Kendra James: Your costumes for Roots looked meticulously researched, especially in contrast to the generic loincloths and patchwork leathers from the '70s version. Is that informing your designs for Black Panther, where you're creating an aesthetic for the fictional African nation of Wakanda?
Ruth Carter: I'm looking at the whole continent and a wide range of people, like the Masai and the Suri. It all becomes a part of the framework of Wakanda. Most people who read the comic books know Wakanda is a mountainous area; it's a secret place that's not necessarily trading and interacting with the rest of the world. They're a little bit more advanced in technology than other civilizations. We are creating that world, and trying to create a culture and pride that feels authentic to the specific location.
KJ: Pop culture often forgets that Africa is a large, diverse continent, and it's often homogenized in Hollywood. Do you feel an extra weight of responsibility because of that?
RC: Oh, yeah. I do. I felt it with Roots, and I feel it now with Black Panther. That authenticity is very important to me. With Wakanda, I'm sort of piecing together a puzzle. It's the puzzle that is our history. Black history didn't start with slavery or end with the civil-rights movement. I'm trying to put together that puzzle while considering everything that relates to us, including present stuff like the Black Lives Matter campaign.
We're speaking to an international black culture that knows film, that's smart, that travels, that knows what's happening in the world. I want to respect that. I start designing by saying "Don't make it up." After the research, then I can make it up.