Why Does Fashion Matter: A visual essay on Afrofuturism

To answer “Why Does Fashion Matter?”, this visual essay will focus on costume in the Black Panther film, to reveal how fashion is used to demonstrate ideas on Afrofuturism. In this context, fashion will be defined as physical clothing that serves a visual purpose in a story. Black Panther is a Marvel science fiction film set in fictional Wakanda, a country with advanced technology and bursting with Pan-African influences while escaping colonialism. Afrofuturism is a motif throughout the film which uses the costume designs to continue this narrative. This overarching theme includes many subtopics, however in order to keep this essay focused, the three that have been selected are: Feminism, Technological Advancements and Reclaiming Culture which will all be explored through the lens of Afrofuturism in the Black Panther costumes. To do so, all research has been centred around three characters as a focal point to really unpack the semiotics of their attire. The three characters are T’Challa, Queen Ramonda and Okoye. In this essay, I will uncover how the Costume Designer Ruth E. Carter successfully used fashion in the Black Panther as a visual communicator of Afrofuturism.

White ponders on the social and cultural lasting effects the movie had in her essay:

“What left me curious was how and why the movie served as a convening for Black viewers but also how the film itself invited inquiry into many interwoven themes such as identity, representation, colonialism, science and authorship.”

— (White,2022)

This line of thought describes key characteristics of an Afrofuturistic production. These mentioned themes help to define this key concept as it shows the ways in which features of African cultures are modernised to imagine a futuristic lifestyle. Using this perspective, it can be understood that the costume for the characters must therefore act as an authentic reflection of Africa in a way that viewers can identify with while infusing techniques that transgress current realities. This was done successfully due to the production team who acted during a time of political and social upheaval known as the “Black Lives Matter” movement which originated in 2013. The costume design in the film speaks to significant cultural and historical changes which will be addressed in this essay, alongside describing its relevance in a contemporary context.

Historically, science fiction films offered limited representation of cultures other than that of a traditional western male. Especially for Marvel Studios which traditionally favoured the American, overtly masculine superhero stereotype, which left no room for cultural expression, while women of colour were presented as secondary characters to serve the male protagonist with little to no power. “Even when Black women are protagonists, they are shown through a white gaze that acts as “a cinematic policing agent that strives to control the signification of Blackness” (Griffin, Citation 2014). Such perspective is often cloaked in a post-racial ideology.” (Bucciferro, 2021). Alternatively, the costumes for Okoye and Queen Ramonda, serve as feminist and cultural empowerment. Okoye acts as a leading protector which means her costume must serve a practical element, while Queen Ramonda leads politically as a Royal. Deciding to empower women, not just through rank, but through costume opens up further discussion on the presentation of Afrofuturism: the fact that a woman can lead and be seen as a leader without having to adopt masculine dress is quite powerful, as well as the fact that traditional dressing, such as the Ndebele neck rings that were reinvented to allude to egalitarian practices such as gender equality.

T'Challa plays the main protagonist in this film as the Black Panther, however I chose to not include his iconic suit in this essay as I believe that his other outfits tell stories almost as powerfully as the superhero suit. In doing so, this analysis focuses on the character “T’Challa” as an individual and leader rather than as the Black Panther superhero dynamic.

“Black Panther challenges these old tropes about superheroes and actively rejects the hegemony of whiteness.” (White,2018). T’Challa’s attire nods to dandyism through interpretations of a classic suit, from adding cultural and modern elements to it. This could be an attempt to use costume to represent the refusal to accept colonialism as a leader of an Afrofuturistic society.

“We’ve never seen this kind of visionary...African/Black representation of super science, and technological advancement and social standing outside the historical [context] of colonialism” The costumes reflect the cultural revolution that is the Black Panther.”

— (Mattimore 2021)

AFROFUTURISM IN OKOYE’S COSTUME: EXPLORING FASHION THROUGH CULTURE AND FEMINISM

1) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

Okoye is the leader of the Dora Milaje who are the protectors of Wakanda. As the leader, she has subtle differences that establish her rank in her uniform such as the gold instead of silver neck rings and shoulder pads. Her character is the epitome of an Afrofuturistic woman who is a strong and empowered female with great respect and responsibility. This is successfully shown as she doesn’t have to wear masculine clothes in order to receive the same respect as the leading male characters.

“Black and Brown women tend to appear in connection with social spheres such as domestic labor, sex work, organized crime,
law enforcement, and the prison complex. They are commonly given roles that emphasize their sexuality or place them within the domestic sphere, positioning them as an Other defined in contrast with white women”

— (Bucciferro, 2021)

2) S. Sule Ali (2023) Dora Milaje uniform [Collage].

I created this collage as a visual representation of all the different features of Okoye’s Dora Milaje uniform as it puts into perspective how much a single costume can represent a whole story. This costume represents multiple cultures and shines lights on different customs native to African countries which as a result, gives agency to viewers to then embrace these cultures.

“We crafted a costume that really did represent all the areas of Africa you have beadwork from the Turkana tribe, you have a leather skirt wrapped like the Himba women ”

— (Carter, 2020)

“We have the Ndebele neck rings and arm rings that represents South Africa. But we wanted the neck rings to feel like jewellery”

— (Carter, 2020)

“It has a leather harness that travels around the body and you’ll see it wrap around the bust area and into the waist and in between there’s a raised printing that mimics scarification. Different tribal customs use scarification as identifying their origin. Sometimes the scars are on the face. Sometimes the scars are on the body. And you’ll see that represented in many areas and many aspects of different tribal customs. And so this Dora Milaje costume would not be complete without some representation of that tradition”

— (Carter, 2020)

3) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

In this scene, there is a traditional ceremony which is equivalent to a coronation. Okoye’s outfit here is slightly more relaxed as it is a celebration, however you can still notice her rank and position through the armour that resembles jewellery. The other uniform in Figure 1 is more practical while this one serves a performative cultural purpose.

“Afrofuturistic fiction offers a space where new embodiments of Black womanhood can be explored. Suggesting that Black is beautiful, Black aesthetics —often marginalized in Western society— are re-centered and re-imagined”

— (Bucciferro, 2021)

4) Dowayo (1980-1984) Wood and beads [Doll]. British Museum (Viewed: 1 May 2023).

This is a handmade doll, carved in Cameroon that supposedly has the power to heal sterile women. It is no coincidence that this figure which is supposed to empower women has a harness-like top made of beadwork that mirrors Okoye’s uniform. Beadwork is an ancient craft in multiple regions of Africa so it is only natural for it to be included in the costume.

“Beads were used in various parts of Africa as adornment or works of art. As adornment they were important in defining and identifying someone’s status, as well as what tribe or group they belonged to. The designer employed beads and handiwork in many of the costumes that appeared in the movie in an ingenious manner”

— (Hassaan, 2021)

5) J. Quesada (available) (2005) Who is the Black Panther? Hudlin, Romita, Janson, White, Gentile, Alonso. 13/April/No.3

It caught my attention that in the original comics, the protectors of Wakanda were also women since conversations around female empowerment and Afrofuturism weren’t as common as they are now. This shows just how advanced Wakanda as a society is, in terms of social ideas around the roles of women, which justifies the need for costumes that empower women. The difference between the comics and the film however is that the modern film adaptation allows for more agency regarding the representation of African cultures in the costume.

“Starting with the original comics and their adaptations for film and television, and expanding to gaming environments, digital media, and “cinematic universes,” superhero narratives have evolved through multiple re-tellings and creative styles. This matters because they all carry ideological undertones that can reproduce or subvert stereotypical representations in contemporary visual culture”

— (Bucciferro, 2021)

6) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

The neck ring in this costume is called an Idzila. It is a tradition for Southern Ndebele women who are married to represent loyalty to their spouses, however it is ironic to be wearing it in this scene as Okoye defies her husband. This irony is empowering as it shows how women can be loyal in relationships whilst still keeping their own ideas and thoughts.

AFROFUTURISM IN T’CHALLA’S COSTUME: REINTERPRETING CULTURE THROUGH THE MODERN LENSES OF FASHION

“For me, the dandyism that erupted in early twentieth-century Harlem is not a group performance of whiteness or a staging for the benefit of the individual only, but a visible sign of the modern black imaginary, a kind of “freedom dream.”

— (Miller, 2009:195)

7) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

These are some of the most western style clothing worn by T’Challa and Okoye in the film, however it should be noted how there is still an infusion of Pan-African influence through the accessories. This is a clear example of how seamlessly Afrofuturism merges tradition, culture and modernisation.

“Craftsmanship is so detailed in ancient history, so it’s easy to retranslate and reconstitute that into a modern form. It’s just like someone today wanting to mix a traditional piece with modern accessories. It enriches the whole idea of the styling and creates this world where we can actually see where style is rooted, feel and touch the origin of species and then understand the modern reuse of those traditional craft pieces and what that means.”

— (Hassaan, 2021)

8) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

This throne room outfit is significant as it presents T’Challa as a leader who has the responsibility to respect traditions whilst allowing the society that he leads to progress. This is done here by using the colours of the Black Panther costume such as black and purple to represent vibranium which powers the country. Purple is also commonly associated with royalty as purple dye was historically expensive which therefore shows off the wealth of his nation.

“Huey P. Newton, the co-founder of the American Black nationalist group the Black Panther Party. The Black Panther Party for Self Defense was founded in the East Bay. Come discover how a few committed students at Oakland’s Merritt College founded an organization that grew into a powerful social movement that came to have profound influences, nationwide. Facing off with the established political authority of the day, the Panthers were early targeted by police and the FBI, and many were jailed. But even during their most turbulent times, Black Panther Party (BPP) leaders were masters of the power of image and publicity in the news-saturated decade of the 1960s.”

— (Hassaan, 2021)

9) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

The textiles in this costume are significant through the symbols and shapes used. For over 2000 years, the trade of African cloth has been a major part of the African economy however it also has historical value. Cloth makers use textiles to tell stories such as migration as well as communicating social status. The use of the triangular shape represents the Nsibidi triangle pattern which is sacred in Africa.

“These symbols are the symbols of Adinkra and Nsibidi. Adinkra are visual symbols created by the Ashanti tribe who came
from Ghana. In the Black Panther costume, there are 4 symbols of Adinkra namely (1) Nea Ope Se Abidi Nehe which means, ”He who wants to be king” has the meaning of leader and service. (2) Nea Onnim no Sua A Ohu which means ”He who does not know comes to know by learning”, has the meaning of knowledge and intellect. (3) Nkiyimu which means ”to play” has an initiative and dynamic meaning. (4) Epa which means ”handcuff” has the meaning of law and justice. These four symbols represent the characteristics of the Black Panther. He is an intellectual leader who is ready to uphold the law and protect his people with all his abilities.”

— (Nata, 2020)

10) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

In this scene, T’Challa is receiving guidance from his ancestors on how to rule as the new King which is mirrored in the costumes as his father wears a more traditional Ghanaian cloth as a toga, while T’Challa represents the new generation with a Nigerian, long sleeve,modern dashiki.

“Victoria Rovine asks what ‘fashion’ means if it is not defined by the conventional proximity to western clothing innovations, and concludes, in line with other authors, that change is crucial when distinguishing fashion and other dress practices. This presupposes that ‘recognizing change requires an appreciation of the historical and cultural context within which dress innovations occur’ (Rovine 2015: 15), setting change as a constant in every culture.”

— (Pinther, Kastner and Ndjio, 2022, p. 19)

“This also includes the existence of fashion worlds that do not necessarily participate in the global fashion system, but, instead, draw inspiration from ‘their own histories, economies, and precedents”

— (Pinther, Kastner and Ndjio, 2022, p. 19)

“In fact, one can look to the modernist dandy’s intersection with gender to uncover something about modernism’s and the dandy’s intersection with race”

— (Miller, 2009, p. 195)

11) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

T’challa is not the typical masculine superhero; his advisors and protectors are female lead which reflects the intersection mentioned in the quote about gender role modernisations. He is a black leader who does not fall into the stereotype of being aggressive or power hungry. His fashion is body positive which produces relaxed silhouettes.

“Femininity tends to be associated with sexual desire and fragility; masculinity is represented in hegemonic ways, with only certain kinds of men (e.g. muscular, cisgender, heterosexual, white) being shown consistently in positions of power”

— (Bucciferro, 2021)

12) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

Queen Ramonda wears the same colour
as T’Challa as if to show that she is in
solidarity with him in this governing
meeting. As the mother and as a female
in the room, it is easy to think of her as a
secondary character, however, even if her voice is not heard in this scene, her outfit is loud enough to acknowledge and feel her presence in the room as an equal rather than an other.

AFROFUTURISM IN QUEEN RAMONDA’S COSTUME: FUSING CULTURE AND TECHNOLOGY THROUGH FASHION

13) Carter and Koerner (2018) Queen Ramonda Shoulder Mantle [sculpture]. Science Museum (Viewed: 22 April 2023)

This shoulder mantle is infused with African lace textiles which is another example of how the costumes experiment with modernising traditional African crafts in order for it to find its place in an Afrofuturist society

“Ruth E Carter. She herself defines Afrofuturism as “using technology and intertwining it with imagination, self-expression, and an entrepreneurial spirit, promoting a philosophy for Black Americans, Africans, and Indigenous people to believe and create...” as quoted in the exhibit’s digital museum guide.”

— (Ekuma-Nkama, 2022)

14) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures

One way in which the costumes in the Black Panther transcends the usual expectations of a typical science fiction movie is with the emphasis on fusing technology with the costumes. For example, many pieces from Queen Ramonda’s attire were 3D printed by Australian designer J. Koerner. This, on surface level, provides a clean finish to the execution of the costume. However, on a deeper level, it also acts as a symbol of wealth for a demographic which is often associated with poverty in the media, by promoting the idea of a society well established with high technology. In this way, fashion in the Black Panther matters because it re-establishes the continent of Africa by introducing a narrative of wealth and prosperity.

“We know right away that that’s the Queen. And I think
it’s identifiable in her costume. She has her shoulder mantle, which is 3D printed. She has her isicholo, which is a married woman’s hat from South Africa. And one of the main reasons why it was important to 3D print that piece was I needed it to be perfect. If Wakanda is this forward-thinking place that’s leading in technology, the Queen would definitely have pieces that represented tradition, but also represented new innovations”

— (Carter, 2020)

15) Zulu (1993) Isicholo [Head-Dress]. British Museum (Viewed: 1 May 2023)

Queen Ramonda is seen numerous times throughout the film wearing an iteration of this hat on a grand scale. Its origins derive from South Africa and it resembles a traditional hairstyle of married women who use frames to achieve this shape and dye their hair this poignant colour. It is an indication of marital status as well as societal rank, religious belief and ethnic group.

“The isicolo is a hat worn by married women, and was traditionally shaped from grass fronds, with cotton woven through. Their sizes and colors differ between clans, at times reaching a meter in diameter .For Black Panther, Carter had Ramonda’s dramatic white isicholo 3D-printed.”

— (Hassaan, 2021)

16) Black Panther (2018) Directed by R. Coogler [Feature film]. United States: Walt Disney Studios Motion Pictures.

The head piece mentioned in Figure 15 is no longer apparent in this scene which in turn reflects the Queen’s vulnerability since T’Challa was no longer King. However the locks still have

a regal look which gives a sense of her inner power as a female without the crown. She’s wrapped in a blanket uncommon to her usual colour scheme with bold patterns which juxtapose the silhouettes that usually dominate in her outfits. In desperation, there is a relaxing of character specific clothing to meet the basic needs to be protected in these conditions. Upon deeper reflection, this could represent the resourcefulness of the African diaspora when put outside of their native areas, who still bring pieces of themselves to combat the harsh conditions they are subject to.

“Wakanda’s world is shaped by the actions of women: Its technological progress is overseen by a young scientist (Shuri), in a role typically reserved for men. Its national security is monitored by the leader of an all-female military corps (Okoye, played by Danai Gurira). The stability of its government is mediated by the presence of the Queen Mother (Ramonda, played by Angela Bassett). Finally, Wakanda’s intelligence depends on female operatives (Nakia, played by Lupita Nyong’o). Far from being helpless victims in need of rescuing, these women defend themselves, fight for their homeland, and establish strategic alliances. They do not compete with each other but stand together in solidarity, and their voices and actions shape how the story unfolds. This disrupts trends regarding the representation of women of color in Hollywood productions.”

— (Bucciferro, 2021)

Bibliography:

Bucciferro, C. (2021) Representations of gender and race in Ryan Coogler’s film Black Panther: disrupting Hollywood tropes, Critical Studies in Media Communication, 38:2, 169-182, DOI: 10.1080/15295036.2021.1889012

Ekuma-Nkama, N. (2022) AFROFUTURISM IN COSTUME DESIGN. Available at: https://www.selvedge.org/blogs/selvedge/afrofuturusm-in-costume-design (Accessed: 19 April 2023).

Hassan, R.R.M. (2021) 'Winning Best Costume Oscar 2019 "Black Panther" A model for Reformulating Traditional Costumes into Dramatic Technological Visions', Journal of Architecture, Arts & Humanistic Science, Page 2109.

Miller, M. (2009) Slaves to Fashion. [edition unavailable]. Duke University Press. Available at: https://www.perlego.com/book/1466158/slaves-to-fashion-black-dandyism-and-the-styling-of-bl ack-diasporic-identity-pdf (Accessed: 10 May 2023).

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Pinther, K., Kastner, K. and Ndjio, B. (2022) Fashioning the Afropolis. 1st edn. Bloomsbury Publishing. Available at: https://www.perlego.com/book/3552909/fashioning-the-afropolis-histories-materialities-and-aest hetic-practices-pdf (Accessed: 10 May 2023).

Vanity Fair (2020) Black Panther's Costume Designer Ruth E. Carter Breaks Down Her Iconic Costumes. 22 December 2020. Available at: https://www.youtube.com/watch?v=FmvBrpkgBF0 (Accessed: 27 April 2023).

White, R.T. (2018) I Dream a World: Black Panther and the Re-Making of Blackness, New Political Science, 40:2, 421-427, DOI: 10.1080/07393148.2018.1449286

White, R.T. (2022) Symposium on Afrofuturism in Black Panther: Gender, Identity and the Remaking of Blackness, New Political Science, 44:3, 439-443, DOI: 10.1080/07393148.2022.2119329