The framed embroidery was made by @Dorcasstories's grandmother at her Dorcas club in Jamaica in 1989/90 and was given to Rose as a wedding present. It is the object that inspired Rose's PhD project. The second image is a table mat made by Rose's aunt at the same Dorcas club

Rose speaks a lot about Dorcas clubs and migration. Here is a Dorcas club in China, undated but surely from the first half of the 20th century. It's in this collection: http://library.vicu.utoronto.ca/exhibitions/vic_in_china/sections/missionaries_and_mission_stations/1910s_charles_margaret_bridgman_and_family.html

Rose also discusses her visit to the Faith Ringgold exhibition at the @SerpentineUK. This is "Jazz Stories: Mama Can Sing, Papa Can Blow #1: Somebody Stole My Broken Heart” from 2004. It was a part of the Serpentine exhibition

This is the African wax print from the end of the episode. It's in the Board of Trade archive, design no. 495066 from 1964. Rose says, "unless we as academics go into the archives there is work that will remain hidden and never discussed..."

"...this is even more important for design and textile practitioners, as it allows us to locate new approaches to material culture and its relationship the wider world." Rose is absolutely right. Here is a blog post she wrote about finding those fabrics: https://blog.nationalarchives.gov.uk/archives-seeking-memories-making-meaning-creative-practice/

And here are two videos. The first is from workshops Rose did at the Lewisham Shopping Centre in 2016, showing how she works in spaces and uses her archive to tell stories: https://vimeo.com/188128385 

The second video links back to Rose's work on Windrush and researching the large numbers of Black women dressmakers who came to England post-WWII (while also remembering that Black women were in the UK making and sewing long before):

And that's it! I hope you enjoy the interview with @Dorcasstories. Rose is absolutely brilliant and I learned a lot from the conversation. I hope you do, too!