaborately appliquéd and embellished special-occasion piece.

The Ezra Coat offers long sleeves, flattering princess seams, a full flare from the hip, and flap pockets. The nested pattern comes with sizes XS – XXL, four length variations, and two sleeve options.

Completely customizable to your needs and climate, the Ezra Coat can be a transitional piece made from a single layer of our medium-weight jersey or cold-water-ready with two layers of medium-weight jersey (use our Printed Cotton Jersey for a fun and unexpected inside layer on a basic coat).

Pair this pattern with The School of Making Book Series for appliqué, stenciling, and beading inspiration and instruction.

The Ezra Coat is offered in both physical and digital formats here.

Share your progress on the Ezra Coat and all of your projects with the entire School of Making community using the hashtags #buildawardrobe2018 and #theschoolofmaking on Instagram.

September 27, 2018

A VERB FOR KEEPING WARM: NELL SHIRT

The School of Making offers a wide range of sewing patterns—both in The School of Making Book Series and as standalone patterns—to fit many different body types and lifestyles. In the past, we’ve also adapted sewing patterns from other designers using our techniques and materials, with beautiful results. Some of our favorites from the past are the Fen Dress from Fancy Tiger Crafts, Anna Maria Horner, both The Dress Shirt and The Factory Dress from Merchant & Mills, along with a multitude of designer patterns from Vogue Patterns. Our latest installment in this series is the Nell Shirt from Kristine Vejar of A Verb for Keeping Warm in Oakland, California.

A Verb for Keeping Warm has been one of our wholesale partners for years—well since we first started wholesaling. We’ve taught multiple workshops in and around San Francisco and have had the opportunity on multiple occasions to host events and hang out with Kristine, Adrienne, and the whole crew at A Verb for Keeping Warm.

Kristine is a cult figure in the world of making. Her book The Modern Natural Dyer is a gorgeous tome with the subtitle: A Comprehensive Guide to Dyeing Silk, Wool, Linen, and Cotton at Home. Indeed. In Chapter 5, there is a project featuring an Alabama Chanin top and our ever popular Crop Cardigan. We collaborated with Kristine on one of our beloved Maggie Tops using a cut flower printing technique on our 100% Organic Cotton Jersey fabric. Kristine created the fabric for us and the garment can be found on page 79 of The Modern Natural Dyer. You can see that we have a beautiful history, an ongoing partnership, and deep friendship.

The Nell Shirt is a modern twist on a classic button-down shirt. The top was originally designed for woven fabrics, but with a few alterations, it works just as well with our 100% Organic Medium-weight Cotton Jersey. (You may want to size down when using a knit fabric.) We made the top with a combination of our Forest and Peacock medium-weight jersey using Forest and Navy colored Button Craft Thread and a beautiful hand-dyed indigo embroidery floss from A Verb for Keeping Warm.

SUPPLIES

Nell Shirt Pattern (Printed version or Digital PDF version)
2 yards of 60”-wide 100% organic medium-weight cotton jersey for garment body and sleeves
1 yard of 60”-wide 100% organic medium-weight cotton jersey for contrasting inset Front Panel
1 spool of Button Craft Thread or 2 spools if making a contrasting colored garment
1 spool of Embroidery Floss or skein of hand-dyed floss
Basic sewing supplies: scissors, pins, needles, ruler, rotary cutter
The School of Making Book Series: These books contain the basic sewing and embroidery techniques we used to make our version of this shirt.

Follow all instructions using the following modifications for the knit fabric:

We reduced the 1/2” seam allowances on every pattern piece to 1/4″ by removing 1/4” from every seam. Do not adjust hemline or any pattern lines marked “Cut on Fold.”

Eliminate all interfacing for knit fabrics.

Hand-sew all seams with a straight stitch, leaving 1/4” seam allowance, using a double strand of thread on medium-weight cotton jersey.

When instructions read “press,” we felled these construction seams to the inside.

Where instructions read “Finish by Hand,” we used a Blind Stitch.

We left our shirt hem as a raw cut edge.

OUR DESIGN CHOICES

FRONT—Cut 1 on fold in Forest
BACK—Cut 1 on fold in Forest
FRONT PANEL—Cut 4 in Peacock
SLEEVES—Cut 2 in Forest
CUFFS—Cut 4 in Peacock
BACK LINING—Cut 1 on fold in Forest

Button Craft Thread—Forest and Navy
AVFKW Naturally Dyed Embroidery Floss
Seams—Inside Felled

August 16, 2018

INTRODUCING THE MARIE STENCIL

The Marie Stencil, inspired by the lush backdrops and intricate costumes of artist Eugene Von Bruenchenhein and his wife and muse Eveline ‘Marie” Kalke, is now available through The School of Making.

The Marie Stencil utilizes graphic floral motifs and lends itself well to bold color combinations.

The Marie Stencil is available in physical and digital formats on our Maker Supplies + Stencils page.

Shown in negative reverse appliqué on the Frances Top, you can pair this stencil with the 2018 Build a Wardrobe (when you sign up you will receive 20% off stenciling supplies) or with a variety of garments and home goods from our Studio Book Series.

Share how you plan to use the Marie Stencil in the comments below and be sure to follow us and the entire The School of Making community on Facebook and Instagram.

Design Choices

Garment – Frances Top with collar with cap sleeves
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Black
Fabric color for inner layer – Black
Button Craft thread – Black #2
Textile paint color – Slate
Stencil – Marie
Technique – Negative reverse appliqué
Knots – Inside
Seams – Inside felled

July 26, 2018

T-SHIRT PATTERN: FITTED + UNISEX

We love a good T-shirt, and our summer has revolved around this classic garment with the launch of the Clean Tee collection from Bldg. 14, a special one-of-a-kind Graffiti Tee collection from Alabama Chanin, and the Frances Dress and Top pattern—our take on an effortless, relaxed T-shirt dress—launched earlier this month in The School of Making.

The T-Shirt Top pattern was introduced in Alabama Studio Sewing + Design in 2012 and shown with design variations (godets, Princess seams, and front and back stripes) in Alabama Studio Sewing Patterns. It has a slightly fitted waist and longer length than a standard T-shirt.

After requests for a men’s T-shirt option, we released the Unisex T-Shirt (for men and women) as a digital, standalone pattern in 2015 with the same constructions as the T-Shirt Top.

For the first time, the T-Shirt Top is available as a standalone digital pattern, now combined with the Unisex T-Shirt, creating simply: The T-Shirt pattern. And after receiving feedback about the construction, we made two small adaptations from the original T-Shirt Top pattern. In this updated pattern, you’ll notice the sleeve is symmetrical and the back shoulder seam is adjusted to better fit the front shoulder seam.

You’ll get both of these patterns in the digital PDF download—with the full pattern sheets and tiled options in both US Letter and A4 (for our international customers) formats and priced at $24. Visit our Journal here for instructions for home printing.

Make both and have the option of a fitted silhouette or a more classic fit with The T-Shirt Pattern. Each pattern is included with sleeve options (sleeveless, cap, short, and long for the T-shirt Top and sleeveless, short, and long for the Unisex) and a full size range available from XS to XXL.

Find the pattern in Studio Books + Patterns to create the perfect T-shirt (or 2, or 10) for the summer.

June 28, 2018

VINTAGE PATTERNS WIKIA

Most of us have seen boxes of old patterns in our grandparents’ attics or at yard sales, but have you ever considered putting them to use? For those who are interested in doing just that, Vintage Patterns Wikia has posted over 84,000 out-of-print patterns from before 1990 in a searchable archive. Not all viewable patterns are available for purchase, but the crowd-sourced database is growing each day. Visitors can search by all sorts of categories – decade, garment type, designer, or vendor. You can also view projects that have been completed by other visitors.

If you find yourself in possession of a vintage pattern that you want to use, it is important to take several things into consideration. Many older patterns are extremely fragile and their paper envelopes may be delicate. Take care to remove and spread them out and NEVER cut from the original pattern; you risk damaging the delicate paper and ruining your entire project. Carefully trace each piece onto pattern paper and store the vintage patterns in their original envelopes or other sturdier folders.

Older patterns also use different terminology and read differently from modern-day commercial patterns. This article is a great resource on how to decode and clarify instructions and terms used on vintage patterns. Keep in mind that sizing can be very different on modern patterns than on older ones. Do not cut your normal, modern-day size without first carefully examining the measurements on the original. Vintage patterns are known to sew up smaller than modern patterns. (If necessary, you can refer to Alabama Studio Sewing Patterns for assistance with modifications.)

The Vintage Sewing Pattern Wikia is still a growing database with a large collection of patterns and original envelopes to view and some resources available to purchase those patterns. Their goal is to create a massive one-stop-shop for patterns 25-years old or older. Members can help to grow the resource by posting their own pattern photos, reviews and tips for making garments, and linking to sellers who can provide original patterns. To find out if a pattern is available for purchase, click on the pattern link in the wiki and scroll down for information on the vendor who sells the item you are interested in. Not all patterns are yet available. You can also browse the member community and see finished garments made from available patterns. There is a forum of makers who discuss sources, techniques, and memories of garments past. Visit their starter’s guide to learn how to contribute to the database.

There are dozens of vendors for vintage patterns and original patternmakers will often sell reproductions if you are not up for the unique challenge of navigating vintage garment instructions. The wiki provides links to a number of reputable sellers for those interested in working with originals. For those who just want to window shop, click here for hours of reminiscing and daydreaming of wearing that perfect Katherine Hepburn pant or Ginger Rogers dress. As it continues to grow, this wiki is a resource you can return to again and again for inspiration.

June 21, 2018

FANCY TIGER CRAFTS: THE FEN PATTERN

The School of Making offers a wide range of beloved sewing patterns, available in our Studio Book Series and as standalone patterns. We’ve also adapted sewing patterns from other designers using our techniques and materials with beautiful results. Some of our favorites from the past are from Merchant & Mills, DKNY, and Vogue Patterns.

Our latest installment in this series is the Fen Dress from Fancy Tiger Crafts. We have a long history of friendship and collaboration with Fancy Tiger Crafts, from wholesale partnerships to our Swatch of the Month subscription. Fancy Tiger is a staple in the making community offering range of sewing and knitting patterns plus beautiful fabrics and yarns, all available through their online store.

The Fen Dress is a fun take on a relaxed T-shirt dress with its drop shoulder, gathered skirt, and pockets. Originally designed for woven fabrics, the Fen Pattern lends well to our Medium-Weight Cotton Jersey with a few adaptations, outlined below. We made View B with the scoop neckline and short sleeves using Camel 100% Organic Medium-Weight Cotton Jersey and Sage Button Craft Thread. (Consider sizing down if you’re using a different fabric with more stretch.) To make your own hand-sewn jersey Fen Dress you’ll need:

SUPPLIES

Fen Dress Pattern from Fancy Tiger Crafts (Paper version or Digital PDF version)
2 yards of 60”-wide Medium-Weight Cotton Jersey
1 spool of Button Craft Thread
Basic sewing supplies: scissors, pins, needles, ruler, rotary cutter
The School of Making Studio Book Series: These books contain the basic sewing and embroidery techniques we used to make our version of this dress.

We reduced the 5/8” seam allowances on every pattern piece to 1/4″ by removing 3/8” from every seam. Reduce neckline and hem by 5/8”. Hand-sew all bodice seams with a straight stitch, leaving 1/4” seam allowance, using a double strand of thread on medium-weight cotton jersey.

First, we constructed the bodice—sewing together at the shoulder seams and side seams—and then felled all seams toward the back.

We followed the instructions in the pattern to sew the pockets into the skirt then the side seams, which we also felled towards the back. Next, we gathered the skirt at the top edge between the notches indicated on the pattern. After gathering the skirt, we lapped the gathered edge of the skirt on top of the bottom edge of the bodice, 5/8” up from the bottom, and attached it using a zigzag chain stitch. You can use the stretch stitch of your choice.

For the neckline, we omitted the binding pattern piece included with the pattern and instead used our standard 1 1/4″ binding cut cross-grain. We applied the binding as instructed in The School of Making Book Series.

November 09, 2017

INTRODUCING THE TARTAN STENCIL

Featured on the Quarter 4 Design Bundle, the newly released Tartan stencil is available today through The School of Making(along with the re-released Fern).

Originally released in 2012, our natured-inspired Fern stencil has been featured over the years on garments, home goods, and Swatches of the Month. This customer favorite is again available in physical and digital formats.

Our take on traditional plaid, the geometric Tartan lends itself well to beading treatments and experiments with color in embroidery. Like the Fern stencil, Tartan is available on 10 mil, laser cut Mylar or as a digital download.

Share all your projects on Instagram with us using the hashtag #theschoolofmaking.

P.S. – Check back on the Journal in a few weeks for stitching instructions for Tartan embroidery (as shown on the Cropped Car Jacket above).

August 10, 2017

INTRODUCING THE LARGE PARADISE STENCIL

Inspired by the work of French naïve artist, Henri Rousseau, and originally used in our 2015 Collection, the Large Paradise stencil is now available through The School of Making. The stencil features a tropical-inspired motif that harkens back to Rousseau’s lush, jungle setting of his 1910 painting The Dream.

The Large Paradise stencil is available cut on 10mil Mylar and as a digital artwork download. Large Paradise is also now a stencil option for Custom DIY Kits as well.

Follow @theschoolofmaking on Instagram and share all your projects with using the hashtag #theschoolofmaking.

June 08, 2017

#INDIGO: ONE-OF-A-KIND INSPIRATION

Since our Indigo Dye Kit launched, we’ve loved seeing dye projects pop up on social media. The kit comes with enough materials to dye 6 yards of our 100% Organic Medium-weight Cotton Jersey, but you can also use it to give rarely worn garments a new life or to overdye a DIY project. Dyeing yards of fabric can be physically strenuous, and overdyeing an existing garment can be easier if you’re working alone.

The V-Neck Tank shown above is an example of what you can achieve when experimenting with indigo dye and paint. The Tank was first painted by hand using our New Leaves Stencil in two different colors of latex paint and then overdyed to a dark shade of indigo.

Shown here is an overdyed, one-of-a-kind piece created for the Alabama on Alabama exhibit at Heath Ceramics from the summer of 2015. We overdyed a now-archived Natalie’s Jacket from our machine-sewn line to a shade of medium indigo. After the jacket was dyed, appliqué in various shades of indigo made with Medium and X-Large New Leaves Stencil artwork were added to the front and back panels.

We encourage you to sort through your closet and upcycle any rarely worn items to bring them back into your regular wardrobe rotation. Use these garments as inspiration to get creative with your existing wardrobe, and share your dye projects with us using #theschoolofmaking on Instagram.

May 30, 2017

COLLECTION: MORE SYLVAN

The Sylvan stencil is one of Alabama Chanin’s most intricate and involved yet—mimicking the details of its namesake (the woods). The design groups leaves, flowers, petals, and stems showcasing various embroidery stitches and techniques.

The Lark Tee and Liza Dress are machine-sewn garments that feature Sylvan hand embroidery, which adds depth and texture to the simple silhouettes. Sylvan styles are available in four colorways: Silver, Baby Blue, Concrete, and Black—each with unique thread and paint colors.

Find these styles and 100% hand-sewn garments that also feature Sylvan in the Alabama Chanin Collection.

ALABAMA-CHANIN---COLLECTION---MORE-SYLVAN-2

Left: Lark Tee; Right: Lark Tee and The Mid-Length Skirt

ALABAMA-CHANIN---COLLECTION---MORE-SYLVAN-3

Top: The Cocoon Cardigan and Liza Dress; Bottom: Liza Dress

View our current Collection here.

May 11, 2017

INTRODUCING THE AURORA STENCIL

Once offered exclusively in the Alabama Chanin Collection, Aurora is now stenciled, along with Small Polka Dots, on the fabric of our latest Design Bundle. Aurora has an art deco feel and gives movement to any project. It works up beautifully in different techniques including negative reverse appliqué (shown above), whipstitch appliqué (shown below), and quilting.

Aurora can also now be purchased as a Mylar stencil or downloadable artwork here. The Aurora stencil is now an option for Custom DIY Kits as well.

Use the projects featured in this post for design inspiration and share your projects with us using the hashtag #theschoolofmaking.

May 04, 2017

FADED FABRIC INSTRUCTIONS

Design Bundle #2 launched this morning and included the return of one of our favorite specialty fabrics—Faded Polka Dot. This fabric is created by our stenciling team in-house using 100% Organic Medium-weight Cotton Jersey in Natural and the Small Polka Dot stencil.

Faded fabric made its first appearance at Alabama Chanin in our Fall/Winter 2008 Revolution Collection. At the time, Natalie was looking for ways to color fabric that didn’t require dyeing, and our first version of the fabric—Faded Leaves—was born. The fabric is made using a process called Wet-Paint Stenciling—one of the techniques included in Alabama Studio Style. Follow the instructions below to create your own faded fabric at home

SUPPLIES

Stencil – we used the Small Polka Dot stencil
1 00% Organic Medium-weight Cotton Jersey in Natural
Black textile paint
Container large enough for soaking fabric
Water (enough to cover your fabric within the container)
Table salt (4 – 6 tablespoons per yard of fabric)
Airbrush or spray bottle for paint
Spray bottle for water
Drop cloth

1. Soak Fabric
Combine the water and salt in a container large enough to cover your fabric. Add the fabric and soak for at least 20 minutes; this will open the fabric’s fibers to receive the textile paint. Drain and wring the excess water from the fabric.

2. Transfer Stencil Design
After preparing your work surface and stencil and correctly positioning your fabric right-side-up on the covered work surface, position your stencil on the wet fabric and use either an airbrush or spray bottle to spray black textile paint over the stencil. Move the stencil to the next area to be painted while the fabric and paint are still wet, and repeat the process as often as needed to stencil the entire desired area.

3. Spray Fabric with Water
While the fabric and paint are still wet, use a clean spray bottle filled with water to spray the entire length of your painted fabric, which will cause the fabric paint to disperse and bleed. Let the wet fabric sit for one hour.

4. Dry and Wash Fabric
Hang the wet fabric to dry for 24 hours outside or indoors over a drop cloth to protect the surface beneath (dripping excess water and paint can cause staining). Wash the fabric in the washing machine with detergent for one wash cycle to remove the excess paint. Dry the fabric in the machine, or hang it to air-dry.

After this wet-painted fabric has dried thoroughly, you can use it as-is for a project or embroider or otherwise embellish it. While we like to use Natural for our projects, you can choose to experiment with any color base fabric. Keep in mind that a lighter-color base will show your faded paint effect more clearly.

Please note that the instructions listed above cause the design to bleed more than what’s shown on the Faded Polka Dot fabric above, giving the fabric more of a watercolor effect. If you desire for the stencil to be more recognizable, do not soak your fabric before applying the stencil. Lay out dry fabric on your work surface and then follow steps 2 – 4 as listed above.

March 09, 2017

NEW LIMITED-EDITION PRINTED COTTON JERSEY: DAISY

We’ve seen such beautiful pieces made with our Limited-Edition Printed Cotton Jersey collaboration with Spoonflower that we’ve decided to add another design. Now available is our 100% Organic Medium-weight Cotton Jersey in Sand printed with our newest Daisy Stencil design in teal.

Experiment with our newest design of Limited-Edition Printed Cotton Jersey using patterns available on our Resources page or in our Alabama Studio Book Series.

Look for more project inspiration on our Journal in weeks to come.

In the meantime, check out past projects we’ve made using our printed fabric like our popular Swing Skirt and Factory Tunic, and find Daisy project inspiration here.

February 09, 2017

INTRODUCING THE DAISY STENCIL

Our Design Bundle was announced last week and includes hand-stenciled swatches in two designs: our popular Anna’s Garden stencil and a new stencil for our DIY community: the Daisy stencil.

Once only offered for our Collection garments, the Daisy stencil is a now available through The School of Making as a Mylar stencil and as a digital download to print at a copy shop or at home. The Daisy stencil has also been added as a stencil option for our Custom DIY kits.

Look back on the Journal to find project inspiration featuring our Anna’s Garden stencil. And check back in the coming weeks for projects and inspiration using the new Daisy stencil.

#theschoolofmaking

PS – Our Daisy pattern is shown here worked in Negative Reverse Appliqué (top) and Whipstitch Appliqué with Satin Stitch Embroidery (above).

June 16, 2016

DIY STARS: INSPIRATION + INDEPENDENCE

Stenciling has a deep history that reaches across millennia, but also within Alabama Chanin. It is the basis for our lean-method manufacturing and also within part of The School of Making. We’ve got a library of 600+ stencil designs and the Stars stencil is #340. Stars was originally inspired by the costumes in found in vintage circus photos and also the Indian circus photos by Mary Ellen Mark. (Look for more on Mary Ellen in the coming months.)

The stencil made an appearance in our Fall/Winter 2009 collection in hues of Forest Green and Black, and also in our Songbirds Collection, where it was featured in blues, naturally-dyed indigo, naturals, and reds.

The design was first made available for DIY in our 2012 book Alabama Studio Sewing + Design with embroidery instructions for Satin Stars (shown above) included on page 129. Satin Stars Alabama Sweater—in all-white—was created as part of our Build a Wardrobe program.

Get the downloadable stencil artwork and work with your choice of bugle beads, chop beads, and sequins to prepare for Independence Day celebrations. Pair the worked stencil with a garment from our Studio Book Series or a pattern from our growing collection.

May 19, 2016

THE HISTORY OF PATTERN MAKING

We previously shared The History of Tailoring and continue our series on fit with a comprehensive history of pattern making.

In order to survive, human beings had to master the arts of creating and sustaining food, clothing, and shelter. As time went on, we became better at those tasks and began to create standards for what worked best and instructions on how to replicate the best results. That is a pattern’s main function: to act as a template for recreating a design that has been created and (hopefully) perfected.

For hundreds of years, fit was not considered particularly important when it came to clothing. Clothing was largely utilitarian and the most important feature of any garment was that it covered your body. As the concept of fashion advanced, fit began to emerge as a way to create desired body shapes or to make clothing more comfortable or functional. But, initially, fit was considered a luxury – something only the wealthy had the disposable income to worry with. More affluent families could hire tailors or dressmakers to custom sew garments, but the average citizen made their own, or reworked hand-me-down clothes.

The first known clothing patterns appeared in Spain – Juaan de Alcega’s Libro de Geometric Practica y Traca in 1589, and La Rocha Burguen’s Geometrica y Traca in 1618. During these years, Spanish fashions dominated European dress – and these books gave specifics on making garments for men, women, clergy, and knights – but were perfunctory how-to books written for tailors. Later books, like L’Art du Tailleur by de Garsault and Diderot’s L’Encyclopédie Diderot et D’Alembert: arts de l’habillement, written in the 1700s, provided instruction on measurement, cutting, garment fit, and construction, but they, too, were written with the professional tailor in mind.

In the 1800s, less technical books were produced for home sewers – particularly those in charitable ladies’ groups. The charmingly titled Instructions for Cutting Out Apparel for the Poor and The Lady’s Economical Assistant printed full-size patterns for practical items of clothing. The Workman’s Guide provided not just patterns, but also detailed drawings of the final garments, and pattern drafting instructions.

Around this same time, women’s magazines were gaining in popularity and many of them printed patterns, increasing the average woman’s access to stylish garments. But these early patterns and illustrations were printed on small magazine pages and were difficult to use. By the 1850s, Sarah Josepha Hale’s magazine, Godey’s Lady’s Book, printed full-sized paper patterns by Mme Demorest, but in one size, with no scale measurements for enlarging; the reader still had to size the patterns to her own figure. Eventually, foldout patterns, printed in full scale, were issued as periodical supplements in the British magazine, The World of Fashions – and other magazines soon followed suit.

During the Civil War era, tailor Ebenezer Butterick developed the mass-produced, tissue paper pattern, sized according to a proportional grading system. Butterick and his family cut and folded each pattern and began mass-producing ladies dress patterns from their New York headquarters. It is estimated that Butterick sold 6 million clothing patterns by 1871. A few years later, James McCall began developing his own line of women’s clothing patterns – which gave the American woman some options for her clothing. It was now possible to create (or have someone make) a well-fitted, stylish dress using these mass-produced paper patterns. After about 125 years, Butterick and McCall are still some of the biggest names in the pattern industry.

In 1927, Joseph Shapiro established the Simplicity Pattern Company, which created and reproduced patterns that were affordable for the average household. Most patterns on the market sold from between 25 cents to $1, depending on the type of garment – but Simplicity patterns were mass-produced and generally sold for about 15 cents. In 1931, Simplicity partnered with the Woolworth Company to produce DuBarry patterns, which sold at an even more affordable 10 cents. Around the same time, Condé Nast, publisher of Vogue patterns, introduced Hollywood Patterns – which sold for 15 cents each – and capitalized on women’s desires to look like Silver Screen stars.

Today, advanced software and imaging systems have been created to help innovate pattern and garment making. But, in truth, the most revolutionary technological development in patternmaking history is actually the tape measure – which appeared around 1800. Until that time tailors developed their own non-standardized systems of measurement, which made pattern reproduction difficult. Units of measurement varied depending on location: Britain favored the inch system, while France employed the metric system; some still measured fabric using units of “hands” or “elbows”. With a tape measure (followed by the compass, ruler, and tracing paper), sewers could produce and reproduce mathematical patterns that were designed with a three-dimensional body in mind.

The availability of paper patterns increased as the home sewing machine became more affordable, the number of fashion magazines rose, and the U.S. Postal Service expanded. Women in rural areas were able to dress in current fashions without having to shop at a major department store. A woman’s ability to make her own garments provided a degree of freedom and encouraged fashion trends to emerge. Interestingly enough, the modern-day resurgence of at-home sewing and garment making seems to be encouraging growth of individual style over trend. Though home sewing with paper patterns may never again be the norm, it is heartening to hear your descriptions of customizing patterns to create one-of-a-kind garments. We hope you will continue to make, experiment, and share your stories with us.

Find out more about altering patterns in our book Alabama Studio Sewing Patterns here.
Share your pattern making details on social media using #TheSchoolOfMaking.

March 31, 2016

DIY ALABAMA SWEATER

The fourth month of 2016 launches the second quarter of our Build a Wardrobe program and, with it, the Alabama Sweater garment pattern. Available for individual purchase for $18 – $24, depending on format. The PDF download includes the nested pattern in sizes ranging from XS to XXL and comes with tips on fabric selection, cutting, and garment construction. Like all of our PDF patterns, it is designed for printing on wide-format or desktop printers, in both full-scale and tiled versions. (You can find instructions for printing our garment patterns here.)

The Build a Wardrobe project is a set of four brand new DIY patterns, launched quarterly, which you can use to create a new, hand-sewn wardrobe. The project is intended to help you refresh, remake, or completely rebuild your wardrobe—using as few or as many of our techniques as best fit your personal style. As with our Swatch of the Month program, participants subscribe to a year’s worth of content they will create using our Alabama Studio Book Series. Subscribers receive quarterly packages with the new pattern, instructions, and fabric and notions in the colors of their choosing. You can sign up at any time.

Additionally, subscribers have the exclusive opportunity to order custom DIY kits of each Build a Wardrobe pattern at a discounted rate. For example: this month, all subscribers will receive a printed and PDF Alabama Sweater pattern, fabric yardage in their color(s) of choice, and enough thread to complete the project. They also have the option to custom order DIY Alabama Sweater kits for an additional, discounted cost. This offer is exclusive to Build a Wardrobe participants.

The first quarter of Build a Wardrobe focused on the DIY Maggie Dress and its many variations. This second garment pattern, the Alabama Sweater, provides another essential component of most wardrobes: the versatile, flattering shirt. We will share our one-of-a-kind interpretations of the sweater in the coming months.

Share and follow along on social media using the hashtags #buildawardrobe2016 and #theschoolofmaking.

March 10, 2016

MAGGIE PATTERN: DESIGN CHOICES

We’ve received questions from many of you about our design choices for the Maggie Dress images pictured above. We share them for inspiration—and to make your fabric, stencil, and thread choices a little easier. From top left to right:

1. Garment – Maggie Dress (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Doeskin
Fabric color for inner layer – Doeskin
Button Craft thread – Dogwood #155
Textile paint color – White
Stencil – Anna’s Garden
Technique – Negative reverse appliqué
Knots – Outside
Seams – Inside felled
Binding stitch – Cretan stitch

2. Garment – Maggie Dress (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Forest
Fabric color for inner layer – Black
Button Craft thread – Black #2
Textile paint color – Pearl Brownie
Stencil – Anna’s Garden
Technique – Negative reverse appliqué
Knots – Outside
Seams – Inside felled
Binding stitch – Cretan stitch

3. Garment – Maggie Tunic
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Parchment
Fabric color for inner layer – Parchment
Button Craft thread – Cream #256
Textile paint color – Pearl Grey
Stencil – Anna’s Garden
Technique – Negative reverse appliqué
Knots – Outside
Seams – Inside felled
Binding stitch – Cretan stitch

4. Garment – Maggie Top (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Black
Fabric color for inner layer – Black
Appliqué Fabric color– Forest
Button Craft thread – Black #2
Textile paint color – Pearl Brownie
Stencil – Chicken Scratch (Our Check stencil is a similar alternative.)
Technique – Appliqué
Knots – Inside
Seams – Inside felled
Binding stitch – Cretan stitch

5. Garment – Maggie Dress (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Forest
Fabric color for inner layer – Forest
Button Craft thread – Black #2 (Green is not available.)
Seams – Inside felled
Binding stitch – Cretan stitch

6. Garment – Maggie Dress (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – White
Fabric color for inner layer – White
Button Craft thread – White #1
Textile paint color – Putty
Stencil – Anna’s Garden
Technique – Negative reverse appliqué
Knots – Outside
Seams – Inside felled
Binding stitch – Cretan stitch

7. Garment – Maggie Top (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color – Midnight (single layer)
Binding color – White
Button Craft thread – White #1 for Rib and Slate #26 for Seams
Seams – Inside felled
Binding stitch – Cretan stitch

8. Garment – Maggie Top (no center front or center back seam)
Fabric weight – 100% organic medium-weight organic cotton jersey
Fabric color for outer layer – Light Blush
Fabric color for inner layer – Light Blush
Appliqué Fabric color– White
Button Craft thread – White #1 for Rib and Dogwood #155 for seams
Textile paint color – White
Stencil – Abbie’s Flower
Technique – Appliqué
Knots – Inside
Seams – Inside felled
Binding stitch – Cretan stitch

Happy sewing from all of us @ Alabama Chanin.

#buildawardrobe2106
#theschoolofmaking

February 25, 2016

STAMP STENCIL PAINT

We have used stencils to transfer designs onto fabric since the earliest days of Alabama Chanin. There is a section of The School of Making devoted to the art of stenciling, and you can read about making and using our stencils on our Journal here: #stenciling. And while we’ve developed stencils of all sorts and used them extensively, we’ve only rarely used painting, and almost never used stamping—until now. Stamp Stencil Paint by Anna Joyce offers easy-to-follow instructions for adding paint and pattern onto fabric, wood, walls, and more.

She writes about stamping:

“As a printmaker, I have a soft spot in my heart for stamps. I use my own hand-carved stamps, and I love watching the pattern grow with each impression. Stamping is very immediate—you can carve a simple one in a few minutes and then use it for years, building a library of patterns as you go. Hand stamping is also a meditation on embracing the unexpected. No matter how consistent you are, each impression is unique and that uniqueness breathes life into your patterns.”

Aside from my favorite stamping projects, you’ll find tips for transferring stencils and for the successful use of paints and brushes. I’m excited to combine some of the stamping ideas on a Maggie Dress from our 2016 Build a Wardrobe.

Get a copy of Stamp Stencil Paint, make your own garment using Anna’s techniques, and share with our community using #theschoolofmaking.

January 28, 2016

ON DESIGNING STENCILS

Last fall, our friend (and editor) Melanie Falick reached out with the desire to design her own stencil—and use that stencil for one of our of our Custom DIY Kits. She documented her process, and we’ve named her design “Circus”. (She also likes the subtitle, “If Not Now, When.”) Seen above, the finished artwork is approximately 24.3” x 30.1” and is the result of several months of work and many conversations between our studio and hers.

When I spoke with her on the phone last week, she mentioned that “creating a stencil from scratch was much harder than I expected. You’ve made it seem so easy.” I have to admit that this made me giggle a bit because I once felt the same way. When you are learning just about any skill for the first time, there is a moment when it just feels hard. To date, we have over 550 stencil designs in our archives, and there are some days where it still feels challenging.

As Melanie was starting, we tried to give her a few tips, which we’ve shared below:

Think about the size and the shape of the individual motifs you are designing and how these shapes interact with one another.

You can create a design where the primary motifs of the stencil have a similar scale (or size)—as we have done with our New Leaves and Anna’s Garden stencils.

Or you can manipulate the scale of all the individual motifs—like our Magdalena stencil—where small and large shapes are combined in a single stencil design.

Think about the embroidery techniques you want to use and how they will be applied to each of the motifs and also to the individual shapes of the motif. For example, if you know that you like to work in reverse appliqué, you will want shapes that are larger than 1/2″ so that you can trim your outer layer of fabric after sewing.

SIDENOTE: Many of our stencils have both larger and smaller motif shapes combined. We often use embellishments such as appliqué and/or a satin stitch to embellish these smaller shapes that are too small for reverse appliqué. See Bloomers and June’s Spring stencils.

If you are working in Adobe Illustrator or any other graphic design program, stop and print out your stencil to better view the scale of your design and the placement of individual motifs.

Think about both the positive (the individual motifs of the stencil) and the negative spaces (the area between the individual motifs). You can invert the color of a black and white design to white and black to better understand the relationship between positive and negative space.

Allow a minimum of 1/8” space between individual stencil motifs that your cut stencil remains sturdy over time. If your shapes are too close together, your stencil can become fragile and break.

We often to make our stencils that we intend to use all over a garment or project a minimum of 18” x 24” total size that we can more easily airbrush larger fabric areas. However, we use different size stencils for different purposes. If you are only adding stenciling to the neckline of a garment, you may choose to create a smaller stencil.

Here are some sizes of a few of our favorite stencil designs:

Anna’s Garden: 22” x 28” finished stencil size | 19” x 24” cut stencil area
Fern Stencil: 28” x 22” finished stencil size | 24” x 17” cut stencil area
June’s Spring: 23 1/2″ x 24” finished stencil size | 19” x 21 1/2″ cut stencil area
Magdalena: 42” x 27” finished stencil size | 35 1/2” x 20” cut stencil area
New Leaves: 31 1/2″ x 47” finished stencil size | 25 1/2″ x 40 1/2″ cut stencil area

Research pattern and stencil designs for inspiration, make photocopies, cut things apart, trace, try to understand what is appealing, and then start putting the pieces back together again. You may find that you migrate from the original motif as your voice and hand take over the work.

I like to work with photocopies of motifs that I scale up and down, cut up and paste, and then trace over again and, sometimes, again. This multilevel process makes me feel like I have more control over the final stencil design. Others like to work directly in graphic design computer programs, like Adobe Illustrator.

Once your motif has been finalized, the process of making a stencil is a simple process. When cutting, be sure to leave a minimum of a 2” border around the outside of your cut stencil for stability.

Look for #stenciling on our Journal to read posts about stencils and stencil transfer, find more on stenciling in our Alabama Studio Book Series, and share any tips you’ve learned in the comments below.

November 05, 2015

LAUNCHING THE DIY BABY BUNDLE

We have updated our School of Making section with an all-new pattern called the “Baby Bundle”—a multi-item downloadable package that includes patterns for a Baby Blanket, Baby Bucket Hat, Baby Bib, and Stuffed Bunny Rabbit. This set of items would be a wonderful holiday gift for new or expecting parents, and the patterns are useful to keep on hand for future baby shower gifts. Plus, each of these items works up more quickly than our more elaborate kits or garments. Choose to make one item—or all of them. Our 100% organic medium-weight cotton jersey fabric is sturdy enough to last through many wash cycles and soft enough for a baby’s smooth skin.

When you purchase your pattern bundle, you will receive instructions on completing each item—but we have previously featured the Baby Bib and Stuffed Bunny on the Journal.

As with all of our downloads, these new patterns are designed for printing either at home or on a wide-format printer at your local print shop. (Find information on how to print downloaded stencils and patterns here.)

May 20, 2015

DESIGN + SCALE

I’ve been toying with the idea of scale and pattern recently. This thought arose because of a presentation I gave in March on Ettore Sottsass and the Memphis Group. The talk was part of the monthly On Design Lecture Series that we host in our studio as staff development but is also open to our community as part of The School of Making educational programming. (It’s on hiatus for the summer, but we’ll let you know as soon as we start back.) Many of our young in-house designers are fascinated by the 1980s and wanted to know more about the design influences that fueled this era. I went to design school from 1983 to 1987, so this concept of 1980s design seemed appropriate and very exciting to revisit.

While unearthing my thoughts on the 80s, I realized that the most prominent design trend in my memory was Ettore Sottsass and the Memphis group—the Italian design collective during the 80s who challenged the “established” rules of design. Their playful use of scale and pattern remain strong influences in design today (and my personal design aesthetic as well). While putting together the talk, I realized it had been such a long time since I played with scale. So, I pulled two gorgeous books on from my library: Ettore Sottsass Metaphors and Ettore Sottsass. Ettore Sottsass Metaphors sets the stage for playing with shapes in nature and Ettore Sottsass is incredibly inspiring for its illustration of scale, pattern, and color in design—aside from being one of the most beautiful books I own.