you
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Hello, Stitchers.
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Welcome to Stitch Please, the official podcast of Black Women Stitch, the sewing group
where Black Lives Matter.
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I'm your host, Lisa Wulfort.
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I'm a fourth generation sewing enthusiast with more than 20 years of sewing experience.
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I am looking forward to today's conversation.
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So sit back, relax, and get ready to get your stitch together.
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Hey, friends.
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Hey, it's Lisa from Black Women Stitch and the Stitch Please podcast.
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And this is a very special episode.
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because this episode is a celebration of black history through the lens of creative
liberation.
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Today, I want to take you back 70 years or so to a beauty contest winner named Evelyn
Sanders, a woman who in 1946, sewed her way into history.
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At a time when bias tried to limit her opportunity, Evelyn used fabric, thread and bold
ideas to confront colorism and present her beauty on her own terms.
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It was December 1946.
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The hit song, Fine Brown Frame performed by Buddy Johnson and his orchestra was the
soundtrack of the summer.
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The jump blues style song was everywhere.
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Evelyn could hear its trilling trombone and peppy piano belting from the jukeboxes in
uptown New York City or in her own adjacent town in Long Island.
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The black press, especially the gossip columns, had adopted the phrase to describe the
next best pretty young thing.
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When Buddy Johnson crooned his praise, swooning over the babe with that fine brown frame,
the song surely described the 23-year-old Evelyn.
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So when the band leader announced a nationwide competition for the official title of Miss
Fine Brown Frame, Evelyn signed up to see for herself.
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She selected a yellow green fitted dress that illuminated her dark brown skin and ventured
from Freeport, Long Island to Harlem's Golden Gate Ballroom, located at 640 Lennox Avenue
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at West 142nd Street across the street from the famous Cotton Club.
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It was also on the same block as the similarly famous Savoy Ballroom where Buddy Johnson
recorded Fine Brown Frame with his 16-piece orchestra.
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The spot was crammed for the finals as contestants flocked to Harlem from as far away as
Georgia and as close as the Bronx.
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Supporters, local community members, U.S.
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servicemen, radio personalities, and journalists all gathered to see the brown bombshell
from Buddy Johnson's song materialized.
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Evelyn hoped it was her.
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After the semifinal round, however, the very brown Evelyn worried that she wouldn't get a
fair chance at the title.
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The word fair is used deliberately to refer to the preferred complexion for 1940 era's
black beauty contestants.
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These fair skinned beauties were also called light, bright, and damn near white.
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None of those words would
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ever describe Evelyn, who became convinced that her dark skin would deny her the crown.
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The entire field of Miss Fine Brown Framed contestants paled in comparison to Evelyn.
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She'd chosen a chartreuse ensemble in the hopes that the garment would highlight her
natural assets and propel her to victory.
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Instead, the judges deemed her dress to be too tailored.
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Evelyn felt relieved to squeak by in the preliminary round, but feared that this would be
the end of her journey.
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She would have no chance at the prizes, which could improve her life and jumpstart her
modeling career.
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The contest offered $300 in cash, a silver loving cup, four weeks of well-paid theater
engagements with the Johnson band, a film contract with the association producers for
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Negro Pictures, and contracts for a series of commercial endorsements.
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Looking around the backstage dressing room, however, Evelyn thought that her fine brown
frame would be defeated by a light brown frame.
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Unless something drastically changed, the light is right approach that colorism usually
affirmed in these situations.
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With only an hour remaining till the final round, Evelyn Sanders needed a miracle.
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So she would make one.
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Evelyn bolted from the Golden Gate Ballroom to the nearest fabric store.
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She selected a white stretchy material printed with a large-scale dark abstract design.
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With less than 60 minutes before final judging, Evelyn would aim for victory with a
needle, thread, and nerve.
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She noticed that most of the contestants were wearing traditional ball gowns, expected for
the final.
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A few young women made last-minute wardrobe changes to stand out from those in formal
attire.
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Evelyn knew she was behind the eight ball of anti-black colorism effectively in last place
after the semi-final.
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She knew she had to make something dramatic and compelling that would propel her past the
24 fairer competitors.
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She needed a look that would enhance her frame without being too tailored, like the dress
she'd worn earlier in the competition.
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Ultimately, she created a design that had debuted in France
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earlier that summer.
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Now it's unclear whether the similarity was deliberate or coincidental, but Evelyn
stitched a garment that highlighted every inch of her fine brown frame.
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Evelyn made a bikini.
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The bikini was named for Bikini Atoll in the Marshall Islands that was the site of the
first public nuclear bomb testing in 1946.
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White Frenchman Louis Royard
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sought to capitalize on the widespread publicity of the nuclear bomb tests by giving his
design the same name.
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The slight garment was a radically new creation.
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The bikini was the first swimsuit to expose a woman's navel.
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It didn't require much fabric as only 30 square inches were used to make the first one.
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Choyard called it four triangles of nothing.
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and proclaimed that a two-piece bathing suit was not a bikini unless it could be pulled
through a wedding ring.
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Royard had a difficult time finding models to promote the bikini.
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He ultimately turned to those that specialized in nude modeling when the fashion models
refused to wear his design publicly.
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The Vatican declared it sinful.
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It was banned from beaches in parts of France and Germany for decades on the grounds of
immorality.
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American broadcast regulations long prevented women's navels from being shown on the
screen.
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The bikini became more known when the hit song, Itsy Bitsy Teeny Weeny Yellow Polka Dot
Bikini became its anthem in 1960.
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And even that wasn't pro bikini since the song was about someone who was deeply
embarrassed by wearing one.
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But that is 14 years into Evelyn's future.
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In 1946, Evelyn didn't call her garment a bikini, nor did Ebony Magazine, who reported on
the contest.
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Yet the response to Evelyn's swimsuit was as explosive as when it emerged on the beaches
of San Tropez earlier that year.
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When Evelyn stepped out on stage,
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The crowd went wild.
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According to Ebony Magazine, the audience instantly and noisily voted heard the finest
brown frame seen in many years.
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Evelyn's quickly sewn swimwear was not the only bathing suit on stage for the Miss Fine
Brown Frame final round.
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It is, however, the only one that enlisted an overwhelmingly favorable response.
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as the black audience commenced to clapping their fingers down to the nubs, Ebony says, in
support.
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Evelyn's risky gambit had worked, or so she thought.
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Evelyn's daring garment activated the crowd, but failed to sway the judges.
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Ms.
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Fine Brown Frame was meant to be selected by the assembled panel of local black
celebrities and radio personalities.
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And these men had chosen quote, a light skinned Dixie Belle as their champion.
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Now what happens next is how one miracle begets another.
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In making her attire for the final round,
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Evelyn connected with the black audience of servicemen and community members.
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Many of the men and women in the crowd, looking at the archival photos at least, were the
same complexion as Evelyn, and they knew a fine brown frame when they saw one.
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Ebony Magazine reports that the audience would have none of it.
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And they articulately let Maestro Johnson know that for once, the white standards of
beauty would not be forced upon them.
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Evelyn's bikini had so transfixed the Golden Gate Ballroom that the audience took the
matter of the contest into their own hands.
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Their raucous applause, cheers, and whistles made it clear to the judges that Evelyn's
fine brown frame was the best.
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Their acclaim for Evelyn and her garment shifted the winds of the contest in her favor.
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The judges, recognizing the mood churning through the densely packed crowd,
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decided to split the victory between Evelyn and her light-skinned rival.
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They were going to award Evelyn the cash and the light-skinned girl the title.
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The Golden Gate ballroom crowd, however, did not have a compromising spirit that night.
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Fists shot up from the audience in response to the suggestion that Evelyn deserved only a
partial win.
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Ebony Magazine describes the contest's conclusion with an air of reluctant inevitability,
saying, so finally, to tremendous acclaim, Evelyn Sanders was crowned Miss Fine Brown
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Frame, probably the darkest and one of the most exotic beauty contest winners in Harlem in
a decade.
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In the magazine's story about the contest, Evelyn is pictured in her bikini smiling to an
adoring crowd.
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She is flanked by a few finalists, lighter skinned women in gowns and traditional bathing
costumes.
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But the stage is mostly stuffed with men in suits, smiling at Evelyn or playing to the
enthusiastic audience.
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Buddy Johnson presents a joyous Evelyn with the Miss Fine Brown Frame trophy.
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Evelyn's bikini won her the title, but its benefits were another matter.
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According to Ebony Magazine, she was having a tough time fighting for her queendom
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now that her Golden Gate supporters were not around to back her.
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Now, Ms.
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Fionn Brown-Frame was meant to win $300, of which Evelyn received $200.
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The title also included appearances at the famed Apollo Theater.
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Now, Evelyn got her stint at the Apollo, but only after a famous comedian advocated on her
behalf.
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Evelyn would ultimately secure an attorney to receive the contest's prizes.
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This reluctance
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To give a dark skinned beauty queen the same benefits that would easily be given to a
light skinned Dixie Belle, the one that the judges wanted, was a sign of the anti-black
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colorism that prevailed in the era.
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This reluctance makes Evelyn's victory that much sweeter.
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Dismantling colorism makes her place in history as the first to wear a bikini in Ebony
magazine that much more meaningful.
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thinking and death stitches upended the colorist hierarchy that would have erased her from
the competition entirely.
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Instead, she has a multi-page spread and one of the leading black periodicals of her day.
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She won the contest and secured her place in history.
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And this is why I say that black women stitch liberation.
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Evelyn Sanders made her achievement possible.
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Her creativity and quick thinking
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secured a beauty title against the field of preferred candidates.
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She stitched her way into a position that the judges did not want her to have.
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She exposed and dismantled the colorism that had long prevailed and continues to operate
as a beauty standard.
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Evelyn was the darkest beauty queen Harlem had seen in 10 years.
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Also,
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The first bikini to be in Ebony magazine would not be one of the light bright girls that
appear in most of its ads.
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Instead, it would be a dark skinned black woman comfortable in her own skin named Evelyn
Sanders, who stitched her place in history.
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This is how black women stitch liberation.
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This is how we use sewing to give ourselves what others would deny us.
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Sewing is the technology by which inert material can be brought to life and increase its
longevity.
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For me, sewing is more than a basic life skill.
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It is a stitch of liberation.
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As the poet oracle Alexis Pauline Gumb says, freedom is not a secret.
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It is a practice.
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Sewing is vital to how I practice freedom, create new space and refresh old ones.
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Sewing is the way that I express bodily autonomy by creating things that I want,
regardless of what retailers say I'm meant to have.
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Sewing lets me visually communicate kinship when I make my signature matching outfits for
the multiracial family for my spouse and kids.
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Sewing gives me unique garments to symbolize renewal for Easter and fresh starts for the
first day of school.
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I've practiced stitching freedom by making bras
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outerwear, jeans, dresses, quilts and duvet covers, umbrellas, sneakers, sandals, tents,
50 leaven pairs of drawers, and even a dress for a 20 foot tall protest puppet.
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I find possibility in the humming joyful rhythm of the sewing machine, feeding the fabric
under the dancing needle, stitching something that would not otherwise exist if I did not
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choose to make it.
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is an affirmation of my creative capacity.
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Sewing connects me to the six generations of my Black Southern family who stitched
beautiful and fulfilling lives from the scraps of America's broken promises.
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Evelyn Sanders' victory wasn't just about winning a title.
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It was about making space for herself in a world that sought to marginalize her.
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Her bold, creative act of stitching her way into history
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was a powerful reclamation of her beauty and autonomy that defied the colorist norms of
the time.
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This is how black women use stitching as a freedom practice, by using sewing to create
what others would deny us, transforming materials into garments of self-expression.
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As you know, the slogan of the Stitch Please podcast is that we will help you get your
stitch together.
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And were I to ask Evelyn Sanders this question, I imagine that she might say, believe in
yourself, trust yourself, trust your creativity and believe that even though the odds seem
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stacked against you, that you have the ability to right wrongs.
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you have the ability to prevail.
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Look back at our history to learn lessons that can benefit us now and in the future.
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The Stitch Please podcast is filled with stories from Black women who show how sewing is
more than a life skill.
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It's a practice of autonomy, creativity, and possibility.
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Through their voices, you'll discover how stitching can be more than meets the eye.
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I hope you'll join us for the next episode or explore our archive of more than 250
episodes and we'll help you get your stitch together.
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You've been listening to Stitch Please, the official podcast of Black Women Stitch, the
sewing group where Black Lives Matter.
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We appreciate you joining us this week and every week for stories that center Black women,
girls, and femmes in sewing.
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We invite you to join the Black Women's Stitch Patreon community with giving levels
beginning at $5 a month.
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Your contributions help us bring the Stitch Please podcast to you every week.
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Thank you for listening.
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Thank you for your support and come back next week and we'll help you get your stitch
together.