Paisley and Houndstooth

Who knew that paisley + houndstooth is a match made in heaven?  Here’s the story of my discovery.

Photo from Alabama Studio Sewing + Design

I waited (notice that I did not say patiently) for many months for the release of Alabama Chanin’s latest studio book, Alabama Studio Sewing + Design.    When it arrived it was even more beautiful than I thought possible.  In this third book, Natalie Chanin and her staff have truly given away all of their secrets.  The book is a compendium of all of the various techniques used to create the lovely line of clothing they produce from their workshop in Florence, Alabama.  This latest in the series is meant to complement the other two books though it can easily stand on its own as the only resource you need.  Inside the cover you will find details on the materials and tools needed, eleven stencil designs, a myriad of stitches with illustrations, full-sized patterns for 4 garment pieces that can be constructed in a number of ways plus several accessory pieces, and enough embellishment ideas to keep you busy for the rest of your life.  Even if you have no intention of using the book to make garments or accessories, the photographs alone make this book worthy of the coffee table.  It is, in short, 175 pages of pure inspiration.

Photo from Alabama Studio Sewing + Design

Photo from Alabama Studio Sewing + Design

This book arrived while I was working on my blue wool crepe dress.  As sometimes happens, I start thinking about my next project while I’m still working on an unfinished one.  This time I dreamed of using more wool crepe from my stash since the current piece I was working on was such a dream to sew.  My mind was also busy mulling over all of the possibilities opened up for me from reading Sewing + Design.  What came out of that brainstorming is this skirt.

My fingers were busy with wool while I was thinking about organic cotton appliqué.  Why couldn’t I substitute wool felt for some of the appliqué designs from the book?  Wool felt has a lovely weight and doesn’t fray; it would make the perfect embellishment for my wool skirt.  I found some loosely woven black wool crepe in my stash and threw it in the washer and dryer a couple of times.  It felted up very nicely.  I also decided on the Paisley design that is include as one of the stencil patterns in the book.

Photo from Alabama Studio Sewing + Design

First I started with the skirt.  The pattern is Simplicity 2058 from the Amazing Fit series.  After fitting my muslin I cut the skirt from a loosely woven wool houndstooth check in classic black and white. 

I knew the fabric would need to be underlined if I was going to apply appliqué so I cut the underlining from charcoal gray silk organza.  I used the technique of underlining and seam finishing all in one that I’m fond of.  It makes for a beautifully finished garment interior.

Once the skirt was constructed (I left one seam unsewn, allowing for a flat panel to work on) I started the hand appliqué.  Alabama Chanin’s techniques include using stencils as the means of transferring designs to cloth.  Several ways to accomplish this are included in the book but I tried something different for this project.  First, I printed out the paisley design from the full-sized download available on the Alabama Chanin website.  I then copied it onto freezer paper and cut out the stencil with an Exacto knife.  This left me with both a positive and negative stencil. 

I used the positive stencils, shown above, to cut out the black wool felt.

Next, I took the negative stencil, centered it on one skirt panel and ironed it into place.  I removed the paper backing from the black felt appliqué pieces and positioned them in the openings of the negative stencil.  The photo below shows one of the appliqué pieces pinned in place.

After all of the pieces were placed I carefully removed the negative stencil paper and hand stitched each appliqué in place with a parallel whipstitch and black buttonhole craft thread. (I quickly discovered it was easier to work with small safety pins rather than straight pins to keep the appliqués  in place; this also led to less bloodshed while stitching).

Taking a tip I learned from Sarah Veblen, I constructed the waist facing from interfaced silk dupioni which I bound with a strip of white china silk.  This makes a really nice facing:  the silk feels more comfortable than wool and there is no bulk.

I finished the hem with some cotton lace from my stash (you can read more about the hem here).

I’m really pleased with this skirt and am sorry I finished it so late in the season that I will have to wait until next fall to wear it.  I think it will look great with black boots.  I particularly love the juxtaposition of contemporary vs. traditional in this garment.  The modern version of the paisley is a nice contrast to the more classic look of the houndstooth.  I also love that I can take an idea and tweak it to make it my own.  I think this new book in my library will offer lots of opportunity for that sort of thing in the future.

Update on Wednesday, May 16, 2012 at 9:36PM by Julie Bowersett

I came across some pictures I took back in January when I first started on this skirt.  These show the easiest way that I have found to add the seam allowance to the underlining fabric I used on this skirt.

After I cut out my fashion fabric I place the pattern on the underlining fabric.  I attach a Removable Rotary Guide Arm (made by Olfa) to my rotary cutter and set the distance from the blade to 5/8".

It is then a simple task to guide the arm along the edge of the pattern while the blade cuts 5/8" away from the edge.

More Stitching

I just finished stitching the third (of six) panels for my Alabama Chanin tank dress.  So far I've been able to keep up with my goal of one panel per month (in fact, I'm a little ahead of that goal).  I know that someone is going to ask me how many hours I've invested in this project so while stitching the latest panel I decided to keep track.  I spent 960 minutes (16.3 hours) doing just the stitching on this one panel.  Assuming that's average, it will take about 96 hours to stitch all six panels.  That doesn't include time to cut the reverse applique, bead, construct and finish the garment.  I'm guessing the total will be somewhere around 150-200 hours.  I'm planning to keep track and see.

When I'm not hand stitching I am working on a wool crepe dress that is turning out really great.  I still need to set in the sleeves and do all of the finishing work.   I'm hoping to have it finished this week so I can share it with you.

Wrapping Myself in Style

The very first Alabama Chanin project that I attempted was a shawl from their book Alabama Stitch.  I used two coordinating recycled t-shirts for this project, navy and periwinkle blue.  The shawl consisted of three panels, two layers thick; the panels on either end were stenciled and appliquéd while the center panel was left plain.  I also added fringe on both ends as well.

After cutting the pieces to size, I used a paisley design stencil and silver paint to transfer the design to the two navy panels.  I also stenciled the periwinkle piece with the reverse of the design.  These would become the pieces I would cut out and appliqué to the shawl.

Here are pictures of the painted fabric.

I then spent the next 8 months working on this project.  I appliquéd the various shapes onto the background using a parallel whipstitch.  I then added beads and sequins, leaving the paint to show on several of the bits.  I used a variety of glass beads including bugels and seed beads.  I also included a bit of hand embroidery.

I had completed all of the appliqué and beading when it was time to go to my workshop in Alabama, and I took this project on the plane with me to complete by hand stitching the panels together and adding the fringe.  I put the last stitch in in my hotel room the first night in Alabama.

I’m really pleased with the way this turned out and would like to make another.  I think the next version won’t have any beads so I can use it to snuggle up with on an airplane trip, like a wearable blanket.  I’ve already got an idea for the design, too.  A shawl is a great way to get started on hand stitching projects.  Give it a try!

Like Santa's Workshop

Here's how I spent yesterday morning, embracing the new while honoring the old.

My electronic embroidery machine is cranking out little Christmas favors while I sit and hand stitch my Alabama Chanin dress.  New technology meets traditional craft.  It's the best of both worlds.

Many of you have asked me to post progress reports on my dress.  I finished stitching the first of six panels this week and have started on the second.  I'm making great progress at the moment, though a sore stitching finger required that I take a day off today.  Here are some pictures of the completed panel.

I'm waiting to do the reverse applique cutting until I've stitched all of the panels.  I'm still not sure which portions will get cut and which will just stay stitched or get beaded.  I'm finding the process of needle pulling thread very meditative; by the end of the sixth panel I will be a Zen master. 

Tomorrow morning I have a doctor's appointment and, for the first time ever, perhaps, I am hoping they will keep me waiting so I will have lots of time to stitch :-) 

Sweet Home Away From Home Alabama

I’ve been home about a week but my head (and heart) is still in Alabama.  Here’s a recap of my time there along with some additional pictures.

First, I have to retell the story of how I met my traveling companion, Linda.  We both attended a lecture at the Textile Museum back in June to hear Natalie Chanin talk about her business Alabama Chanin.  Fate determined that I would sit next to Linda and her mother, and we struck up a conversation, continuing it all the way home on the train.  I had already signed up for the November workshop at the Alabama Chanin Factory and encouraged Linda to join me.  So she did, and last Friday we found ourselves boarding a plane and heading to Alabama.

Leaving Huntsville we drove past the cotton fields that once helped make Florence, Alabama the t-shirt capital of the U.S.  That industry has long disappeared but Natalie Chanin has put Florence on the map for another use of her native state’s cotton:  hand crafted couture clothing and housewares.  The unassuming building that houses Alabama Chanin belies the wonderland waiting within.

The space is welcoming, warm and full of texture from the sign that greets visitors just inside the door to the white architectural elements, racks of glorious garments, and a banquet table that makes you wonder if you are, perhaps, in a very funky old farmhouse.

There are quilts

and even a bit of that famous Alabama cotton.

We were greeted by the warm and welcoming staff and taken deeper into the building where we found our own personalized baskets filled with items we would need during the weekend.

As other workshop participants arrived, we all greeted each other; one common theme seemed to be how excited everyone was to be a part of this weekend.  The rest of the afternoon was spent deciding on what we would be making in our time there.  We had the opportunity to try on garments, color coded by size, to determine what suited us.

I chose a dress similar to the gray one that is facing the camera in the shot above.  Once I had selected my garment it was time to choose from the dozens of colors of 100% organic cotton jersey that all of Alabama Chanin’s garments are made from.  My dress is a dark peacock blue with a grey underlayer, a color called “Deep”.

The next step was to select the design that would be applied to the garment.  There were binders filled with samples of designs to choose from, an almost overwhelming task.

I chose “Angie’s Fall” in a reverse backstitched appliqué (similar to the bottom two photos above).

Once these decisions were made it was time for the Alabama Chanin staff to spring into action.  I watched while my dress was cut out and then handed over to the experts in the spraying room who stenciled my dress with the design I would sew.

After our work was done, we all gathered around and introduced ourselves, heard some wise words by our hostess, Natalie, and then adjourned for the day.

When we arrived the next morning our baskets contained our stenciled fabric and all of the supplies we would need to complete the project.  We began the day by listening to Natalie tell us about the physics of sewing along with some preliminary instructions.  We all practiced our handwork on a bandana project until we felt ready to dive in and start on our garments.  We sat and stitched all morning, sharing stories and beginning to learn about each other.  We stopped for lunch and gathered at that long farmhouse-style table for a lovely meal of local products served on beautiful Heath Ceramics dishes.

In the afternoon we continued stitching and learning:  Diane instructed us on how to construct our garments along with other techniques that we would be using.  At the end of a long and enjoyable day many of us met at a local restaurant to continue our socializing over dinner.

Sunday morning I was sad to pack my bag and leave the hotel for the last day at the Factory.  In addition to more stitching with women who had now become friends, we also had the opportunity to shop, try on and photograph sample garments and learn more tricks of the trade.

Here I am trying on a short jacket that I LOVED.

There was also a lot of visiting with neighbors and admiring progress made. 

And here's a shot of my dress in progress:

We were served another luscious meal, a Southern style brunch with more local goods (and the best local honey I’ve ever eaten).  The day wrapped up about 1 pm as Linda and I reluctantly bade farewell to our new friends and headed for the airport.

This was truly one of the best workshops I have ever been a part of.  The staff at Alabama Chanin could not have been nicer or more nurturing.  It felt like such a privilege to be allowed into their world and to be handed everything I needed to create a garment of my own.  Natalie’s business model of sharing her secrets, along with providing all of the materials, is one that I don’t think you’ll find elsewhere in the fashion world.  But it is really working for this company, and their workshops are filling up faster and faster these days.  The weekend was all about southern hospitality, and all of the little touches really made it feel like a homecoming.  Even though I expect my dress to take me months (maybe years?) to complete, I hope that one day I’ll be able to return to soak up more inspiration from the lovely folks at Alabama Chanin.

Postscript:  If you would like to learn more about Alabama Chanin, their workshops and the area where they live, I recommend this excellent report by Mitra Rajabi and Sumi Lee.