You Can Take This Girl Out Of Oklahoma But You Cant Take Oklahoma Out Of This Girl Shirt
Now, at 92, Caldwell still comes into the shop, working alongside his family to carry on the craft. “We love our people, and they’ve been good to us,” he says. “It just doesn’t make sense for you to throw away a $1,000 suit when it can be altered to fit you again.” Caldwell moved his shop to its current location in 1987, against the advice of many who doubted investing in a Black neighborhood. “But I believed in us,” he says. “And they’ve continued to show up.” TailoRite is proof that when Black communities invest in their own, style and tradition don’t just survive—they thrive. In a storefront off a quiet avenue in St. Louis, 75-year-old Betty Grimes has spent the past 21 years continuing the tradition of altering and repairing. “I never advertised—people just came,” she says of Betty’s Alterations & Tuxedo, her tucked-away alteration shop. Grimes began honing her skills at 21, sewing hems for customers at her godfather Roszell Johnson’s menswear store, Roszell’s—one of the city’s first Black-owned shops. Decades later, she still uses the same sewing machine from those early days. “I just want people to look better and their best,” she says of her work, “especially our Black men.” With an eye for precision, she adjusts sleeves and hems with the same care she uses to instill self-respect and confidence in her clients.You Can Take This Girl Out Of Oklahoma But You Cant Take Oklahoma Out Of This Girl Shirt
Grimes’s work has dressed entire generations: promgoers, groomsmen, Delta Sigma Theta cotillion escorts, and even her own grandsons, both of whom went on to college—and to job interviews—in suits she taught them to wear with pride. “There’s nothing I could have bought more important than that,” she says, adding that owning her shop helped her put her grandchildren through college. “That’s why I never really retired.” Grimes is among a shrinking number of Black tailors preserving the nuanced craftsmanship and culture of dressing well. It’s a calling she takes immense pride in. “When I say I open at 9, I’m here at 9,” she says. “That’s what I learned from my godfather. Especially in Black business—be on time, do it right.” In her hands, every alteration is an act of care—a continuation of Black sartorial tradition and a subtle resistance to being forgotten.
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