time when the art of sewing was the most important event in a young girls life and their mother, aunt, grandmother or other family member still loved to keep the tradition alive. Present day Seminole women have moved into the job market and do not have time to make the patchworks by hand. Instead they buy rolls of pre-made patchwork or already assembled outfits. Thus the history and tradition of patchworking slowly fades away with each passing year. Fortunately those like Effie Osceola, Irene Cypress and Pauline Doctor have taken the time to create new complex patterns and keep the old way of making patchwork garments alive in the 1990s. In source ten, eleven and twelve, you can see the work of Effie, Irene and Pauline respectively. It is easy to see the complexity of the patterns in comparison to those of early day patterns such as fire and rain. In source ten and twelve the use of metallic material is used giving the garments a flashier more modern day look, but at the same time retaining the orginial process of making patchworks (Downs, 1995, 115-117).In 1995-1996, Lee Tiger, a Public Relations Executive, held a Seminole patchwork exhibition in Berlin, Germany. This exhibition showcased the works of Seminole patchwork throughout time. Showing the progression from around the 1900s to now. This exhibition was held to create awareness of Seminole patchworks, but what exactly does the future hold for Seminole patchwork? (Westermark Bad Horses) This question is a good one, because present day Seminoles do not have an answer to this question. The women who know how to sew patchwork together are becoming rather old and they are losing eyesight and memory on how to do it. Seminole women in their forties or younger seem to not have an interest in making patchworks anymore. They recognize its importance not only as a mark of tribal identity but as a tangible link to their cultural heritage, (Downs, 1995, 118). Steps are being ta...
