Issue link: http://digital.copcomm.com/i/1278299
20 The Costume Designer Summer 2020 Carter on viewing Hollywood through the lens of race: Hollywood's first film [The Birth of a Nation] by D.W. Griffith glorified and ignited the Ku Klux Klan. When I first came into this industry, it felt very strange in Hollywood. But at Spike Lee's 40 Acres and at Mule Filmworks in Brooklyn, New York, it felt groundbreaking and validat- ing—like we owned our narrative. And I was the Costume Designer, which was very empowering. Not underneath anyone, I was able to shape and form the world of design as I saw it. It was a shock to the system for some, who believed I needed to be mentored first. I was mentored, by the likes of Spike Lee, Keenan Wayans, and Robert Townsend. Maybe Hollywood wasn't completely ready to accept this Black woman in this role as Costume Designer in mainstream films, but that didn't matter to me. Given the rare opportunities to be in "the room" with sketches, a portfolio, and many feature films behind me, I knew that to a degree, I would be "the help" to some. But I chose to focus on the ones who saw me differently, as an artist. I worked with the late Brian Gibson on What's Love Got to Do With It, Ron Shelton on Ty Cobb, the pilot for the Jerry Seinfeld series Seinfeld, and Steven Spielberg on Amistad. There was a rare opportunity for me to "cross-over" and for that reason I felt that I was not a Costume Designer who just did Black projects or only worked for Black directors. Tanchuck on perception: African Americans simply want our nation to live out the Declaration of Independence; "We hold these truths to be self-evident, that all men are created equal." That's how we would like to be treated and how we want to pursue our careers and opportunities. To be viewed or judged by our abilities, not because our skin color happens to be dif- ferent. That has always been the issue. Early on, I deliber- ately avoided photographs of myself, I wanted my work on screen to be the deciding factor. Cole on being a Black Costume Designer: I think of myself as a Black Costume Designer, but I'm also a creative spirit. No one would say, "She's a White design- er." I think I struggle back and forth with that in my own process. Spiritually, we're creative beings, we're not going to be Black or White when we leave. The outside is only the vessel. When we leave, we're a spirit, but while I'm on earth, I'm a Black designer and I'm very proud of that. Davis on making more with less: My father explained, not many of "Us" challenge the industry, and you will need to really commit "200 per- cent" to keep in the running. Let's examine Dreamgirls, the budget was based on a small budget, yet most musi- cals with predominately White cast members are based on three times the budget. They have more time to prepare, bigger crews and longer filming schedules. I was so excit- ed when I saw the first cut, believing that other Costume Designers would be amazed that I did this on such a tight budget. During the press junkets for the Academy Awards, I realized that my fellow colleagues had no mercy for "Black designer on a budget," no acclamations, I was ignored by most of the designers. Carter on honoring the lives of the enslaved: With Amistad, we were in Puerto Rico at a historic fort with hundreds of people to dress. I started very early in the morning before dawn. Many big scenes were dressed there, where vessels were docked and hundreds of Africans were embarking off slave ships. When the sun came up, I found myself isolated from the film crew and all I saw were people in character milling around this historic place. It felt very real, and from where I stood, the only person who was dressed contemporary was me. I sat for moments taking it all in, mesmerized by it all. I've done enough research to be able to see the truth and bring these images of our struggle in the past closer to our struggle today. It's incredible to relate the past to the present. The clothes we wear today have spiritual connections to African ancestry for Black people in color choices, fabric, adornments, hair, and almost everything we do today. I wish more people would understand that. It's wonderful to be able to connect in that way. That's how I look at it. I'm a historian, a storyteller, and this is the truth of who the people, my people are in my work. Cole on creating meaningful costumes: One of the most meaningful episodes was "Juneteenth" from black-ish. It was emotional. You can't do that kind of research and not cross over to the lynchings and the ships, or the Ku Klux Klan. That's part of the history and it's unsettling, What I take forward with me from the show