research articles on black designers in ontario
Black And Free is an artistic and academic experience that deepens, enlivens and expresses themes of blackness and freedom projecting expansive visions of what that could be for engaged, curious and casual members of the public that was started by Dr. Naila Keleta-Mae in 2017. In collaboration with NOR: The Design Commons for Canada, Black and Free presents articles showcasing various forms of Black expressive culture, enhancing NOR's database with Black Canadian designs.
Reflections: Blackness and Design
RA Name: Celine Isimbi Date: October 4, 2022 Our understanding of design is often denoted as fashion or high-end designer items. However, design and design aspects are often silent features of household products, buildings and even media. And as a Black undergraduate student living in Ontario, I sought to understand design. And was Blackness in design and the exclusion of Black, African, and Caribbean designers in the design sector from those who are uplifted in networks to whose culture, work and influences are sidelined and erased? I understood that anti-Blackness is a foundational aspect of our society and systems, regardless of the field or sector. Within the scope of this article, we will be discussing the origins of design as a sector and the state of design in Ontario. We will understand how the industry erases the contribution of Black, African, and Caribbean design by design. This article will situate the partnership between the Black and Free Research-Creation project and NOR. A Brief Overview of Design As cited by the Strate School of Design, design is the process of envisioning and planning the creation of objects or systems. The definition is broad and context-specific, depending on the field in which it is used. It can be categorized into many different groups (art, engineering, products, and identity). Design is a creative process that creates an experience, things we see, hear and feel. It can be about creating solutions for people, physical items, or more abstract systems to address a need or a problem. They further state that design can also express a designer’s emotions for expression. In the 21st century, design is often misunderstood as solely for aesthetics or expressing emotions. However, design as a concept and creation was historically brought about as a method of automation. In conversation with Joel Derksen, the co-founder of the NOR database, Joel reiterates that the historical purpose of design, at least in the European context, was to “automate an artisan's hand” using mass production and manufacturing. An example of this in euro-western history is Oliver Evans and the automatic flour mill in 1785. Ethan, in progressive automation, writes that “history's first completely automated industrial process by being able to have continuous production without any human intervention.” Automation, therefore, the design went from crafts to systemic show, allowing for populations to have mass access to items they did not previously own or were not widely spread. For example, suppose you were to furnish an apartment. In that case, there are universal design items that we have placed value on as necessities that are useful for a productive home – stove, couch, bed, and toilet. These items will most certainly be designed similarly and serve a purpose (this is not to ignore the fact that in different parts of the world, a stove or toilet seat may look different but will universally serve the same purpose). These are everyday items we would not commonly place or refer to when thinking of ‘design.’ Heskett, in Design a brief History, articulates my above point well by stating that our mainstream understandings – enhanced by media coverage – of the role of design are “a lightweight, decorative role of little consequence: fun and entertaining – possibly; useful in a marginal manner – maybe; profitable in economic sectors dominated by rapid cycles of modishness and redundancy; but of no real substance in basic questions of existence.” To me, this highlights the design's uncomfortable positioning and its messiness. On the one hand, it is associated with high-end, obscure items that most working-class people would not be able to attain – think Haute fashion on catwalks or luxury furniture where only a limited number exists worldwide. But on the other hand, design is also understood to crafts something most people can partake in by purchasing materials at your local dollar store or Michael’s crafts store – it is the hand-knitted sweater your grandmother made for you or the knitted patched blanket that has been passed on down through the family. It is also the everyday process designed by human society for a specific purpose – to improve quality of life- the difference between ‘good’ and ‘bad’ design. In Design: A Very Short Introduction, John Heskett states that design “affects everyone in every detail of every aspect of what they do throughout each day. As such, it matters profoundly. Very few aspects of the material environment are incapable of significantly improving by greater attention being paid to their design.” Design, however, is not the great equalizer where each person's quality of life is improved; in fact, design – from contemporary visual design to practical tools and appliances to systems has long erased the contributions of Black, African, and Caribbean people, especially people with multiple marginalized identities. And design, as it exists in an anti-Black cis-heteropatriarchal and capitalist world, has been used to exclude the global majority and draw lines in the sand that are determined by race, class, ability, gender, and geopolitical location. Alice Rawsthron in Hello World writes, "historically, design has been a boys club, and a white boys club at that, which is why design history books tend to be filled with white male faces.” This is reinforced through cementing selected versions of histories. Through this, we can understand that knowledge production is political and is not neutral and can be subject to manipulation. In the 2021 essay, Critical disinformation studies: History, power, and politics, Marwick and Kou reinforce this by saying, “European imperial powers used images, speech, and text to reinforce who was “colonizer” and “colonized” and establish racial hierarchies, dehumanizing Indigenous peoples and delegitimizing Indigenous histories, knowledge, and societies” and they continue by citing Said and Saranillio the “West justified such practices by producing racist pseudoscience that naturalized colonial practices, set itself in a superior position of power, and justified the expansion of its empire.” These forms of knowledge production and reinforcements of a binary other or marginalization are not limited to those mentioned above but expand to the design sector and design history, curricula and the practices of exclusion seen in the industry. Rawsthron says, “Design historians construct a lens through which they view design-and we view design. This lens is selective: It zooms in on a subject and blocks our peripheral vision. We see a narrow segment of design history: one period, one class of designers within that period. What we don’t see is the context, both within the design profession and within social history.” By doing so once again, binaries are created, and imagination is limited. So, design history “creates boundaries: On this side is high design; on that side is low design. Over here is the professional, and over there is the amateur. This is what’s mainstream: that is what’s marginal. Preserve this, discard that,” says Alice Rawsthron. BAF and NOR With this historical understanding of design and the politics of design history and its present, let’s look at the relationship between the Black and Free Research-Creation project (BAF) and NOR, a living and breathing commons of Canadian Design. BAF is “focused on what Black art and culture in different parts of the world teach us about blackness and freedom, especially in societies where Black people’s concerns are actively dismissed, denied, and erased, as cited on the Black and Free website. Currently, the project looks mainly at Black Expressive Culture in Ontario and its complex performance of Blackness and Freedom, connecting the public sector, academia, community and social and economic. Our project partner NOR – a commons and collection of Canadian design- seeks to create an archive of design(ers), a sector of the economy that is often ignored. This upcoming archival common is founded upon the Canadian Design Resource. According to the website, the Canadian Design Resource was an online collection of the Canadian Design community and the “only public archive of Canadian design in the world.” However, this public archive, like many facets and sectors of Canadian society, began contending with the exclusionary history of Canadian design. And through two years of community consultation, the team intends to build an “entirely new CDR, raised and built collectively by its community.” My fellow RA and I were able to take a backdoor look at the Canadian Design Resource. And we were able to see first-hand what Rawsthron referred to as a constructed view of design history, a selective lens that “zooms in on a subject and blocks our peripheral vision. We see a narrow segment of design history: one period, one class of designers within that period. We don’t see the context, both within the design profession and social history.” And this narrow segment that was present in this resource told the story of western European design, which is a testament to the Canadian worldview – a worldview based on euro-western epistemology. Initially, when we first explored the database, my first impression was that it looked and felt very Nordic, from the furniture to the jewellery. We struggled to see what was viewed as a complete picture of what we see on the day-to-day streets of Ontario cities – the vibrancy of little Jamaica, the eccentrics of Kensington Market, the techno-centricity of Kitchener-Waterloo or the stories that existed within the small towns of the province. Most of all, we struggled to see our stories and ourselves within the database – the inspirations we saw daily walking, living, and breathing as Black students and our multiple identities within it. And maybe this was a more incredible testament to Canadian design as an industry and what the ‘Canadian’ identity is constructed to be – who is Canadian, who is not. Whose stories are told and made visible, and whose stories we diminish and bury? The database we explored at that moment reflected ‘Oh Canada’ – a story of European descendants who have maintained the culture, music, and food and constructed new identities through ongoing settler colonial violence and erasure of the ‘the other.’ Marwick and Kou refer to European imperial powers that reinforce “racial hierarchies, dehumanizing Indigenous peoples and delegitimizing Indigenous histories, knowledge, and societies.” However, this was the Canadian Design Resource and looking forward, NOR seeks to reimagine how we communicate Canadian design histories in partnership with various people and groups. Per their current website, the intentions of the “new CDR will be a collective effort to document, preserve, and interrogate the diverse and constantly reinventing ways design has shaped the culture and histories of the many peoples on this land, and how to design in turn was shaped by these.” In saying this, the question I pose is what exactly is ‘Canadian identity’ if we understand the settler-colonial histories of the formation of Canada and, in turn, the histories that have shaped Canadian design—positioning us to interrogate further those mentioned above. What is Black Design Ontario is often known as a cultural melting pot – particularly when we think of Ontario, the city of Toronto and the Greater Toronto Area. These places have vast and rich histories and cultures of Black people – from influencing colloquial langue (Toronto slang) to streets filled with African and Caribbean cuisine. Beyond this, various places in Ontario tell the story of resistance and struggle for the pursuit of Black Freedom. Therefore, in understanding all of this, what to me is Black Design? Well, Black Design is as expansive as the African diaspora. Its intricate details from the fabric, pattern, process, and mechanization tell a story of the Black struggle, resistance, solidarity, and histories of our people. Black Design does not only look at our histories; it is also a site to envision Black freedom and Black futures. It emphasizes our ingenuity and resourcefulness in the face of our erasure. Black design(ers) and its influence can be seen all around Ontario. In the words of the Harvard conference ‘Black in design,’ – Design is Activism. Design is coalition building. And so, with these reflections and discussions between the BAF team and the external conversations with the NOR team. We decided to dive deep, explore Black design and designers in Ontario, and begin defining Black design as we understood it. We will continue to do so in forthcoming articles, including a look into Afrofuturism and design. Work Cited Berry, Anne H., et al. The Black Experience in Design: Identity, Expression & Reflection. Edited by Anne H. Berry et al., Allworth Press, 2022. Heskett, John. Design: A Very Short Introduction. Oxford University Press, 2005. Kaleta-Mae, Naila. “Black and Free.” 2020. https://www.nailakeletamae.ca/index.html Accessed 28 July 2022 Joel Derksen. “NOR and BAF Meeting Minutes.” June 2022, online. Accessed July 28, 2022 Pattiman, Patrick. “NOR and BAF Meeting Minutes.” 10 August 2022, online. Accessed July 28, 2022 Strate School of Design. “What Is Design?” Strate School of Design, 22 June 2017, https://www.strate.education/gallery/news/design-definition. Accessed 3 June 2022. Accessed 28 June 2022 Tunstall, Dori. “The Rise of Supertokensims and what organizations get wrong about DEI.” Fast Company, 7 June 2022, https://www.fastcompany.com/90751644/the-rise-of-supertokenism-and-what-organizations-get-wrong-about-dei. Accessed 28 June 2022 Kou, R., & Marwick, A. (2021). Critical disinformation studies: History, power, and politics. Harvard Kennedy School (HKS) Misinformation Review. https://doi.org/10.37016/mr-2020-76 https://canadiandesignresource.ca/
The Architectural Industry in Ontario: How are Black People Navigating it?
RA Name: Naomi Francis Date: October 4, 2022 Architectural Design Only 2% of architects in Ontario are Black – which isn’t a very diverse number. This small amount, however, doesn’t diminish the successes of Black people in the architectural industry. Rather, we can take it as an opportunity to shed light on their unique work and pay attention to Black excellence across the province. Architecture is a field that is recognized as a pivotal one, contributing to society by creating safe and healthy built environments. It’s the art and design of building, and it’s a versatile industry with many careers. Landscape architecture, for example, is just one of the many lines of architecture one can practice within the field, and it involves the planning and design of natural and built environments. Landscape architects produce designs for outdoor environments, creating anything from parks to wetlands and river systems, to private backyards and new suburbs. However, as recognized by the Canadian Society of Landscape Architects, structural racism in the building industry has been perpetuated through gentrification, redlining, and disinvestment. As a result, Black communities have not only suffered from this, but Black architects have been discouraged from the industry. Environmental and Professional Barriers Through a historical lens, there are inequities at the foundation of the discipline, according to the magazine Canadian Architect. At its root, “architecture has been designed by and for White men of an elite social class”, says Kendall A. Nicholson, Director of Research and Information at the Association of Collegiate Schools of Architecture. Lack of equitable access to clean air and water, being forced into areas with greater concentrations of pollution – these are only some of the environmental injustices marginalized communities have suffered from that stem from systemic racism. Urban planner Cheryll Case, who was raised in Toronto’s largely Black northwest sector highlights that the city is “highly segregated”, and architect Camille Mitchell adds that “zoning bylaws and land lease values restrict spaces for the Black community to remote areas or limited transportation options.” Further discouragement from the industry occurs when these environmental injustices aren’t addressed, either. During a webinar presented by the Royal Architectural Institute of Canada (RAIC), “Lived Experiences in Architecture”, four panelists had the chance to touch on the anti-Black racism in the design community. Anne-Marie Armstrong, architect and Assistant Professor at the University of Toronto focused on the architecture curriculum, and how its lack of inclusivity impacts aspiring Black architects. “We don’t really talk about that in architecture school, you know, who are our users who feel welcome in a building. Who doesn’t? How are we as designers promoting inclusion or exclusion or embedding that in our designs?”. A profession created to favour one group of people is fated to leave others behind and prevent attraction to that industry in the first place. Pair that with the already small number of Black architects, and “it’s no wonder why many [Black people] feel there isn’t a spot for them at the table,” says architect Sam Oboh, a past president of the RAIC. Despite the discouragement and obstacles that exist, certain Black architects and landscape architects are here to change that. They have paved their way through this field to make it a place for Black architects to thrive, to better their surrounding communities and improve local environments, and showcase their architectural talent. Architectural Organizations Highlighting Black Excellence The Black Landscape Architects Network (BlackLAN) is one non-profit organization that works to change the way the industry views Black architects, pushing for room at the table for them. Supporting Black students and professionals in Canada, US, and Africa, through scholarships and mentorship, BlackLAN focuses on increasing the visibility, and cultivating the impact of Black people in landscape architecture. Founder Glenn LaRue Smith states his goal of the company is to “create a database of as many Black landscape architecture students and professionals as possible, and to begin to document the history of Black landscape architects”. Projects range from community redevelopment to playgrounds and urban waterfronts, all highlighting the talent of Black landscape architects as they strive to improve built environments. Another non-profit organization that creates opportunities for Black architects is Black Architects and Interior Design Association (BAIDA), made up of 100 students, planners, interior designers, and architects. BAIDA addresses the issues of inequitable outcomes and a lack of diversity within the architecture and design industry. The Chair of BAIDA, Farida Abu-Bakare Camara, states that its implementation was critical, “because there were no organizations that existed to elevate the Black Architects and Interior Designers within Canada”. Navigating the architectural industry as a Black person has its obstacles, and organizations striving for inclusivity such as BAIDA are crucial ones. BAIDA members aren’t just cultivating equitable environments in the workplace – these architects are committed to impacting their cities through design, engagement, and education, striving to minimize the effects of discrimination in communities as well. What are Black Architects doing? Today, Black architects are looking for a shift in the industry, working to create solutions to the racial obstacles they face, and focusing on elevating human experience through their architectural efforts. Camille Mitchell, a founding member of BAIDA and the independent organization Building Equality in Architecture Toronto (BEAT), which focuses on promoting females in the industry, is an award-winning and highly accomplished architect. Camille is a member of multiple organizations in Ontario that work to address and remove systemic barriers to equity and inclusion, such as being on the Advisory Board for the University of Waterloo School of Architecture’s Racial Equity and Environmental Justice program, providing guidance and oversight as the school launches new diversity initiatives. As for Camille’s work, she’s passionate about promoting architecture to youth and marginalized communities as a way to correct the disproportionate representation within the profession which can be seen through her award-winning projects, as stated by the Canadian Architect. Camille’s efforts are just one example of the work Black architects do to improve their local communities through their projects, and her extensive and talented history demands we pay closer attention to that 2%. Not all architects have been in the industry for years – Daniella Glasgow is a recent graduate from OCAD University’s Environmental Design Program and is on the road to producing architectural works. An alumnus of Black OCAD, which teaches, showcases, and engages the Black communities both within and outside of OCAD University, Daniella is strongly motivated by an interest in architecture and graphic design. Her projects have included researching and implementing essential programs throughout Toronto that will benefit current and future populations. Daniella’s projects reflect her passion about city life and positive human experiences, as she focuses on improving the health and well-being of both her surrounding environment and its inhabitants. BAIDA member Kellie Chin is also passionate about improving city life, committed to promoting social responsibility and empowering local communities through design. She’s managed the Islington Senior’s Shelter project for the City of Toronto and collaborated on design projects. With an interest in housing equity, she’s focused on planning and architectural solutions that can help marginalized communities and lessen the effects of discrimination across Toronto (Workshop TO). Kellie uses sustainable design principles such as working with renewable systems, to the adaptive reuse of materials, searching for the best ways to improve her local environment in a healthy way. It’s organizations such as BAIDA and BlackLAN that work to show Black people that they do have a place in the industry and help provide the opportunities for them to get that place. It’s driven students like Daniella, dedicated architects like Camille, and passionate people like Kellie that not only highlight the importance of showcasing Black architectural designers but demonstrate just how unique and crucial the works of Black architects are inside and outside of the Black community. Black people are no longer asking for a seat at the table – we’re making it happen, and we’ll continue to excel.
Toronto Streetwear: A Reflection of Black Experiences through Too Black Guys & 100 Miles
RA Name: Naomi Francis Date: 6 January 2023 Too Black Guys and 100 Miles were seminal figures in the emergence of streetwear in Toronto in the nineties. As fashionable and popular as their clothing was and continues to be, that’s not what really drew me to these companies — it’s how they scream freedom, in a way that is otherwise too often silenced before it has the chance to be known. It’s how they sparked inspiration for a dominant style in the fashion industry, as the values their brands were built on resonated with entire communities. It’s how they turned what was viewed as “ghetto” or “ratchet”, into everyday clothing that everyone wanted to wear. At its root, streetwear is a statement, a very empowering one for Black communities. It’s not always easy for Black people to escape negative labels created by society, and it can form a desire to stray away from expressing your identity or experiences, to avoid standing out. I’ve felt apprehensive about adopting streetwear styles in certain circumstances, because of the negative connotation I’m afraid it will attach to me, that I will be the one seen as unprofessional, as ratchet. It’s an attempt to subconsciously battle stereotypes, and it's an ongoing battle. And it inspires me, looking at people who created brands like Too Black Guys and 100 Miles, who didn’t conform to standards of typical fashion, but instead found a way to represent Black communities and create powerful statements through their clothing designs. The Emergence of Streetwear Toronto’s streetwear scene started in the 90s, pulling its inspiration from popular hip hop and rap fashion; an industry dominated by Black artists. Streetwear is described as casual clothing, associated with items such as baggy pants, graphic t-shirts, big hats and heavy jewelry. While these are true to the style, streetwear is also so much more than that — the casual clothing style that streetwear follows is rooted in Black culture and became a fashion staple for Black people. Too Black Guys and 100 Miles helped create this staple, as they were two of the first streetwear companies that represented Black experiences through their creative designs and accomplishments. Originally, streetwear styles were used as a form of resistance by Black students in Toronto, to push back against negative stereotypes in the educational system. According to Genevieve Fuji Johnson’s “Race, Racialization, and Antiracism in Canada and Beyond”, in defiance of school policies, Black students would roll up their pantlegs and shirtsleeves, wear large jewellery, big caps, and bandannas, and decorate their school uniforms with accessories and logos representing certain status symbols; the same type of casual clothing style associated with streetwear. At the foundation of their resistance was the aim to assert their own voices and freedoms, a way of reaffirming their identity and claiming space in predominantly white educational spaces. At the foundation of their resistance was a desire to take back their own power and express themselves. Toronto’s streetwear creators followed this same notion – their designs are a reflection of Black culture and experiences, and a statement that Black people will proudly express their identities in the ways they choose to. Too Black Guys Established in 1990, Too Black Guys is one of North America’s first streetwear brands and is often referred to as the founder of streetwear in Toronto. The name was inspired by Malcom X’s “Message to the Grass Roots speech”, a speech that outlined his Black nationalist philosophy, persuading his Black audience to unify globally against those who benefit from white supremacy. The brand itself was inspired by the desire for self-representation, and to create clothing that reflected Black experiences in a new way — through clothing that wasn’t boring, but instead original and alluring. In more ways than one, “Too Black Guys has a history of representing the Black experience in an unapologetic way”, founder Adrian Aitcheson said in a statement to Slate Magazine. The brand did so well because of its powerful venture to highlight Black history in a new way. It emphasized the intersection of culture and creative expression in a way that Black communities were craving and spread the message for young Black entrepreneurs to not give up on their dreams. One of the notable collections from Too Black Guys is called the Jim Crow Couture, from 2008. The collection included T-shirts with racially themed undertones, both serious and humorous, that aimed to showcase the hypocrisy of the Jim Crow Era. Some T-shirts were satirical punches, such as one with the graphic "Some of my best friends are Black”. Other T-shirts highlighted the painful and dangerous period of the Jim Crow Era through more serious graphics. The collection exemplifies the controversial approach that Too Black Guys takes to design by subtly redefining and challenging racism, which can also be seen in other T-shirts, including one that says "Pick your own damn cotton." What started with T-shirts turned into a small store in Toronto, before eventually becoming a multinational company. Along the way, the brand was supported by celebrities such as Tupac and Mary J. Blige, both of whom were influential Black artists in the music industry at the time. To this day, the impact Too Black Guys had on Black culture in Toronto is still talked about; it’s recognized for being a Canadian staple because of its representation of Black communities. Aitcheson reaffirms this in an interview with Bay Street Bull, saying it’s about “representing your community and representing for the culture. As hip-hop and other subcultures became more mainstream and acceptable, streetwear became more commercially viable.” The brand was even featured in a recent Complex article that spotlighted streetwear brands that helped define their city’s identity. Decades after its emergence, the brand continues to be as influential and important as it first was, and that won’t go away any time soon. 100 Miles In 1992, the pivotal clothing brand 100 Miles was born. Influenced by urban culture, the brand captured the essence of streetwear — hip hop legends and the public alike were drawn to its originality and strong reflection of the Black community. The name is meant to symbolize society; the fact that we’ve come 100 miles in everyday life, with respect to discrimination, racism, sexism, and despite that, we’ve still got 100 miles to go. The brand was created because of founder Garie Adamson’s desire to make a space for Black designers in the fashion industry. “I felt that there was a void in the fashion world for Black designers, especially in Canada. And us being such trend setters, always so inclined with fashion I felt that we needed a voice and so I became the loudspeaker”, Adamson tells Beach Metro Community News. He also got into business to battle negative stereotypes and misconceptions about Black communities, and his brand became popular because of what he was doing for the Black fashion industry. From the start, 100 Miles embodied roots of hip hop culture, and as a prime founder of Toronto streetwear, it quickly shot to success. Adamson’s designs feature a variety of bold graphics and bright colours, with items that have nostalgic references to 90s hip-hop and R&B culture, and inspiring slogans and images that celebrate Black excellence. For example, the Iconic Collection features a hoodie with a photo of Tupac, with the title of his movie Above the Rim. Another T-shirt from the collection, the Love and Unity Tee, features images of key historical Black figures, including Rosa Parks and Nelson Mandela. Adamson’s popular designs reflect important moments and people to Black communities, and it’s no wonder they gained recognition. They were also worn by seminal rappers like Tupac and Biggie Smalls and continue to be popular within the fashion industry. Breaking Barriers through Design Too Black Guys and 100 Miles shared their statements with the world; they strive to represent Black experiences through their work, and hope to spark inspiration in others, too. Their empowering designs are the epitome of freedom because they ran towards their expressive aspirations, not away from them — and that is nothing short of admirable.
Quentin VerCetty:
Afrofuturism and Imaging Black Futures with Black Speculative Arts Movement in Canada
RA Name: Celine Isimbi Date: 31 January 2023 Afrofuturism through the work of Quentin VerCetty: Afrofuturist imaginings provide a point of departure that centres the African diaspora, its complex histories, and its present realities and allows for future thinking. In Toronto, Canada, Quentin VerCetty, who defines himself as a "multi-award-winning, multidisciplinary visual griot, artpreneur, educator, artivist, and an ever-growing interstellar tree" is exploring the past, our present reality and imagining future possibilities through the lens of Afrofuturism. VerCetty is a visual storyteller and artist who uses an Afrofuturistic lens to centre Africans in the public space through sculptures and murals. In an interview with Carnegie Hall, VerCetty described Afrofuturism as "a visual griot, the importance for me is the representation, the story it keeps, with the knowledge and wisdom it holds." He further states that "the intentionality of representation in Afrofuturism allows for timeless, deep connections on many levels to many different people." In this same sentiment, Afrofuturism as a cultural, artistic expression centres the past, present, and future possibilities of the totality of Black experiences. This expression allows for radical Black imaginings beyond space and time. This tradition is rooted in the African diaspora, its past, present and future(s)—all which VerCetty captures through his work. In January 2022, an exhibition was held at Wilfrid Laurier University titled Sankofa Dias: Visions of the Afrotopia by VerCetty. This exhibition centred on the practice of Sankofa –the act of going back and retrieving – a Twi word of the Akan people in Ghana and a practice many across the diaspora and Afrofuturist have embodied. The exhibition statement by VerCetty read, "The works in this exhibition collectively deconstruct the misconception that monument making lacks roots in African cultural history and that Black representation is not worth monumentalization or acknowledgment. By evaluating the past, we can forecast a better future where art interrogates the celebration of the everyday person in place of imperial, colonial, or militaristic subjects. Each work becomes an embodiment of Sankofa teleporting, a call back to the past while being speculation of what could be." VerCetty, through his Afrofuturist public works, reclaims our cultural past and embodies Alain Locke's statement: "There is nothing more galvanizing than the sense of a cultural past.". An example is a memorial sculpture created by VerCetty to pay homage to Joshua Glover – an enslaved African in Racine, Wisconsin, in the 1850s, who sought freedom from bondage. Glover eventually resettled in Etobicoke, Ontario, after being rescued from the Milwaukee jail by members of the Underground Railroad when he was detained under the Fugitive Slave Act. In this sculpture, VerCetty used an Afrofuturist lens to honour the story of Glover and root it in the present realities of Black people in Ontario. As mentioned, VerCetty's work aims to take over the public space, a space in which Black people have been erased and experienced various brutalities for merely existing. An example of this is in the public lynchings of Black people by police or the failure of our cities to ensure safe, healthy, and liveable environments of predominately Black neighbourhoods or housing projects. In a 2021 article by Idaresit Thompson published by tonedmag.com, they interview Dr. June Francis, who further explains that Black communities in Canada are more likely to be placed in poor and low-quality housing conditions and Dr. Francis further emphasizes that they are more likely to "lack access to space and amenities, require major repairs." Therefore, highlighting the role that Afrofuturist artists play in 'invading' the public space. In doing so, they bring forward the ways that public policy and governmental neglect have raised issues of environmental concern, accessibility, and affordability. VerCetty, states that an afro-futurist lens "also helps decipher how human stories are not isolated from stories of society and the condition of the Earth and the ways we want to change, are trying to change, are changing, and are imaging it" creating space for critical conversations. Afrofuturism and the Black Speculative Arts Movement in Canada: Afrofuturism is a movement birthed out of resistance and the pursuit of liberation. Anderson – a co-founder of the Black Speculative Arts Movement (BSAM), in the article, Afrofuturism 2.0 & the Black Speculative Arts Movement, states that Afrofuturism is "the current name for a body of systematic Black speculative thought originating in the 1990s as a response to postmodernity." And Anderson also previously notes that the Afrofuturist movement is the nexus between race, art, science, and design. In stating this, Afrofuturism provides an embodiment of future(s) beyond the extractive and violent systems of oppression. In addition to his work, VerCetty is one of the founding members of the Canadian chapter of the international Black Speculative Arts Movement (BSAM), with the chapter beginning in 2016 to address the longstanding erasure of African descendent people in the art industry as well as tackle the deep-rooted systemic anti-Blackness in the Canadian creative industry. The International Black Speculative Arts Movement was born from an exhibition held at the Schomburg library in New York in 2015. This collective works at the intersection of technology and ethics, Black Speculative Art according to the network, is a "creative, aesthetic practice that integrates African diasporic worldviews with science or technology and seeks to interpret, engage, design or alter reality for the re-imagination of the past, the contested present, and to act as a catalyst for the future." And as one of the only Canadian artists showcasing at the exhibition in 2015, VerCetty was able to catapult this momentum and begin the Canadian chapter a year later. Through VerCetty's work and the Black Speculative Arts Movement in Canada, fellow griots, artists, community organizers and disruptors can reclaim and reassert their Black presence in the Canadian creative industry and across the spectrum. This radical embodiment is daring, and fearless as Black people see themselves across space and time, and importantly it is future thinking. Black People have a past, present and future. Black People have futures (s)! Work Cited: (working citations list) https://medium.com/@cmichelleart/reading-list-afrofuturism-bsam-996ebb90641e https://www.detritus.net/contact/rumori/200211/0319.html https://rhizome.org/editorial/2013/dec/17/mundane-afrofuturist-manifesto/ Holbert, Nathan, Michael Dando, and Isabel Correa. "Afrofuturism as critical constructionist design: Building futures from the past and present." Learning, Media, and Technology 45.4 (2020): 328-344 Anderson, Reynaldo. "Afrofuturism 2.0 & the black speculative arts movement: Notes on a Manifesto." Obsidian 42.1/2 (2016): 228-236. VerCetty, Quentin. "Parable of Museum Learning: Activating Afrofuturistic AR-Tography Approaches." Journal of Museum Education 47.1 (2022): 32-43. Turner, Camille. "Evoking a site of memory: An Afrofuturist Sonic Walk that Maps Historic Toronto's Black Geographies." (2012). https://www.thestar.com/news/gta/2021/03/21/torontos-afrofuturists-head-black-to-the-future-on-the-wings-of-sankofa.html https://www.ctvnews.ca/entertainment/canadian-artists-bring-more-afrofuturism-into-the-world-of-science-fiction-comics-1.5764052 https://ago.ca/agoinsider/futurist-history https://antiracism.utoronto.ca/event/exploring-black-and-indigenous-futurisms/ https://www.wlu.ca/academics/library/assets/resources/sankofa-dias-visions-of-the-afrotopia-by-quentin-vercetty.html https://www.utpjournals.press/doi/full/10.3138/topia.39.04 https://www.cbc.ca/news/canada/montreal/black-speculative-arts-montreal-vercetty-nantali-indongo-the-bridge-1.4303352 https://www.bsam-art.com/about https://www.tonedmag.com/read/the-threat-of-housing-inequality-to-black-communities-in-canada
“I am a hairstylist but also an artist”; The Modern World of Afro Sculptures
RA Name: Cristina Everett Date: February 20th, 2023 We all know those videos of women crying when they get their hair cut. I always thought that was ridiculous, as I never cried myself. But in my most recent trim, I noticed myself tense as the scissors touched my hair. As I realized in that moment that this was not the first time I felt this dread about my hair, I too became a member of their Tears Club. For many people, their hair is how they show their individuality. Who they are, without the use of words but rather immediate perception. It is a form of self-expression that is critical to a person’s identity, an identity indicator that is both individual and social. Class, age, and even occupation can be told by the way someone styles (or doesn’t style) their hair. Having wild, shaggy hair as an artist is more socially acceptable than as a lawyer. Through this lens, could hair also be used as an indicator of racial identity? My answer is yes. During the height of the Black Lives Matter protests in 2020, a petition addressing the lack of representation in Canadian beauty school programs gained over 30,000 signatures, showing how significant this movement was to the Black community. The aim is to enact a law similar to the California CROWN Act, 2019 – Creating a Respectful Open World for Natural hair – in Canada. The act ensures protection against discrimination on race-based hairstyles, preventing employers and schools from enforcing so-called “race-neutral” grooming policies that limit natural hairstyles. However, even with significant public support, the Canadian government has shown no initiative to address this issue. Cases of texture discrimination are seen as silent in Canada, but that does not mean that there isn’t a problem. In 2016, two incidents occurred in Toronto, with waitress Akua Agyemfra and Cree Ballah being sent home after being told their hair was “unprofessional” (Agyemfra wearing her natural hair in a bun and Ballah wearing box braids). More recently, Natasha Doyle-Merrick quit her job at AGO Bistro after being told that leaving her natural hair out would “scare” away customers. Beauty and the intricacies that come with it have always been associated with European or White centrality – or Eurocentrism. White aesthetics have long dominated the global fashion and beauty industries, profiting from individuals who don’t naturally have European figures by ‘fixing’ them. From changing hair texture through straightening to more permanent physical changes like bleaching of one skin and invasive surgical procedures, looking European is a multi-billion-dollar global industry. While fashion may contain geographical, temporal, socioeconomic, and cultural history, the problem lies in the standards that still ostracize people who do not fit into them. Conforming to these standards of beauty has always been a challenge among Black individuals in white societies. Having to undergo harsh chemical treatment to lighten our skin and straighten our hair to go to school or get a job. The 1960s presented a big change in this form of conformity. The Black Beauty movement advocated natural black features as something to be proud of, with many wearing their natural hair as a form of activism against white oppression. Unfortunately, this attempt to dispose of an extreme standard of beauty created a new extreme. For a long time, Black Beauty has been categorized as either conforming to European standards or advocating against it by being fully ‘natural.’ However, with a growth in knowledge and awareness, change has come about. Modern aesthetics have focused on the unique physical aspects of individual racial groups. East Asian eyes, the Black hourglass body, South Asian silk hair, etc. This includes the dynamic ways that Black textured hair can be manipulated to form intricate patterns and designs. All this is to say that the 21st century embraces racial beauty, not as an act of activism but rather as a new standard. Popularized by Laetitia Ky in 2017, a feminist artist and social media content creator from Côte d’Ivoire, Black hair sculpture has become a new art form that has transcended cultural boundaries and Eurocentric beauty standards in the world of high fashion. Using various braiding techniques with the support of wiring and threading, Ky places hair in intricate arrangements that are heavily influenced and recognizable with Afro-centric fashion. Black American celebrities have become big contributors to the popularization of this style, with their hair technicians displaying their craft in major magazines and working with top luxury brands. It is important to note that Afro-sculptures themselves are not a new concept. An entry in the Journal of African Archaeology shows clay statues etched with corn rows on their head dating back to the Nok civilization around 500 B.C.E to 200 B.C. in modern-day Nigeria. Additionally, hair design in the collective African context is a significant indicator of an individual’s identity – which tribe someone belongs to, their marital status, age, wealth, religion, etc. Elaborate and complex designs within one’s hair were also used to express individuality and creativity. Eventually, with the introduction of colonization, hair also became an essential part of survival, with designs displaying roots to freedom and a way to store seeds for food during their journey. Black American hair technicians are the leading figures in popularizing this Afro-sculpture design into global media by catering to the Black female celebrity market, which is well known for embracing extravagance and uniqueness. These designers include celebrity hairstyles, such as Nikki Nelms (with notable clients including Yara Shahidi, Solange Knowles, and Zoe Kravitz), Los-Angeles based freelance hair artist Fesa Nu, and ‘curlchitect’ (curl architect) Celeste (aka @eclectic_vibez). These are all well-known hair sculpture artists who display their creativity through their work and as an ode to Black culture. Toronto-based hair technician and owner of Crown N’ Glory, Aishia Loobie, embarked on her own artistic journey of Black expression by showcasing her Afro hair sculpture designs at the 2022 North York World Of Hair (WOH) Festival Reveal. I was able to interview Aishia, and during our discussion, she expressed how the festival allowed her to go beyond the often-confining barriers of ‘acceptable’ black protective (locs, twists, knots, etc.) or natural styling to something more artistic and based on capability for both the artist and the hair. “I’m not able to do that day to day behind the chair, because a lot of clients just want protective styles,” she says.“They just want something in their hair to last them for a couple of weeks, but they are not thinking outside the box. You know, they don’t want asymmetrical cuts and picks in their hair, right? So, for the WOH Festival, I’m able to just unleash that part of me. I feel like it took me weeks to create all of the looks for this event, and if you really look at the picture [in reference to the work she did on Trewani Gooden for the WOH Festival– below], there’s so much detail.” Trewani Gooden for the WOH Festival Loobie notes that Toronto is full of talented Black designers who have not been discovered due to a lack of opportunity. “Unless we take it upon ourselves to create these events, which is so much work, time-consuming, and you know for me I have a whole business. I have employees., but it would be nice to be and take part in the event where I can express myself, so there should be more.” Loobie explains that the Black beauty community is very supportive in America, often recommending one another and playing an active role in the promotion of black beauty in the fashion industry by hosting events that focus on not only hair care but also the more creative parts of being a hair technician. Loobie noticed more opportunities in America as she felt that the often a more supportive community than in Canada, as she and other Canadian hair technicians often travel to America for Beauty and Hair Expos. Loobie first learned braiding and how to take care of her natural hair from her mother. During her youth, she would braid her family and friends' hair. She went on to pursue legal studies, but she soon discovered that her passion was in what she had been doing all her life — hair design. She ultimately changed her path and went to school for haircare and design, where she found that the curriculum was primarily based on straight textured hair and lacked information and techniques to deal with the thicker curly hair that is particularly seen on Black people. To gain that knowledge she started working in a salon that claimed to specialize in braiding and natural techniques on Black hair. She describes her experiences as an interesting one. “I was there for about two and a half years, and I enjoyed the overall salon experience. I took what I could. I learned about how to run a business. How to manage a full schedule, be a professional, show up every day, and of course, do good work. I ended up building a large clientele because I was the only girl in the salon who could deal with tighter textures. I left that job in pursuit of just another experience, not necessarily that I wasn’t happy where I was, but they really wouldn’t allow me to be me and wear my hair how I wanted to wear it. I couldn’t wear it straight. I couldn’t put braids in it. I had to have my curls out all the time. They believed in natural hair and wanted their clients to come and see their stylist in it.” Considering the history and commercialization of ‘taming’ black hair, these microaggressions show the disparities that are still happening today. The expectation of more ‘professional’ hair is absurd when the education programs for hair technicians (professionals in the industry!) themselves are limited to only learning about straight/loose textured hair. Hair sculptures have made their way to the fashion industry not just as a form of design and as a show of creativity for the Black community and expression beyond the Eurocentric views of black beauty. Loobie wanted a salon that allowed textured hair not to be confined to a certain style or standard, and to educate rather than restrict. She found immediate success with this when opening Crown N Glory in November 2019, tapping into a severely lacking market, creating a better standard for other technicians, artists, and her community. With 10 years of experience under her belt and collaborations with huge brands such as Shea Moisture, the Toronto Star, and Nike Canada, Loobie is still educating and providing a much-needed service to the Toronto Black community. She aims to expand her business and hopes to have more opportunities to tap into her creativity and explore what else she can do with the intrinsic complexity of hair and styling. Afro-hair sculptures are a form of design that brings a new expression to the Black community centered on ancestral identity. They break boundaries created by Eurocentric beauty standards as well as set its creatives apart as individuals that embrace all aspects of Black identity even if not considered ‘natural’. Ontario’s lack of opportunities and education limits innovative forms of hair design – by extension, a sense of identity through expression – however, through creatives like Aisha Loobie, there is a future here for the aesthetics of Afro-hair sculptures to thrive.
Understanding Representation: Avenue to improve diversity
RA Name: Cristina Everett Date: January 17th, 2024 Diverse representation in media is a subject that has long been discussed. The casting of Black leading ladies in live actions and the readaptation of popular fiction, like Halle Balley as Ariel in The Little Mermaid and Yara Shahidi as Tinker Bell in Peter Pan and Wendy, has highlighted a discourse about whether diversity has now become the standard or a marketing tactic, as netizens (internet users) from various background are complaining that Hollywood is just casting Black actors into white role instead of making the roles themselves Black. In many ways, I agree with those sentiments, as having that representation on screen and, in general, the spaces that adolescents interact with is important for the establishment of self-identity. Self-identity is more than the acceptance of skin color; it is also the appreciation and understanding of all the aspects that make you who you are. Due to common experiences and historical segregation and discrimination, being ‘Black’ in the North American context has transcendent past race into a culture. Hence, representation should do so as well. Michele Ballestin, owner of Koolorez – an African aesthetic Black doll company, is an Ontario-based entrepreneur who took up the challenge of representation and the development of self-identity and self-esteem in young black Canadian children. Children typically acquire a self-concept from 18 months (about 1 and a half years) – the ability to recognize themselves in the mirror. This is the start of the development of a social understanding of the world. By ages 3-5 they start to understand themselves and their placement in society. Fragments of identity like their name, their likes and dislikes, and the question of the interactions they have with the world. At this stage, racial awareness starts to form. According to the award-winning novel Peer Prejudice and Discrimination by author Harold D. Fishbein, during tests of racial understanding among children, which are conducted primarily using racially diverse dolls, white children would identify themselves at the ages of four to six faster in comparison to seven years of age in other racial groups. Fishbein analyzes this to be due to a systematic pro-White society and the delay of ethnic self-identification being a result of the group mentality that is common during these ages. When a more individualistic mentality develops for 11-12 years, there is a shift in preference to interactions with people of similar ethnicities. Fishbein further elaborates that those pro-white preferences in early adolescence are based on anti-black societal stereotypes and discrimination. Michele Ballestin started developing her doll company, Koolorez, in 2021 inspired by the famous 1946 Doll Test conducted by Kenneth Clark and Mamie Phipps Clark, where a group of Black children ranging from ages 7-10 were asked a series of questions individually about a pair of doll (one white, one black). The Doll Test was one of the first investigations that experimented on Black self-conception and image perception in young children. The results were heartbreaking but not shocking; 67% of the children said that they preferred playing with the white doll, and 59% thought that the Black doll “looked bad.” Clark reported that when asked to raise the doll that looks like them, children would break down crying. The experiment was used in an American court case in 1954, helping the advancement of integrated schools. Similar experiments have been conducted since then, with results more skewed toward Black acceptance over time. However, there is still a lack of commercial products that are for Black children. As a mother of two young children, Ballestin felt a responsibility to “expose them to diverse voices and inclusive messages” (source). Creating not just a melanated doll but a representation of her African heritage as a Cameroonian woman. Ballestin wants to give children the opportunity to play with dolls with colorful African clothing and a strong Black feature. Koolorez launched in February of 2022, bridging a gap in the market of Afro-centric dolls in the Canadian toy market. Koolorez’s mission is to have children grow in a world where ‘they know and believe they are beautiful, loved and valued.” Through these motives she aims to address her dolls past the Black sphere to children of diverse cultures. With the Barbie similar in design for her main doll, and a particular name for each design, as well as offering a baby doll; Koolorez provides a unique Afro-centric aesthetic that is not often seen in the toy market. Negative stereotypes of Black people as lazy, ugly, untrustworthy, and criminals are emphasized in the media that we consume. Nowadays, it is less about Black people being portrayed as villains but rather the lack of portrayal of Black heroes in stories. This goes past casting or showing Black individuals that fit into ‘white aesthetics’, allowing them to be more ‘digestible’ for pro-white societal audiences. Rather, showing people of ethnicity that embrace their racial differences. Michele Ballestin took on this challenge and created something that all children can learn and play with. Taking from Koolorez’s slogan, Ballestin is truly “changing the colour of play.”
Beyond a Caricature: Black Representation in Animation
RA Name: Yashika Berry & Konyere Chiagozie Nwosu Date: April 8th, 2024 Miles Morales, an Afro-Latino spiderman, has captivated children and adult audiences alike from Black, Brown and Latino communities. According to the npr, North American releases of the film reported higher than usual numbers of Latino, Black and Asian audience members for Spiderman: Across the Spider-Verse than for most superhero films. When I left the theatre, after a couple of hours of being immersed in the world of Miles Morales, I was struck by the intentionality in the portrayal of Miles’ Afro-Latino racial and cultural identity. The film’s inclusion of diverse characters, like Pavitr Prabhakar - a South Asian spiderman, and Hobie Brown - a Black British punk political activist spiderman, also resonated deeply with me. The film’s support from racialized communities demonstrates the need for diverse representation in animated media where the appearance and heritage of a Black character like Miles’ is integral to their characterization and the story. The numerous social media posts, reviews and opinion articles discussing the diversity of this film reminds us of the lack of Black prosocial representation and the need for representation with accurate design of Afrocentric features and culture aesthetics. Dating back to the early 1900s through 1960s there are clear portrayals of Black people in films produced by companies such as Walt Disney and Warner Bros that perpetuated inaccurate stereotypes used to degrade and prevent Black justice and freedom. Gyimah Gariba, an Ontario-based animator and visual artist is transforming this space in the Canadian children’s programming with his work as the creator of Big Blue on CBC Kids. Gariba used his illustrations and experiences as an African Canadian artist to create a children’s sci-fi cartoon with Black lead siblings. The story follows Lettie and Lemo who explore the deep sea and uncover mysteries of their underwater world with an adventurous submarine crew. Gariba also identifies with the queer community and uses his animated designs/artworks to empower Black queer people and advocate for the queer community in Ghana. He creates the characters for his show with authenticity, based on his experiences in Ghana and Canada. The characters address the gap of representation in kids cartoons and reveal the intentionality of designs. In an article by Oren Weisfeld, Gariba discusses how the opportunity to animate his own children’s series was a moment for him to create cool Black characters that are often rare in in sci-fi and children’s TV. He wanted to take this show and create two main characters that were Black, so that Black children could be the main characters. “Back in the day when I was playing pretend Dragon Ball,” he says, “I didn’t get to be Goku ever. Because I’m not blond, you know? Like, I’m never the guy. This was a chance to be like, okay fuck it, we are the guy. Except it’s we in the broader sense.” Discussions on online forums that focus on animation of Black characters emphasize the importance of including Afrocentric features and cultural aesthetics. In one case, the author of a post argues that an audience should be able to tell a character is Black without adding skin colour. One comment on the forum asserts that while the animation industry is growing and Black characters are not necessarily caricatures or overtly offensive anymore, their portrayal is still inauthentic and not truly representative. Josanne Buchanan, a research assistant for Children’s Media Lab, based in Toronto Metropolitan University’s Faculty of Communication and Design discusses how as a Caribbean-Canadian girl, she noticed most shows often didn’t have characters who looked like her. She wrote, “When we were represented, it was often not as a protagonist but as a side character. And so, I felt like most shows didn’t teach me what it would look like or feel like to be the protagonist of my own life.” In sum, a character’s features, characteristics, experiences, placement in the script and more are all important aspects in the creation of authentic Black characters, showcasing a Black lead. Cultural representation plays an important role in cultivating inclusivity and allowing the audiences to connect to the animated characters. However, many of us are aware of the heavy influence that Western studios and Hollywood has had on animated media. Their dominance often leads to a lack of new, original and diverse storytelling, as the voices of many minorities are being left in the dust. The movie theatres and streaming services then also miss the opportunity to show us unique characters that accurately represent various cultures. Actually, take a moment right now to reflect; can you recall any animated movies from your childhood with a strong Black lead? When you reflect on your favourite childhood animations, how were the characters of colour represented? In my case, I’m thinking of animations like Family Guy and The Simpson’s which, like other animated shows, heavily perpetuated stereotypes that have led their audiences to inaccurate interpretations, racism and other harmful depictions of racialized groups, regardless of their current efforts to rectify their shows’ past messaging. While some portrayals can have positive influences that broaden our understanding of identity, heritage, and empathy for others, negative portrayals are particularly concerning because they are a highly prevalent and influential form of media for children. Racist, inaccurate, or negative depictions in television and movies consumed as a child develops and learns about the world can influence their perceptions of reality, impact their attitudes and behaviors, cause victimization, reinforce stereotypes, and more . Gyimah uses his art to show all of us the multi-faceted and intersectional experiences of Black characters, and he tailors his work for a young audience, to shape their minds with prosocial characters in whom they can see themselves. When creators take an intentional and authentic approach to Black representation, whether in the children’s television show Big Blue or blockbuster animated movie Spiderman: Across the Spider-Verse, it can positively transform our understanding of Black racial and cultural identity.
Black Representation through Costume Design
RA Name: Yashika Berry & Konyere Chiagozie Nwosu Date: April 8th, 2024 Every Halloween and ComiCon, people dress up in costumes that reflect their favourite movie stars, celebrities or characters; all of whom are often celebrated, discussed and defined through their appearance and clothing. These physical representations can often influence how racial communities are perceived by the public. In film, the art of designing costumes must then be intentional, accurate and representative, especially for Black actors and actresses who have historically been represented stereotypically in the industry. At its foundation, the purpose of costume design is to enhance character development and depth by using fabrics and accessories to signal details about the character and help pull the audience into their world. The costume design represents a character's personality, social status, occupation, and even their psychological state. In an archival article about Hollywood representation, Shelby Ivey Christie found that prior to the 1950s, we often see Black actors portrayed as slaves or domestic workers, with their costume design and appearance fitting these stereotypes through wardrobes often marked by house dresses, aprons, or tattered clothing. But, Black costume designers are working tirelessly to create spaces within the film industry to authentically represent Black actors and use costume design as a political tool to convey messages of freedom and beauty while breaking stereotypes. Antoinette Messam: a Jamaican Canadian Costume Designer Antoinette Messam is one of Canada’s first Black costume designers to take her craft to Hollywood and design costumes for Jeymes Samuel’s blockbuster Western, The Harder They Fall featuring a predominantly Black cast . Messam goes in detail about her upbringing, being born in Jamaica to a family of tailors and dressmakers, she felt inspired by the magic of costumes in movies. Her unique, award-winning career spans multiple decades and is influenced by her family, especially her mother’s artistry and Jamaican heritage. Messam started her career as a model, then she took on various roles in department stores like The Bay where she selected textiles for projects and designed wardrobes for fashion shows. As she continued in this industry, she realized her true passion in clothing design and tactile work with fabric, which ultimately lead her to costume design work in film. Experiencing the racist lens of Los Angeles’ entertainment industry, she re-invented herself, appearing as the only Black women in her entire crew set to be ‘non-threatening’ . This was the pressure of being asked to be highly creative and deliver results while also having to compromise her self-expression in order to appear acceptable to the white gaze. Messam’s work for a majority Black cast in the The Harder They Fall becomes even more significant as the movie doesn’t explicitly discuss race but uses the cast, costume, and cinematography to centre African Americans in the Wild West. Messam’s excitement at seeing the completed film is palpable, “Oh, my God, look at all these beautiful Black people in Western attire; look at all these beautiful Black people in Victorian clothes. I’m not looking at slaves. I’m looking at homeowners, merchants, cowboys — that blew my mind.” What does costume design say to audiences? Costume design is a powerful visual tool that makes audiences think about characters, and reflect on old memories, and sometimes even convey a political message. According to researcher and costume designer Andreina Vieira dos Santos, “costume has the power to offer another perspective on Black [people].” When I interviewed her, Vieira dos Santos described how the film depictions of the style of the Black Panthers in the 70s, hip-hop culture and urban streetwear defined some characters or became widely associated with a cultural moment that people connected to and as a result tried to replicate in their own wardrobes. It is in our human nature to mimic our favourite characters through their mannerisms, behaviours and most commonly through the visual aspect of their clothing. When a film character becomes iconic, their clothing often becomes an integral part of their identity and audiences replicate these characters through their outfits. When the costumes and characters of Black actors and actresses are hyper-sexualized and objectified to depict poverty, gang affiliations, and/or domestic workers they intentionally perpetuate stereotypes and racism. These depictions are more harmful than they may seem at first glance because they not only reinforce this image to non-Black audiences but they can also lead to internalized racism in Black people. To drive progress in this sphere, Vieira dos Santos emphasizes the critical need for more Black designers in the film industry to bring their cultural perspectives and experiences to the forefront which, of course, requires those who hire them to seek and support their expertise. Vieira dos Santos finally calls for white designers to actively learn about blackness, historical stigmatization, and femininity, while also seeking opportunities to collaborate with and learn from Black designers in film. State of black costume design in Ontario Black costume designers in Ontario, like elsewhere, have faced underrepresentation and systemic challenges in accessing mainstream opportunities and the film industry desperately needs more diversity in the many roles that exist behind the camera. We are slowly witnessing an increasing focus on diversity and inclusion in the arts, allowing Black designers to gain more visibility and platforms to showcase their work. One example is Black Women Film in Canada, which is a non-profit organization based in Toronto that creates opportunities and supports black women professionals in film and media. It primarily focuses on creating networks and opportunities for Black filmmakers and media artists, such as costume designers, through its various productions and partnerships. Their commitment to showcasing Black talent allows costume designers to display their designs on screen and build connections within the industry. The stories of Antoinette Messam and Andreina Vieira dos Santos highlight a crucial truth: the need for more Black designers in the film and fashion industries is not just a matter of representation, but a vital call for cultural authenticity and empowerment. Messam’s groundbreaking work on The Harder They Fall underscores the power of costume design as a tool to reshape narratives, challenging stereotypical portrayals of Black people in cinema. Her journey, rooted in her Jamaican heritage and shaped by the challenges she faced in Hollywood, serves as a testament to the resilience and creativity of Black artists who push boundaries while navigating systemic racism. As Vieira dos Santos advocates, the film industry must actively seek out Black designers who can bring their unique perspectives to the screen, ensuring that these voices are not only heard but seen in every stitch, fabric, and ensemble.
Knitting Connects Us All
RA Name: Konyere Chiagozie Nwosu Date: April 8th, 2024 As the world paused in the 2019/2020 COVID-19 pandemic, knitting and crocheting emerged as more than just simple hobbies—they became a way to find ease from quarantine anxiety, express creativity, and reclaim a sense of routine. Whether it was whipped coffee, sourdough bread recipes, the new 48 Laws of Power books, or recording viral TikTok videos, social media became a place to re-discover passions and take up new hobbies. It was in this era that the restless found their knack for crocheting and knitting. Unfortunately, in this yarn-filled renaissance, the initial hype that surrounded this resurgence centered on middle-aged white mothers crafting infant outfits for their children. According to Zippia, recorded research at the start of the pandemic year revealed that the most common ethnicity of knitters in the US was White (54.3%), followed by Hispanic/Latinx (19.2%), Black/African American (16.2%) and Asian (7.0%). Many minorities who were passionate about these crafts were overlooked for their white counterparts. To even my surprise, The Medium revealed in that same year that while Black people have been knitting and crocheting for generations, their presence in the broader conversation have just remained largely invisible. In recent years, content creators like @naomicartoons by Naomi Minor have brought fresh, bold perspectives to the forefront. Her colorful, unapologetic works are not just about aesthetics—they’re about visibility, representation, and reclaiming space in a world that too often acts as if there isn’t any. Minor took the media by storm, gaining millions of followers overnight. As the push for more Black creators brought her page and crocheting patterns to users’ “For You Pages” on both TikTok and Instagram, she gained traction for her combinations of scary sounds with her unique takes on cartoon characters. Minor’s crocheting style has allowed her to open her own online shop and use her media personality to remain trending. Alongside a new wave of Black designers and artisans, she has added her own thread to the fabric of this creative revival and has shifted the conversation to reveal that knitting and crocheting are for everyone. The Untapped Potential of Knitting and Crocheting This design medium has opened the door for many to find new forms of expression, connections with people around the world, and open conversations on current issues. In turn, knitting gives back to us and improves our wellbeing. Research has found that regularly knitting can enhance brain functions, specifically complex cases like Alzheimer’s and dementia, while its repetitive motions replace stress and anxiety with a sense of calm similar to meditation or yoga. Knitting can lower heart rate, reduce cortisol levels, be a form of exercise therapy, improve hand-eye coordination, and help one recover from injuries. Perhaps most importantly, knitting groups provide people with meaningful social interactions, whether they gather in-person or connect online. These communities foster the sharing of ideas, exchange of advice, and celebration of each other's work. For people who feel isolated, and to be a part of a knitting group can create a valuable sense of fellowship. When it comes to exclusion, Disturbing The Fleece founder Fatimah Hinds says that her years of experience in the fiber community can be encompassed by the statement, “just get back to knitting.” When I had the opportunity to interview Hinds, she said that when she came across issues brought up by her minority members in the fiber community, and these were topics ranging from racism, homophobia, and transphobia, she was usually met with people who urged them to separate knitting from politics. Many of her opposers would state that “knitting is their safe place” or “their form of yoga.” Hinds regarded this as blatant ignorance, that highlighted the privilege one would have to have to be able to escape from a world of oppression with a hobby. Hinds said that she is not interested in “getting back to knitting” because “there wasn’t a point at which [she] stopped knitting and injustices had stopped either.” Hinds has produced a variety of works, from scarves and hats, to cardigans, button-ups, and fitted shirts. She aims for her pieces to be unisex and accessible to all, which is why she knitted her hats to hold extra space for those with thicker, fuller hair textures and her cardigans to fit a wide range of body types. With a more unisex line, Hinds has found that her knitted designs have reached more places around the world than she has, her hats are used in multiple climates, and its diversity attracts new ranges of customers. She is also an educator, hosting weekly Learning Wednesdays sessions where she discusses a range of political topics to viewers while knitting. She hopes that her method of education in design creates conversations for transgender people, which she is a huge advocate for. She shares that she wants “people who are trans and non-binary to hear and see their support,” and hopes her works takes part in the creation of those conversations. At our interview, Hinds was very disappointed by the expectation that due to her educational background she would be held automatically responsible to educate individuals in the community, even from the elementary level. She voiced that the topic of racism and discrimination had been vastly discussed on social media and the internet had already provided a plethora of information. The pressure to have to re-educate others, have to tiptoe around confrontational topics and refer to the statement, “not all white people” was shameful and deflected unto her the responsibility to tutor others on how to remove our unconscious biases. Hinds says that there is personal work to be done and that she will continue to push to create spaces for more than just marginalized people. Overall, she envisions a change in the fiber community that allows all people to craft their stories through patterns with a space to also speak their truths.
Restoration Furniture in the Woodworking Industry
RA Name: Konyere Chiagozie Nwosu Date: April 21, 2025 In my research on Black designers and laborers in Ontario, I encountered a glaring issue: the noticeable absence of Black people in blue-collar, middle-class jobs. As I delved deeper, I came to a realization—while the demand for skilled blue-collar workers continues to rise, the number of Black workers in these roles has steadily declined. This paradox begs two questions: Why has this shift occurred? And why is the labour industry discriminatory? The roots of this issue can be traced back to the United States in 1961 when President John F. Kennedy introduced the Federal Plans for Progress Initiative. Aimed at reducing employment discrimination among federal contractors, these efforts were expected to create more opportunities for Black workers. By the time the Civil Rights Act was signed into law in 1964, many major companies had adopted affirmative-action policies, committing to hire more Black workers. These jobs offered some of the highest wages, best benefits and played a critical role in the creation of a middle-class lifestyle for Black workers without college degrees. Research from the Centre for Future Work in Canada (CFWC) shows that racialized workers are underrepresented in unions. Data from Statistics Canada, breaking down employment, wages, and union status by racialized categories, reveals that these workers are less likely to be unionized or covered by a union contract. This lack of collective bargaining power contributes to the racial disparities in job quality, wages, and employment benefits. In fact, in 2022 racialized workers earned hourly wages nearly 10 percent lower than their non-racialized counterparts and were 8% less likely to have union coverage. Conclusions from the Canadian Labour Congress determine that unionized Black workers are supposed to see better wages, job security, and protections against discrimination. But, this was not the reality, as despite higher unionization rates and the benefits, Black workers still face significant obstacles. Black workers experience the second-largest racialized wage gap, largely due to their overrepresentation in low-wage sectors and limited access to higher-wage opportunities. Black workers face ongoing labour market discrimination and systemic racism—serious challenges that hinder fair employment, career advancement, and equitable treatment. The gap is even wider for racialized women, highlighting the intersectional challenges they face in securing decent jobs and gaining collective representation to advocate for improvements. The Exclusion of The Female Woodworker Woodwork, with its deep roots in craftsmanship and artistry, has always been a white male-dominated space. The CFWC study reveals that only 25% of racialized workers are covered by a union contract, compared to 33% of non-racialized workers. Even by gender, for centuries, women were kept from the tools and trades that defined this craft. Organizations such as the National Association of Women in Construction (NAWIC) highlight this, as there still remains a great imbalance between genders. When founded in 1953 by Doris Elford, she noted that there was something missing in the construction field – support and community. Together with fifteen other women, Elford kickstarted the organization in Fort Worth, Texas. The NAWIC prioritizes awareness, a supportive community, and recognizes the hard work of women in the United States. Now, even as society progresses, sexism remains a barrier to growth in the industry, and particularly for Black Canadian women. Designers Daej Hamilton and Roxanne Brathwaite are two women based in Ontario who use their craftsmanship to change the image of what it means to be woodworker. I had the opportunity to interview Daej Hamilton late last year and she spoke passionately about how she began her woodworking journey in the sixth grade. She grew up with a mother who prioritized furniture as a centerpiece in a room and ensured it ‘spoke the loudest,’ igniting Hamilton’s passion to become a craftswoman. She enrolled in Sheridan College to follow her aspirations, but unfortunately being one of three Black women in her program, she quickly became a target of racism and sexism. Even as the world has changed, sexism continues to hold back women woodworkers from achieving their full potential in the industry. For Hamilton, the roadblock came from a professor. During the semester, two out of the three women in her program were injured and subsequently left. In response to these events, her professor personally approached her to claim, “two down, one to go,” leaving Hamilton completely floored. This form of verbal exclusion was an attempt by her professor to isolate her achievements and downplay her capabilities. Without the mentorship, access, or support structures in place, many women have been unable to advance their careers in the field. The industry has missed out on a wealth of diverse voices and innovation, Hamilton saw through this attempt and persevered, but as we look at the stories of women who have fought to carve out space in woodwork, we must understand why their struggle matters — for them, for the craft, and for all of us. During the 18th and 19th centuries, the economy of the United States was heavily reliant on the productivity of unpaid enslaved African people, who were forced to produce items and generate additional income for their white “owners”. Even in post-1945, when the labour movement occurred, many Black people were still excluded from conversations of unions and the formation of a safe and equal workspace. Even those able to secure more fixed positions were subjected to harsh and restrictive laws which prevented them from a sustainable living. This separation trickled into gender, where women were harshly excluded from the woodworking industry. Even in more modern times, women were often relegated to invisible roles. In the 20th century, as the craft became industrialized and woodworkers' tools became more accessible, a small number of women did find their way into the workshop, but they were frequently overlooked, underpaid, and held to stricter standards than their male counterparts. Hamilton found that in her first internship, she was relegated to simple crafts and prevented from more independence and work creativity. Permitted to only do primary work, she asked her manager in multiple instances for more complex assignments and was turned down each time. This was her partial motivation at 22 to start her own company, Daej Designs. For Hamilton, it is important for Black women to be in these fields, so young Black girls can see themselves worthy enough to remain in these spaces. She may not have seen others like her when she first started out, but support from loved ones and faculty helped her persevere. When I ask her what advice she has to offer those entering the field, while she does suggest saving up and having extensive research done, she stresses that potential company owners should remain realistic and have a reliable support system. She emphasises the support she received from fellow colleagues and family, and the part that social media played in her company outreach. She now holds woodworking workshops and commissions in the Greater Toronto Area. “Kickstarting A Legacy of Generational Wealth” Women, especially women of color, often bring a fresh, innovative approach to design and technique, as they challenge the conventions that have dominated the field for so long. Their work can reimagine what’s possible and infuse new life into an antique craft. Though to my eye Roxanne Brathwaite exemplifies this, she didn’t receive strong support at the start of her antique furniture restoration company, Hollis Newton. The company started out in 2018, in Toronto, Ontario; The name ‘Hollis’ was inspired by Roxanne’s maternal uncle, who was an underwater ship welder. ‘Newton’ referenced Brathwaite’s paternal uncle, who owned an antique shop in Trinidad. When I spoke to her, Brathwaite noted that most vintage chairs and antique furniture held great underneath wood frames but tended to have a stain finish that would leave them looking dated. To combat this, the company reimagined each piece of vintage furniture, upgrading them with full grain leather and revamped the finish of the frames. Brathwaite told me that she wants to create “generational wealth within the quality of her furniture” for Black families but, according to her, the company's takeoff was halted by the pandemic and a lack of support from Black communities. Both women have made major headway in breaking into the woodwork and furniture industries. Daej Hamilton received the INSPIRE 2020/2021 Award for the Youth of the Year, while Roxanne Brathwaite received first place in her ACCEL Pitch Competition back in 2018 with Hollis Newton. As her work gained more traction, Brathwaite’s Suite City Woman also received recognition as a Season 1 Best in Miniature for CBC’s 2022 GEM. The future of woodworking lies in embracing its diversity — not just in gender, but also in race, age, and experience. When women, including Black Canadian women, are given the space to excel, they push the boundaries of the craft and inspire new possibilities.