Fashioning the Self in Slavery and Freedom

Fashioning the Self in Slavery and Freedom Celebrating black fashion and visual culture Yet, the experience of enslaved Africans and their descendants is not wholly absent from the historical record.
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In considering the way the enslaved understood themselves and their place in the world, historians often encounter a dearth of source material. One entry point into the experience of the enslaved is how they were forced or chose to dress and adorn themselves. Fashion was one of the few arenas in which slaves could possibly exert a modicum of control. Clothing—even supplied clothing—was open to man

ipulation and interpretation. For slaves, as with all groups, fashion constituted a rich, unique medium for complex cultural elaboration. I maintain this page as a virtual classroom where share articles, images, and websites related to the course topic. Like, comment, and share!

06/18/2026

Taken by documentary photographer Daniel S. Williams, "Miss Juneteenth" captures pageant participants seated on a float in an 1983 Juneteenth parade in Houston, Texas. Held in conjunction with Juneteenth celebrations that commemorate the 1865 emancipation of enslaved people in Texas, the pageant served as a celebration of communal affirmation and resilience. This photograph and the rest of Daniel S. Williams's archive is part of the permanent collection of the MoMA The Museum of Modern Art.

This 1747 drawing by Dutch painter Cornelis Troost depicts a young black man wearing a feathered white turban, high crav...
06/16/2026

This 1747 drawing by Dutch painter Cornelis Troost depicts a young black man wearing a feathered white turban, high cravat, and tailored gray livery. Although livery often signified service and subordination, Troost presents the sitter independently rather than as an accessory to a white person. The elaborate headdress reflects eighteenth-century European fascination with exoticized dress, yet the close focus on the sitter endows him with a striking sense of dignity and individuality. id.rijksmuseum.nl/200310137

Commissioned for the Obama Foundation, this is the first official portrait of Barack and Michelle Obama together. Drawin...
06/15/2026

Commissioned for the Obama Foundation, this is the first official portrait of Barack and Michelle Obama together. Drawing on her signature collage-based practice, artist Njideka Akunyili Crosby layers photographs, personal references, and historical imagery to create a richly textured meditation on memory, partnership, and public life. The composition presents the Obamas as equal partners, surrounded by objects and visual references that reflect their individual histories and enduring legacy.

06/15/2026

The exhibition is extraordinary, but don't forget to stop by the Schomburg gift shop and pick up a copy of "Black Studies on 135th Street: The Founding and Future of the Schomburg Collection," edited by Barrye Brown, Laura E. Helton, and Vanessa K. Valdes

While thinking recently about I Love Boosters, I found myself returning to a question I've been thinking about for years...
06/11/2026

While thinking recently about I Love Boosters, I found myself returning to a question I've been thinking about for years: What is the relationship between Blackness and color? My new essay “The Color Is...Toward an African American Color Theory" for BLUE: Tatter Textile Library traces one possible answer, from The Wiz and Lil’ Kim to Nick Cave and Kerry James Marshall. tatterstg.wpenginepowered.com/issues/issue-4/articles/the-color-is

Last week, I spent several days at the Schomburg Center for Research in Black Culture, New York Public Library, going th...
06/09/2026

Last week, I spent several days at the Schomburg Center for Research in Black Culture, New York Public Library, going through photographs of James Baldwin as part of my work as a consultant for a forthcoming exhibition curated by the phenomenal Karen Van Godtsenhoven.

One of the highlights was this snapshot of Baldwin and Toni Morrison in Saint-Paul-de-Vence. Unlike the carefully staged portraits that helped construct Baldwin's public image, this photograph feels deeply personal. It wasn't made for publication. It looks like the kind of photograph that might have been processed at a local drugstore and tucked into a family album.

Here are two of the most important American writers of the twentieth century, not performing literary celebrity, but simply enjoying one another's company. There is something wonderfully ordinary about it.

As I think through Baldwin's self-fashioning, this photograph reminds me that public intellectuals are not made through ideas alone. Their lives are sustained by friendships, intellectual communities, chosen families, and private moments of joy. Sometimes a casual photo can reveal more than a professional headshot.

06/08/2026

Artist David Antonio Cruz guides us through his immersive exhibition at Wave Hill Garden, a meditation on longing, chosen family, and q***r belonging.

The retail floor of Metro Designs in I Love Boosters by Boots Riley reminded me of Lil' Kim's "Crush on You" video and t...
06/04/2026

The retail floor of Metro Designs in I Love Boosters by Boots Riley reminded me of Lil' Kim's "Crush on You" video and the "The Color Is" sequence from The Wiz. What struck me was the audacious use of color and the way it playfully shifted from one hue to another. It's what I think of as African American color theory: a relationship to color that is quirky, expressive, and unapologetically black. 💛

"Africa (National Museum of the American Indian)" by Esteban Jefferson depicts a solitary figure walking toward the U.S....
06/02/2026

"Africa (National Museum of the American Indian)" by Esteban Jefferson depicts a solitary figure walking toward the U.S. Custom House, now home to the Smithsonian’s National Museum of the American Indian. Looming above is one of Daniel Chester French's Four Continents sculptures: his representation of Africa, or the "sleeping continent." By rendering select elements in oil and others in graphite, Jefferson draws attention to the ways monuments shape historical memory, highlighting certain narratives while obscuring others. The work is currently on view at MoMA PS1 as part of their exhibition "Greater New York."

Tomorrow's newsletter features my review of The Devil Wears Prada 2 and I Love Boosters. I loved both films, though for ...
06/01/2026

Tomorrow's newsletter features my review of The Devil Wears Prada 2 and I Love Boosters. I loved both films, though for very different reasons.

The Devil Wears Prada 2 is unapologetically a fashion film for fashion lovers. I Love Booster is not, but it is deeply concerned with fashion and the people whose labor sustains it. One revels in the glamour and mythology of the industry. The other imagines the revolutionary possibilities that emerge among those exploited by it.

Together, they make for a fascinating double feature and an unexpected conversation about race, power, aspiration, and resistance. Subscribe to the newsletter to read more: www.fashioningtheself.com/newsletter. And, if you saw either or both films, let me know what you think.

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