Speaker:

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.