RUTH E. CARTER

Like the first movie, one of the best scenes depicted things most closely related to African culture, but obviously in a way that is still related to the film. In the first, it was the waterfall scene, in which Carter depicted the many different tribes through key color schemes. Green for the river tribe, red for the mining tribe, purple for the royal family, etc., all of those colors carry on throughout both films, creating a foundation for Carter to work off of. This is why it feels even more impactful to have this movie's a moving scene, the funeral, depicting the culturally appropriate entirely white costuming. What can be noticed throughout every scene of the film, is the attention to detail. It can be observed that, especially in Angela Bassett’s Queen Ramonda, Carter partnered with many designers to get the best quality 3D printing, styling, and cultural significance. 

amount of “Vibranium”. The thing that Carter focused on, however, was balancing the newfound femininity in this sequel's wardrobe, and the seriousness of the story being told between the Wakandans and the Talokanils. For women, it's a matter of showing their balance of femininity and force, two topics that have kind of always summarized the women of Wakanda, feminine and fierce, beautiful and dangerous. That's why all the women in this movie finally got to suit up in elaborate, accessorized costumes, but even their everyday attire was slim and elegant, yet strong, and adjourned with gold and silver, beads and embroidery. The same can be said for Tenoch Huerta’s Namor and his people, who combine the deep hardships of the Mayan people colonized by Spanish Conquistadores, and the deep, vastness, and beauty of the ocean. 

I just saw this movie about two days ago, and when I did one of the biggest things I was thinking about was the costume design. Granted, I was not as much of a fan of some of the superhero costumes, a lot of them felt somewhat cheap. But I was and always will be a fan of Ruth E. Carter's work in their wardrobes. The elegant gowns and headdresses seen in Angela Basset, and the modern streetwear seen in Letitia Wright though keeping reflected elements of the Afrofuturistic art of Wakanda. But of course, the true breadwinner is Namor, for me, Namor was one of my favorite comic book characters, so seeing him created in such an amazing way by Carter was truly inspiring. The main point of the article I read was to argue for the amount of work Carter put into this movie and say that she, once again, deserves an Academy Award for it. I 100% agree, when an artist, such as Carter, can apply so many different attributes of the art world to something, culture, history, color theory, or technology, she has to consider the movie itself and what fabrics she can use if the character has to use it underwater and can she still use it if it isn't historically accurate. One has to also remember this is a black woman working for a superhero movie, one of the least diverse franchises with a sometimes even less accepting fan base, and to have to balance all of that on top is nothing short of Academy Award-worthy.