I worked very closely with some pretty special people who were historians and had a Ph.D.
There were actual small libraries that held documentation about their lives and what they did. During the school year and summers, I was responsible to recreate and to read about people that lived in Colonial Williamsburg or in Virginia during the times of slavery. RC: As a college student in the South, I was introduced to parts of the Black history of the antebellum South and colonial times, as well as to many fascinating stories of African Americans. As the African American community has been underrepresented in historical archives, what criteria has guided you to find and select the sources for your work? In your long and outstanding career, which projects have been the most challenging from this point of view? To a careful eye, it appears quite obvious that to produce such results, Carter must have dug deep into the past.ĪL: A throughout research is the very first step of a designer’s creative process. Her style and aesthetics steer away from easy stereotypes and clichés while redefining Black roots and redirecting the future. Throughout the years, Carter’s work has stood out not only for her great costumes, but also for her wholesome portrayal of African American culture.
With this accomplishment Carter has made history, all the more because she won it alonside Hannah Bleacher, the Production Designer for the same film, both marking the first African American designers to win in their categories.Ĭarter was able to share the joy of her victory with director Spike Lee, who received his first Oscar, and with actors Mahershama Ali and Regina Kings, in an indeed unprecedented celebration of black talents in the film industry. Together they have contributed to the rise of black filmmaking, starting in the 1990s and continuing with Malcom X, Jungle Fever and with Ruth’s designs for epic movies such as Amistad, Selma, and many others.Įarlier this year, her work on Black Panther earned her a well-deserved Academy Award. It has grown alongside Lee’s own progress as a director. Ruth Carter’s career started in 1988 with Spike Lee’s first film School Daze. Carter finally appeared on the screen, my immediate response was: “Who else?” I couldn’t wait for the film to finish, not because I did not enjoy it, but because I was eager to find out who the costume designer was.
BODY PAINT CAPTAIN CARTER MOVIE
As I watched, mesmerised, the costumes of Black Panther on the huge screen of a movie theatre in Chicago, I realised that not only I was looking at an astoundingly creative body of work, I was also entering a new and ground-breaking vision of the world.
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