In the expansive world of design, which dictates everything from the shoes we wear to the interfaces of the apps we use daily, an underlying disparity exists. Recent data underscores a startling revelation: Black designers constitute a mere 5% of the industry. This statistic becomes even more profound when coupled with the fact that just 10% of Black students are venturing into undergraduate design programs.
Understanding this pattern requires a retrospective lens. The challenges faced by Black individuals historically, from the oppressive eras of slavery and Jim Crow, have cast long shadows, even in contemporary settings. And while many sectors of the modern world have embraced diversity with open arms, the design industry’s pace seems more measured.
This isn’t to suggest that Black designers haven’t left an indelible mark on the industry. Quite the opposite. Take Zelda Wynn Valdes, for instance, whose designs became synonymous with the elegance of legends like Ella Fitzgerald and Josephine Baker. Or consider Emory Douglas, whose graphic designs for the Black Panther Party infused art with activism, becoming symbols of a movement. These designers, and many like them, didn’t just contribute designs; they wove cultural narratives into the very fabric of their creations.
Detroit, a city synonymous with resilience and reinvention, has a storied history of embracing artists and innovators who challenge the status quo. This alignment of ethos makes it no surprise that the city has passionately embraced the pioneering work of Ruth Carter, whose trailblazing journey in costume design resonates with Detroit’s own narrative of resurgence and evolution. “Well, I’ve always been a Black designer, I’ve always been a Black woman – so it’s that part of me that fueled everything that I was, and am about,” shared Carter. “Creating images of my community, recreating images that I felt close to in the culture and creating that cultural currency that Spike Lee and everyone that was part of building these films and stories in the beginning were aware of. And now that I am here getting awards and accolades, I’m honored to be recognized but I was always honored to have the opportunity to be a part of that visual storytelling, that was as much of an honor as the Oscar because I was a part of a movement. I was a part of the filmmakers’ movement, and the HBCU movement and that’s the real pride. I am us, I came from us, and I was able to achieve.”
The modern digital realm further accentuates the contributions of Black designers. Their works often embody a unique fusion of cultural nuances with contemporary aesthetics, proving design isn’t just about visual appeal but also about conveying stories and experiences. So, with such evident influence, what underpins the paucity in numbers?
A key factor is awareness. For many Black students, the realm of design remains an undiscovered territory. More traditional career avenues such as law, medicine, or engineering are often more prominently showcased, inadvertently sidelining design professions. Economic factors further muddy the waters. The substantial costs associated with premier design education can pose significant hurdles, especially in the absence of scholarships and financial aid tailored for Black students.
“As a designer I don’t set out to show the world that I’m a designer, I set out to show the world that I am a storyteller,” said Carter. “My breakthrough wasn’t one singular moment; I had many breakthroughs. Being on set for the first time on School Daze and actually telling the story of my own HBCU experience, that was a breakthrough for me because I was entering into a new field. My first nomination for Malcom X, I went to Egypt standing at the Pyramids with mules shooting Denzell Washington on a Spike Lee Joint – those are breakthrough moments. Or studying the life of Malcom X next to Denzell Washington on his knees praying. Those are moments that defines my why – why I do this and why I love it so much because these opportunities just keep presenting itself to me.”
In many ways, Carter’s profound impact on the realm of cinematic fashion mirrors Detroit’s transformative journey. Just as Carter has breathed life into characters, adding depth, authenticity, and rich backstories through her designs, Detroit, too, has undergone a renaissance, with art and design at the forefront of its revival. The city, with its rich tapestry of cultures, history, and influences, finds a kindred spirit in Carter, whose designs reflect a similar melting pot of traditions, stories, and future-forward thinking.
Detroit’s burgeoning arts scene, including institutions like the Charles H. Wright Museum, which is proudly showcasing Carter’s “Afrofuturism in Costume Design,” further cements this bond. Here, Carter’s Afrofuturistic designs, which merge traditional African aesthetics with a vision of a progressive future, find a home amidst Detroit’s galleries, streets, and spaces that celebrate both heritage and innovation. The city, with its legacy of Motown, its revolutionary automotive industry, and its new-found identity as a hub for contemporary art and design, is an apt backdrop for celebrating Carter’s work. Her designs, which tell stories of resistance, hope, and identity, resonate deeply within the heart of Detroit, a city that has, time and again, showcased its indomitable spirit. Her work isn’t just about crafting attire for characters; it’s about evoking emotions, telling stories, and giving a voice to narratives that were often sidelined.
From the early days of her career, Carter showcased an uncanny ability to not just dress characters but to bring them to life, to imbue them with history and intent.
Over her illustrious three-decade career, Carter has collaborated with an array of iconic directors such as Spike Lee, Steven Spielberg, Ava DuVernay, and Ryan Coogler, earning herself seventy credits. Each of her costume designs offers a narrative arc that captures the essence of African-American stories. From films like “Do The Right Thing” to “Black Panther: Wakanda Forever,” her designs reflect her “devotion to retraining the eye to see beauty through costume design and telling stories that enrich the humanity of the Black experience,” she explained. Carter’s proficiency and impact don’t stop with her film credits. She’s been recognized with Academy Awards nominations for films like “Malcolm X” and “Amistad,” an Emmy nod for the “Roots” miniseries, and has been honored with a star on the Hollywood Walk of Fame in 2021. Moreover, she plays a pivotal role as a member of the board of governors for the Academy of Motion Pictures Arts and Sciences.
As Carter asserts, her research is a “slow and patient process which cannot be rushed.” In addition to perusing images, Carter spends ample time understanding historical timeframes, consulting historians, and even absorbing innovative or ancient design techniques to refine her creations. Furthermore, for those intrigued by her genius, Pensole Lewis College, Detroit’s HBCU, which is dedicated to the enrichment of design, is also showcasing an exhibit dedicated to Ruth Carter’s monumental contributions to the world of design.
Her work is also on full display at the Charles H. Wright Museum now through March 2024. This new exhibition features over 60 of the Two-Time Academy Award-winning costumer designer’s original designs from iconic films such as Black Panther, Black Panther: Wakanda Forever, Malcolm X, Do The Right Thing, and more.
As Detroit continues to uplift and showcase Black excellence through various platforms, Carter’s achievements – from breaking barriers at the Academy Awards to being a beacon of inspiration for countless young designers – align seamlessly with the city’s ethos. Just as Detroit is a testament to the power of reinvention, Ruth Carter stands as a symbol of breaking boundaries, making their intertwined stories a powerful testament to the potential of art, design, and relentless determination.
Moreover, the professional landscape, once entered, presents its set of challenges. Black designers, even today, may find themselves in environments that don’t necessarily resonate with their experiences or perspectives.
Yet, the narrative isn’t all about challenges. Their contributions, both historical and contemporary, enrich the design tapestry with depth, variety, and a myriad of perspectives. Through their work, they offer insights into a vast reservoir of experiences, cultures, and narratives.
The numbers, while telling, are just a part of the story. The more profound narrative lies in the legacy, influence, and potential of Black designers in shaping the aesthetics and functionalities of our daily lives. Their presence, while currently underrepresented, remains an integral and influential facet of the design industry.
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