Just 20 minutes into Black Panther, one can immediately sense that the 2018 superhero film is unlike any other in cinematic history. Aside from its strong Black female leads, part of its appeal is due to the fashion.

A pivotal scene where this can be seen (and felt) is during “challenge day” in the fictional African kingdom known as Wakanda. Before T’Challa (Chadwick Boseman) claims his rightful spot on the throne at the ceremonial rite of passage, audiences are treated to a vibrant display of African fashion. The impressive battle scene unfurls to the sound of drums thumping and unified singing in the background. When the five tribes—River, Merchant, Mining, Border, and Mountain—emerge, showing off their traditional garb and accessories at the majestic Warrior Falls, it is then that the costumes take center stage.

People, Tourism, Temple, Formation, Outcrop, Tribe, Village,
Marvel Studios 2018

The woman behind the muddy hues, earthy colors, and luxurious jewel tones framing the now-iconic waterfalls scene is Ruth E. Carter, the first African American woman to win the Oscar for Costume Design in 2019.

As Black Panther’s costume designer, Carter used the wardrobe of the men and women of the film as a vessel to highlight traditional African style to the world, and to signify their strength. The 58-year-old spent six months extensively researching Africa's ancient customs to merge old techniques with modern ones, such as the 3D printing designed by Julia Koerner. And the result? An Afro-futuristic visual feast that fans still celebrate a year after the film's release.

The feat is nothing new for the Massachusetts native. From School Daze and Malcom X to What’s Love Got to Do With It and Selma, Carter has worked with some of the most impressive filmmakers in the industry, including Spike Lee, Steven Spielberg, Robert Townsend, John Singleton, Ava DuVernay, and Lee Daniels.

Through her 30-year career, she's been able to visibly translate the everyday wear of historical African American leaders such as Dr. Martin Luther King, Jr., Malcolm X, Thurgood Marshall, and Coretta Scott King to mainstream audiences. And her costumes are often as much of a touchstone and conversation starter as a movie's characters and storyline. But her story as a self-made woman is perhaps even more compelling than her designs.

I've always cared deeply about African American history.

Carter's ascent in Hollywood began while she was a student at Hampton University in Virginia, where she majored in education but realized teaching wasn't her passion. She discovered the world of theater her sophomore year, and after graduating, eventually crossed paths with a young Spike Lee while working at the Los Angeles Theater Center. Lee hired Carter to work on 1988's School Daze, and they continued to collaborate on films such as Do the Right Thing, Jungle Fever, Crooklyn, and Mo’ Better Blues.

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This year, Carter scored her third Academy Award nomination for costume design for Black Panther, and she earned two prior ones for Malcolm X and Amistad. She'll be honored with a Career Achievement Award at the 21st annual Costume Designers Guild Awards (CDGA) on February 19 in L.A., however, she tells OprahMag.com that she hasn’t prepped her acceptance speech yet—something that speaks to her humble demeanor.

Hair, Face, Hairstyle, Beauty, Denim, Afro, Eyebrow, Jeans, Long hair, Lip,
Jaxon Photo Group

Following the box office success and momentum of Black Panther, Carter just finished costuming the upcoming biographical film Dolemite Is My Name starring Eddie Murphy, and she dipped her toes into Western wear for Paramount’s Yellowstone TV series featuring Kevin Costner.

OprahMag.com recently spoke with Carter about the message she wants to communicate through her costumes, her dream subject to dress for a biopic, and an important shift she thinks Hollywood must make for women.


You've earned three Oscar nominations. What's it like to continue getting recognized for your vision in such an impactful film like Black Panther?
I've always cared deeply about African American history. I've always thought that I was a person who could depict the culture and journey of Black Americans in this country accurately. Whether it be dreadlocks or a drop crotch, I feel a connection to our history, and a great responsibility to honor my past and the history of Africans and African Americans.

People, Tribe, Tribal chief, Ritual, Tradition, Human, Carnival, Festival, Event, Archaeological site,
Marvel Studios 2018

To be recognized after 30-plus years, in an industry where I have held that connection in my mind, heart, and soul, is a confirmation that what I've been striving for all this time is real and important. It's necessary and it's time.

How has your life changed after the success of Black Panther?
I have no more personal time. I’m completely inundated, and I can’t wait for it to calm down [laughs] so I can go back to being a costume designer. It’s very hard to get what I normally do done now. Before, I had a lot of people helping me for movie stuff, but now I have people helping me with social media, publicity, styling, hair, and makeup. It’s a first-world problem, but it’s going to calm down soon.

In what ways do you think your designs have challenged the perception and stereotypes about Black fashion?
Most of my films are recreations of a real event. In an effort to recreate the images of Martin Luther King, Jr., Malcolm X, Betty Shabazz, Tina Turner, and others, it’s just shedding a light on these important people and how they dress. If that influences or brings people to a greater understanding, or it brings Black fashion to the forefront, then that's the marker of success. We all want to be influenced by great people.

You've collaborated with Spike Lee many times. What is it about his vision that resonates with you as a creative?
Spike is a visionary, but he also respects his department heads as artists. He doesn’t know how to do your job, so he depends on his team to carry out his vision based on an idea. Spike is the leader and he sets the tone, but he doesn’t specifically give us instruction about our individual disciplines. For example, if he says he’s going to honor Black photographers, he wants us to decide which photographers to use, and then we collaborate and pursue the artistry.

Women are not primarily sex objects. We're also warriors, mothers, girlfriends, and sisters.

You recently completed costume work for Dolemite Is My Name, which takes place in the '70s. How did you elevate the costumes to make sure they didn't look like parodied versions of what people wore in that decade?
I wanted to be reminded of the '70s that I loved as a teenager. I remember everything I wore and what other people wore. Not everyone had a big afro, bell-bottoms, or platform shoes. There were so many innovative fashion ideas during that time, and I just wanted to make a really good movie that put Rudy Ray Moore in the comic’s position and not the background. I think people are going to dig it.

More women are being acknowledged for their work as directors, writers, and producers. But what else does Hollywood need to do to champion gender equality?
In the area of costume design, it’s generally a female-heavy profession. So as a designer, my wish is that the actors and directors that I work with will not look at a female character and say, "She needs a bigger bust, enhance her form by opening up the blouse more, or shorten 'er skirt." There needs to be a shift geared towards equality between women and men. I’m hoping the empowerment of women and their multilayered personalities, like you see in Black Panther, spreads through Hollywood. Women are not primarily sex objects. We're also warriors, mothers, girlfriends, and sisters.

People, Human, Fun, Tribe, Temple, Event, Tradition, Art,
Matt Kennedy/Marvel Studios 2018

You spend a great deal of your time coming up with looks for other people, but how would you describe your personal style?
I think of myself as avant-garde. I like to wear things that are a bit androgynous, so I’ll wear an oversized V-neck sweater with my leggings and Rick Owens boots. I’m actually anti-fashion in a way.

You're of the belief that costumes shouldn't look like costumes. Can you explain what that means?
Just because a person is wearing a costume doesn’t mean that the costume is doing all of the talking. Sometimes the costume needs to subside and be a part of the whole entire scene, not just on the wearer. It’s not fashion. It’s more of a character. As regular people, when we get dressed for work or throw on a sweatshirt to go grocery shopping, we’re not thinking of it as putting on a costume. Basically, if you're overthinking while dressing a character in a movie, you're probably overdoing it.

What’s one film you’ve worked on that embodies that belief?
What's Love Got to Do With It
with Angela Bassett as Tina Turner. There’s a time when she's all fancy on stage in her costume, and there were times when she dressed normally in her regular life.

Looking back, is there a film in which you think you could have presented your vision in a better way?
I don’t really have regrets. As an artist, there’s always something you’d like to tweak. But you really have to accept that the job is done—that you did your best— and it's time to move on to the next.

Which filmmakers top your list of dream collaborators? And what's a dream biopic or genre you'd like to explore?
I’d like to work with director Barry Jenkins. He’s very poetic and kind in his approach. I would’ve loved to have done If Beale Street Could Talk and really delve into James Baldwin. James Baldwin, Nikki Giovani, and Sonia Sanchez are my designers. People think I got into this profession because I like fashion or Dior and Gucci. But Baldwin and Giovani are the people who I looked up to. Those are the stories I could vividly see in my mind and wanted to tell with costumes.

What else do you turn to for inspiration as a designer?
I’m inspired by a little bit of everything. I get inspired by looking through art books, on Instagram, and on my travels. I get inspired by a beautiful day, a sunset, or the beach.

Finally, what’s the ultimate message you want to send to people through your costumes?
I just want people to look at my films for now and forever more and know that I was a keeper of the culture. I presented it [African American culture] in its most endearing form and in the most honest way possible. I hope that you can look at my films and learn a little bit more about yourself.


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preview for Why 'Black Panther' Is History In the Making

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Michelle Darrisaw
Culture & News Writer

Michelle is the Culture & News Writer for OprahMag.com, where she writes about celebrities (she considers herself an expert on Beyoncé and Reese Witherspoon), plus the latest in pop-culture news, binge-worthy TV shows, and movies. The transplanted Southerner turned ambitious New Yorker lives her best life by listening to hip-hop and Pod Save America, watching The Office on repeat, quoting Oprah-isms, eating dessert before dinner, and avoiding avocado. Seriously, she doesn’t get the hype.

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