Madam C. J. Walker

                                            Madam C. J. Walker

"I am not merely satisfied in making money for myself, for I am endeavoring to provide employment for hundreds of women of my race. ... I want to say to every Negro woman present, don't sit down and wait for the opportunities to come. Get up and make them!"

"I am a woman who came from the cotton fields of the South. From there I was promoted to the washtub. From there I was promoted to the cook kitchen. And from there I promoted myself into the business of manufacturing hair goods and preparations....I have built my own factory on my own ground."

"I want you to understand that your first duty is to humanity. I want others to look at us and see that we care not just about ourselves but about others."

Sarah Breedlove December 23, 1867 – May 25, 1919 , known as Madam C. J. Walker, was an African American entrepreneur, philanthropist, and a political and social activist. Eulogized as the first female self-made millionaire in America, she became one of the wealthiest African American women in the country, "the world's most successful female entrepreneur of her time," and one of the most successful African-American business owners ever.

Walker made her fortune by developing and marketing a line of beauty and hair products for black women through Madame C.J. Walker Manufacturing Company, the successful business she founded. Walker was also known for her philanthropy and activism. She made financial donations to numerous organizations and became a patron of the arts. Villa Lewaro, Walker’s lavish estate in Irvington-on-Hudson, New York, served as a social gathering place for the African American community.

Sarah Breedlove–who later would come to be known as Madam C. J. Walker–was born on December 23, 1867 on the same Delta, Louisiana plantation where her parents, Owen and Minerva Anderson Breedlove, had been enslaved before the end of the Civil War.  This child of sharecroppers transformed herself from an uneducated farm laborer and laundress into one of the twentieth century’s most successful, self-made women entrepreneurs.

Orphaned at age seven, she often said, “I got my start by giving myself a start.” She and her older sister, Louvenia, survived by working in the cotton fields of Delta and nearby Vicksburg, Mississippi. At 14, she married Moses McWilliams to escape abuse from her cruel brother-in-law, Jesse Powell.

Her only daughter, Lelia (later known as A’Lelia Walker) was born on June 6, 1885. When her husband died two years later, she moved to St. Louis to join her four brothers who had established themselves as barbers. Working for as little as $1.50 a day, she managed to save enough money to educate her daughter in the city’s public schools. Friendships with other black women who were members of St. Paul A.M.E. Church and the National Association of Colored Women exposed her to a new way of viewing the world.

Initially, Sarah learned about hair care from her brothers, who were barbers in Saint Louis. Around the time of the Louisiana Purchase Exposition (World's Fair at St. Louis in 1904), she became a commission agent selling products for Annie Turnbo Malone, an African American hair-care entrepreneur and owner of the Poro Company. While working for Malone, who would later become Walker’s largest rival in the hair-care industry, Sarah began to adapt her knowledge of hair and hair products to develop her own product line.

In July 1905, when she was thirty-seven years old, Sarah and her daughter moved to Denver, Colorado, where she continued to sell products for Malone and develop her own hair-care business. Following her marriage to Charles Walker in 1906, she became known as Madam C. J. Walker and marketed herself as an independent hairdresser and retailer of cosmetic creams. (“Madam” was adopted from women pioneers of the French beauty industry.  Her husband, who was also her business partner, provided advice on advertising and promotion; Sarah sold her products door to door, teaching other black women how to groom and style their hair.

In 1906 Walker put her daughter in charge of the mail order operation in Denver while she and her husband traveled throughout the southern and eastern United States to expand the business. In 1908 Walker and her husband relocated to Pittsburgh, Pennsylvania, where they opened a beauty parlor and established Lelia College to train "hair culturists." After closing the business in Denver in 1907, A'lelia ran the day-to-day operations from Pittsburgh, while Walker established a new base in Indianapolis in 1910. A'lelia also persuaded her mother to establish an office and beauty salon in New York City's Harlem neighborhood in 1913.

In 1910 Walker relocated her business to Indianapolis, where she established the headquarters for the Madame C. J. Walker Manufacturing Company. She initially purchased a house and factory at 640 North West Street. Walker later built a factory, hair salon, and beauty school to train her sales agents, and added a laboratory to help with research. She also assembled a competent staff that included Freeman Ransom, Robert Lee Brokenburr, Alice Kelly, and Marjorie Stewart Joyner, among others, to assist in managing the growing company.  Many of her company's employees, including those in key management and staff positions, were women.

In 1913, while Walker traveled to Central America and the Caribbean to expand her business, her daughter A’Lelia, moved into a fabulous new Harlem townhouse and Walker Salon, designed by black architect, Vertner Tandy. “There is nothing to equal it,” she wrote to her attorney, F.B. Ransom. “Not even on Fifth Avenue.”

Walker herself moved to New York in 1916, leaving the day-to-day operations of the Madam C. J. Walker Manufacturing Company in Indianapolis to Ransom and Alice Kelly, her factory forelady and a former school teacher. She continued to oversee the business and to work in the New York office. Once in Harlem, she quickly became involved in Harlem’s social and political life, taking special interest in the NAACP’s anti-lynching movement to which she contributed $5,000.                                                                                                                                      
In July 1917, when a white mob murdered more
than three dozen blacks in East St. Louis, Illinois, Walker joined a group of Harlem leaders who visited the White House to present a petition advocating federal anti-lynching legislation.

As her business continued to grow, Walker organized her agents into local and state clubs. Her Madam C. J. Walker Hair Culturists Union of America convention in Philadelphia in 1917 must have been one of the first national meetings of businesswomen in the country. Walker used the gathering not only to reward her agents for their business success, but to encourage their political activism as well. “This is the greatest country under the sun,” she told them. “But we must not let our love of country, our patriotic loyalty cause us to abate one whit in our protest against wrong and injustice. We should protest until the American sense of justice is so aroused that such affairs as the East St. Louis riot be forever impossible.”

Between 1911 and 1919, during the height of her career, Walker and her company employed several thousand women as sales agents for its products. By 1917 the company claimed to have trained nearly 20,000 women. Dressed in a characteristic uniform of white shirts and black skirts and carrying black satchels, they visited houses around the United States and in the Caribbean offering Walker's hair pomade and other products packaged in tin containers carrying her image. Walker understood the power of advertising and brand awareness. Heavy advertising, primarily in African American newspapers and magazines, in addition to Walker's frequent travels to promote her products, helped make Walker and her products well known in the United States. Walker became even more widely known by the 1920s as her business market expanded beyond the United States to Cuba, Jamaica, Haiti, Panama, and Costa Rica.

In addition to training in sales and grooming, Walker showed other black women how to budget, build their own businesses, and encouraged them to become financially independent. In 1917, inspired by the model of the National Association of Colored Women, Walker began organizing her sales agents into state and local clubs. The result was the establishment of the National Beauty Culturists and Benevolent Association of Madam C. J. Walker Agents (predecessor to the Madam C. J. Walker Beauty Culturists Union of America). Its first annual conference convened in Philadelphia during the summer of 1917 with 200 attendees. The conference is believed to have been among the first national gatherings of women entrepreneurs to discuss business and commerce.  During the convention Walker gave prizes to women who had sold the most products and brought in the most new sales agents. She also rewarded those who made the largest contributions to charities in their communities.

Walker contributed scholarship funds to the Tuskegee Institute. Other beneficiaries included Indianapolis's Flanner House and Bethel African Methodist Episcopal Church; Mary McLeod Bethune's Daytona Education and Industrial School for Negro Girls (which later became Bethune-Cookman University) in Daytona Beach, Florida; the Palmer Memorial Institute in North Carolina; and the Haines Normal and Industrial Institute in Georgia. Walker was also a patron of the arts.

In 1917 Walker commissioned Vertner Tandy, the first licensed black architect in New York City and a founding member of Alpha Phi Alpha fraternity, to design her house in Irvington-on-Hudson, New York. Walker intended for Villa Lewaro, which cost $250,000 to build, to become a gathering place for community leaders and to inspire other African Americans to pursue their dreams. She moved into the house in May 1918.

Walker became more involved in political matters after her move to New York. She delivered lectures on political, economic, and social issues at conventions sponsored by powerful black institutions. Her friends and associates included Booker T. Washington, Mary McLeod Bethune, and W. E. B. Du Bois, among others. During World War I Walker was a leader in the Circle For Negro War Relief and advocated for the establishment of a training camp for black army officers.  In 1917 she joined the executive committee of New York chapter of the National Association for the Advancement of Colored People (NAACP), which organized the Silent Protest Parade on New York City's Fifth Avenue. The public demonstration drew more than 8,000 African Americans to protest a riot in East Saint Louis that killed thirty-nine African Americans.

The New York Times pronounced it “a place fit for a fairy princess.” Enrico Caruso, the world-famous opera tenor, was so entranced by its similarity to estates in his native Naples that he coined the name “Lewaro” in honor of A’Lelia Walker Robinson, Madam Walker’s only daughter.

Walker told her friend Ida B. Wells, the journalist and anti-lynching activist, that after working so hard all her life -- first as a farm laborer, then as a maid and a cook, and finally as the founder of an international hair care enterprise -- she wanted a place to relax and garden and entertain her friends.

She also wanted to make a statement, so it was no accident that she purchased four and a half acres in Irvington-on-Hudson, New York, not far from Jay Gould’s Lyndhurst and John D. Rockefeller’s Kykuit amidst America’s wealthiest families. She directed Vertner Woodson Tandy -- the architect who already had designed her opulent Harlem townhouse -- to position the 34-room mansion close to the village’s main thoroughfare so it was easily visible by travelers en route from Manhattan to Albany.

Indeed, the Times reported that her new neighbors were “puzzled” and “gasped in astonishment” when they learned that a black woman was the owner. “Impossible!” they exclaimed. “No woman of her race could afford such a place.”

The woman born in a dim Louisiana sharecropper’s cabin on the banks of the Mississippi River now awoke each morning in a sunny master suite with a view of the Hudson River and the New Jersey Palisades. The child who had crawled on dirt floors now walked on carpets of Persian silk. The destitute laundress, who had lived across the alley from the St. Louis bar where Scott Joplin composed ragtime tunes, now hosted private concerts beneath shimmering chandeliers in her gold music room.

But the home was not constructed merely for her personal pleasure. Villa Lewaro, she hoped, would inspire young African-Americans to “do big things” and to see “what can be accomplished by thrift, industry and intelligent investment of money.”

“Do not fail to mention that the Irvington home, after my death, will be left to some cause that will be beneficial to the race -- a sort of monument,” she instructed her attorney, F. B. Ransom. As the largest contributor to the fund that saved Frederick Douglass’s Anacostia home, Cedar Hill, she understood the importance of preservation as a way to claim and influence history’s narrative.

For her opening gathering in August 1918, Madam Walker honored Emmett Scott, then the Special Assistant to the U. S. Secretary of War in Charge of Negro Affairs and the highest ranking African-American in the federal government. At this “conference of interest to the race” -- with its who’s who of black Americans and progressive whites -- she encouraged discussion and debate about civil rights, lynching, racial discrimination, and the status of black soldiers then serving in France during World War I.

After a weekend of conversation, collegiality, and music provided by J. Rosamond Johnson -- co-composer of “Lift Ev’ry Voice and Sing” -- and Joseph Douglass, master violinist and grandson of Frederick Douglass, Scott wrote to her, “No such assemblage has ever gathered at the private home of any representative of our race, I am sure.”

After Madam Walker died at Villa Lewaro on May 25, 1919 -- barely a year after moving in -- her daughter continued the tradition of hosting events, occasionally opening the home for public tours to honor Walker’s legacy. Later dubbed the “joy goddess of Harlem’s 1920s” by poet Langston Hughes because of her impressive soirees, A’Lelia Walker feted Liberian President Charles D. B. King and his entourage in 1921 with a Fourth of July fireworks display and concert by the Ford Dabney Orchestra.

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