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28 The Costume Designer Winter 2019 During this time, Carter spread her wings between New York, working with Lee, and Los Angeles, working with Keenen Ivory Wayans, Robert Townsend, Ron Shelton, and John Singleton. Carter worked with these directors on sev- eral now classic films I'm Gonna Git You Sucka, The Five Heartbeats, The Meteor Man, Baby Boy, and Cobb. These movies showed the diversity of Carter's design and provided a lighter balance to the heavy lifting of the Spike Lee narra- tives. From this experience emerged the infamous goldfish shoes, B*A*P*S, and a film about growing up in gritty South Central Los Angeles. At the time, what was known as a con- temporary urban lifestyle was Afro-future. It was presented in its raw truth by Carter and felt closer to reality than what was being produced in Hollywood. Carter explains, "In the '90s, oversized clothing was a phenomenon in the LA ghetto. The Slauson Swap Meet was an urban superstore. Understanding the culture of LA gangs and LA families was important to telling the truth." John Singleton chose Carter to design five of his films. He says, "She is committed to a level of honesty to create the insider's view of a world few would ever see." Thereafter, Debbie Allen and Steven Spielberg took notice of Carter's talents and brought her on to design for Amistad. Coincidentally, Carter had just finished an art history course at UCLA about the period the film covered. Carter explains, "The Amistad mutiny took place during a time before photography. I was well versed in the fine art of the period and used it to guide my way through its design. Amistad is also a story about Africans, not slaves." As guidance, Carter spent countless hours viewing photos and listening to archived narratives of the children of slaves. The film was the continuum of her work in Afro-futurism coupled with a desire to serve a larger purpose in uncovering the truth that led Carter to earn a second Oscar ® nomination. Carter's understanding of character and attention to detail has also connected with powerhouse actors who find synergy with her ability to empower them within their costumes cre- ating unforgettable performances. Carter has dressed the same actors for multiple films and roles, developing unique partner- ships. Designing for Angela Bassett such diverse characters as Queen Ramonda in Black Panther, Betty Shabazz in Malcolm X, Tina Turner in What's Love Got to Do with It, and Stella in How Stella Got Her Groove Back and collaborating with Samuel L. Jackson for seven films, including Shaft. She gave him the iconic bald look for which he is recognized globally. The incomparable Eddie Murphy, a longtime connoisseur of her artistry, has had Carter design five of his comedic films, including the highly anticipated Dolemite Is My Name. "I owe so much to Eddie. He supported me during a very difficult time in my life. As I struggled personally, I thrived profession- ally," explains Carter. Throughout her career, Carter has portrayed heroes and what she terms as "sheroes" and collaborated with people who are heroes and sheroes in their own way. In showcasing these diverse narratives, Carter has become a historian and keeper of stories, figures, and characters that together thread the past, present, and future of the black experience. In the process of realizing her own path, she has helped others see theirs, ultimately elevating the way in which people can connect to each other as another aspect of Afro-futurism. Black Panther's Nakia (Lupits Nyong'o) flanked by Wakanda's Dora Milaje (Danai Gurira and Florence Kasumba). Photo: Walt Disney Studios Motion Pictures