Issue link: http://digital.copcomm.com/i/1076085
Winter 2018 The Costume Designer 27 over 60 film and television projects to her credit, Carter's body of work demonstrates the very essence of Afro-future as it is influenced by the history, culture, and experiences of African-Americans and represented through the use of design innovation and technology. Carter approaches her art as though it is serving a larger purpose and time after time, her work stands out with accuracy steeped in research, detail, and authenticity as if the threads of the costumes are directly speaking to her. As a storyteller, Carter inspires audiences to see a greater version of themselves. She has become an expert voice on Afro-futurism and her work has further impacted and enriched Black Cinema and Costume Design. In Hollywood, finding and nurturing a long-term cre- ative partnership is in itself a remarkable accomplishment. In 1987, Carter's creative talents were embraced by the youthful, unbound vision of director Spike Lee. He invited Carter to join forces on School Daze and a magnetic energy was born between two visionaries which generated 14 films over the next three decades. This unique collabora- tive relationship elevated the narrative of what it means to be black in America. Produced in the 1990s, Do the Right Thing still plays a relevant part in the conversation about the complexities of being an American as it is discussed in film studies courses at universities, and resides in the National Congressional Archives. Carter and Lee each have a passion for understanding the power that film has to evoke change. Simply by sharing the stories of the neighborhood And that's the truth, Ruth. " " in Mo' Better Blues, Jungle Fever, Crooklyn, Clockers, Bamboozled, Old Boy, or Summer of Sam, generations of people have grown up identifying a version of themselves in each of the characters brought to screen and allowing for larger audiences to understand the struggles, nightmares, and victories for people of color. Whether it is the Civil Rights Era, '70s, or '80s, Carter's design work uses textures and colors that paint turmoil and triumph, pride and preju- dice, and a stillness and vibrancy about the period she is showcasing, leaving audiences mesmerized. When Carter and Lee collaborate, they bring to life stories that stand the test of time creating new boundaries in filmmaking, defining what it is to be an Afro-futurist. In their pursuit of artistic truth, Carter became the first African-American woman in Costume Design to earn three Oscar ® nomination for Malcolm X, Amistad, and Black Panther. Illustration by: Ryan Meinerding/VisDev (artist: Adi Granov)