CDG - The Costume Designer

Winter 2019

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Winter 2019 The Costume Designer 29 As Carter sees it, "The film community does not pick their revolutionary leaders. Their revolutionary leaders rise up willing to pay the price while committed to a vision that benefits the whole." Carter has paid the price over and over and her years of hard work has led her to Wakanda. When she first met with director Ryan Coogler, she was admit- tedly nervous. Having worked on independent films, television, and movies with a quarter of the budget of a Marvel project, she was eager to earn Coogler's trust. As Carter describes it, "Ryan observed with a quiet intensity as I showed him many sketches and concepts, and after what felt like forever, I paused and he said, 'Ruth, I can't believe I'm sitting across from you.'" In Coogler's mind, Carter had already interviewed and earned the role of Costume Designer on Black Panther after his father took him to see Malcolm X as a boy in Oakland, California, Coogler understood Carter's historic role and purpose in carefully present- ing Afro-futurism, before it could play out on the big screen because with every story and film she worked on, she had already been doing it. With Marvel's support, the film authentically cen- tered around African history, black empowerment, and blackness with realism, regality, and positivity. Carter immersed herself into the beauty of many ancient African cultures such as the Lesotho, Maasai, Himba, Zulu, Turkana, Tuareg, Sami, Suri, and Dogon. She wove their cultural stories as guidance and inspiration for the costumes, merging traditions and contemporary and futuristic looks that are presented in their glory at Warrior Falls. Marvel created the first black superhe- ro, but through Costume Design, Ruth Carter turned him into an African king. When the Black Panther trailer was released, audiences instantly con- nected with the rich costumes— launching a style movement, inspiring a sense of community, and sparking a cultural conversation. Carter's artistry, imagination, and com- mand of the craft put her at the forefront of the film's critical discourse where she has since remained. People around the world arrived at theaters wear- ing African-inspired and Black Power reminiscent regalia, some breaking out into dance in the lobby after essentially seeing them- selves on screen. This prophetic peek into the future felt hopeful, like a rebirth and a gift to pass on to generations. Reflecting on her experiences, Carter says, "What I discovered between the research, artistry, and messages in all the costumes I designed for the many historical and imagined figures is my contribution to Afro-futurism. I am honored to receive this recognition from the Costume Designers Guild and look forward to telling more stories which can change the world." Buster Marshall, Marshall. CD Ruth Carter ILL Felipe Sanchez Amistad Illustration: Gina DeDomenico Flanagan. Additional colorist: Paula Saker

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