
We’ve done a deep-dive into the historical costume work of designer Ruth E. Carter, plus we’ve review a number of her films. I was lucky enough to see some of the actual costumes in person recently at the Ruth E. Carter: Afrofuturism in Costume Design Exhibition, which is on display at the Jamestown Settlement gallery in Virginia until December 1, 2024.
The centerpieces of the exhibit are really her work for Black Panther (2018), and Wakanda Forever (2022), both of which Carter won an Oscars for. And while we’ve mentioned those designs a little bit in our guide to her work, I’m going to focus on her period costume work that was shown in the exhibit since that’s what we really do here at Frock Flicks. You’ll just have to visit the exhibit at Jamestown or if it tours because everything in it is spectacular!
I also highly recommend the book, The Art of Ruth E. Carter: Costuming Black History and the Afrofuture, from Do the Right Thing to Black Panther, by Ruth E. Carter, which is something of an exhibit guide and has the designer’s own thoughts on working with Spike Lee, researching period films, and the Black Panther movies, among other topics. In this book, she says:
“I was very comfortable doing period films. All my training was in that kind of work. I was very shy when it came to contemporary films. But period projects taught me how to research, and that worked for boty types of films. To tell authentic stories full of colro and texture, you have to do research.”
I’ve arranged the photos approximately how they costumes are displayed in the galleries. Except where noted, photos by Trystan L. Bass.
Roots (2016)
Kendra’s review of this miniseries noted some of the thought that went into the costume design, and the exhibit placards explained:
“In Ruth Carter’s research, she found that enslavers would buy large bolts of fabric from which all the clothing for enslaved people would be made. A single fabric would be used to make a variety of garments.”
The enslaved characters’ simple costumes are contrasted with the silk and crinolines worn by the white characters like Nancy and Charlotte.


This gown worn by the character of Charlotte looked black on display, but was blue onscreen. Maybe due to discoloration or just lighting?

This bright blue gown of Nancy’s held additional meaning, according to the exhibit placard:
“In her costume design, Carter often uses color as a form of symbolism. This blue dress, worn by abolitionist character Nancy, visually aligns her with the bright indigo-blue tunic worn by Kunta Kinte in the beginning of the miniseries.”


The costumes show how the story moved through time, from the mid-18th century through the early 1800s to 1830s to the 1860s.

Seeing the costumes up close, you notice details like the aging and distressing, which the exhibit placard explains:
“Ager-dyers are specialized members of the costume design team who are tasked with the breaking down of costumes in a way that corresponds to the character. Using an arsenal of chemicals, sandpaper, paint, water, and heat, the ager-dyer makes the costumes appear lived-in and true to the circumstances of the character. In this example, Kizzy’s tattered dress underscores her suffering as an enslaved person who has been separated from her family.”


The striking color of Kunta Kinte’s costume is shown early in the miniseries, but towards the end of the Roots display. The placard describes it:
“Kinte’s bright indigo-blue tunic and head covering are part of his Mandinka warrior clothing. The intense color, and the beads and jewelry he wears, point to the richness of the culture from which he was taken. Indigo is a plant native to parts of Africa and Asia that requires specialized knowledge to process into dyestuff; at once point, indigo dye product was a very important trade export. … Carters use of the color here speaks to the knowledge, skill, and beauty that enslaved Africans possessed and passed on to their descendants.”

Fiddler’s 18th-century suit is a great example of how an enslaved person might receive hand-me-down clothes that were once fashionable. The exhibit noted:
“Fiddler’s musical talent enables him to leave the heavy plantation labor and instead work as an entertainer for the white enslavers. His clothing reflects this “elevated” station:Â he wears a European-style jacket, waistcoat, and knee breeches.”


Amistad (1997)
In this film, the elaborate gowns worn by the young Queen Isabella of Spain start off the display, though they’re a small part of the movie itself.


The menswear for characters Martin van Buren and John Quincy Adams are finely tailored.


The leader of the caputred Africans, Joseph Cinqué, wears elegant European-style clothes for the trial.

This contrasts against the early garments he and the other Africans wear. The exhibit placard explains:
“Joseph Cinqué, leader of the Mende rebellion on La Amistad, often appears dressed in this golden yellow shirt. The vibrant color places focus on Cinqué, the hero character, and separates him from the somber tones used in most other costumes in the film.”

This head wrap has particular significance, which the exhibit describes:
“In the film script, one of the captured African men fashions an American flag into a turban. Carter explains, ‘To him, it was protection from the elements, he did not know what it symbolized or what it was . It had no relevance to him as others saw it and so it carried a powerful image among the black, white, and gray tones of the film.’ This headpiece was recreated for this exhibition — under Ruth E. Carter’s direction — by SCAD student Eileen C. Kohli (B.F.A. Production Design).”

Malcolm X (1992)
My favorite pieces in the display were the zoot suits from Malcolm X! They’re gorgeous and impeccably tailored, and of course they’re part of such exciting scenes in the movie. Malcolm and his pal Shorty wear the four shown here.

Less flashy is Malcolm’s later clothes. The exhibit notes:
“In describing costumes for Malcolm X, Carter explained, ‘each stage of his life deserved a different color palette since his mindset was different in each. When he is Malcolm Little and Detroit Red, the color palette is playful with the zoot suits. When he is incarcerated, the palette is blue like he is being cleansed. When he emerges as Malcolm X, there are black, white, and grey notes for his clean, strict, and unwavering devotion to the Nation of Islam.'”


The display is bookended by the zoot suits.


The Butler (2013)
This movie spans the 1920s through the 2000s, but the display had just a few items from the ’60s and ’70s. For this dress worn by the character of Gloria Gaines, the notes read:
“One of Carter’s strengths as a costume designer is her use of texture. This dress, worn in the film by Oprah Winfrey, uses a sheer fabric for the sleeves and highly textured crepe for the body. The smooth, sheer sleeves contrast with the raised surface of the rest of the dress to give visual interest to what could have been a simple look.”

These costumes were worn by Cecil and Gloria Gaines at a disco in the 1970s and are based on period images:
“Carter consulted period publications including the Eleganza mail-order catalog where she found a Frederick’s of Hollywood advertisement for his-and-hers pantsuits. Carter used the image as a guide for her costumes.”
Also on display were Ruth E. Carter’s art and sketches from her films, like this one of another costume for Gloria Gaines, signed by Oprah Winfrey.

Selma (2014)
The collection starts with costumes worn by Martin Luther King Jr. and Coretta Scott King at the Nobel Peace Prize ceremony.

The opening scene of the movie shows the bombing of the 16th Street Baptist Church, which killed four little girls (Addie Mae Collins, Carol Denise McNair, Carole Rosamond Robertson, and Cynthia Dionne Wesley) and injured another (Sarah Collins Rudolph). Their costumes are on display:
“Carter expresses the girls’ innocence through her choice of taffeta and cotton dresses with abundant bows, ruffles, flowers, and other delicate embellishments.”

Civil rights activist Annie Lee Cooper (portrayed by Oprah Winfrey) had several costumes in the film, and this one is on exhibit.
The exhibit closes with iconic outfits worn for scenes depicting the Edmund Pettus Bridge march. First, those of Martin Luther King Jr. and Coretta Scott King:

There were historical images available for many of these costumes, including that of civil rights activist and later Representative John Lewis:
“Carter referenced historical photographs to create these costumes on view, including a Life Magazine cover from March 19, 1965, which shows Rep. Lewis at the front of the line dressed in suit and tie with trench coat.”

Check out the Ruth E. Carter Exhibition in Jamestown, Virginia, until December 1, 2024!
Her work is so gorgeous. And Jamestown is just over the bridge from me, so this is on my list of things I make sure to see this year!
I love the detail that goes into every piece of clothing. You can tell nothing was thrown away or considered unimportant.
The forethought and research that has gone into all of her work is just outstanding. The costumes tell stories about the time and the characters, they never take the viewer out of the film, they’re impeccably made (real clothes that can really be worn) and/or aged and distressed as appropriate. And they’re beautiful and interesting, in colors, silhouettes, proportions, movement. It really doesn’t get better than her work.
Ruth E. Carter is a notable alumnus of Hampton University here in Tidewater Virginia, and despite a noisy few (I’ll just say that they wear red baseball caps and leave it at that) who are whinging that this amazing exhibit is at Jamestown, most of us are delighted that it is getting the increased visibility that it so richly deserves! Now to organize some friends to go check it out together!!!
THANK YOU for this post!!! Ruth E. Carter is AMAZING! I hope this exhibit travels near me!