Fashion Profiling in Television: How Fashion Styling Choices Influence Black Character Identities and Connotations in Popular Media

Fashion Profiling in Television: How Fashion Styling Choices Influence Black Character Identities and Connotations in Popular Media

Fashion has been a hallmark of popular culture for centuries, but its significance expands far beyond mass culture entertainment. Thinking of fashion as a form of self-expression merely scrapes the surface of the things that can be revealed through clothing, particularly the importance of styling to social-political movements. Speaking specifically, fashion has a large part in how Black individuals express themselves, their pride in their identity, and their solidarity as a community. The link between fashion, self-expression, and political activism is longstanding, with social justice movements like the Civil Rights Movement strengthening associations between clothing and activist groups. In modern society, fashion is one of the prominent features of the media, and celebrities have become some of the most recognizable public figures and fashion icons; their wardrobe and styling choices are observed and admired by many, in addition to reflecting statements about who the person in. In the instance of television, this is true for both the actor and the character they play. Through an analysis of clothing’s importance to the Black identity, cultural power dynamics, and Black character representation in television shows, this paper will reveal how the wardrobe for Black television roles aptly reveals how cultural perceptions of race are interconnected with fashion.

The public’s fixation on style trends created a space for various forms of media to promote them, further engraining fashion’s importance to popular culture. The mass production of clothing also allowed for people to connect with each other with style trends. Noliwe Rooks, the director of graduate studies and associate professor in Africana studies at Cornell University, further touches on the cultural significance of fashion to Black identity in her 2015 article “From the Editor: Black Fashion Art. Pleasure. Politics.” She notes how fashion indicates a person’s position within culture, specifically speaking to their societal relationships or hierarchical status; work uniforms, clothing modernity, and design pieces are all distinguishing dress features, having the ability to reveal a person’s class status, education level, and personal affiliations. In a society built on the racial oppression of minorities, Black fashion trends serve to create new, accepted identities.  

Hoop earrings, acrylic nails, and sneakers are all highly renowned trends that were first made popular in Black fashion. These items have deep historic roots to Black culture, such as hoops, which originated in 4^th century Africa, and were later made popular in western European culture by Black activists and musicians (Lawrence and Bricks Team). Now, like many other trends started by Black people, these items are extremely coveted and highly marketed, garnering admirers across nations and generations, used by people to indicate capital status—both social and financial. The recently published Black Popular Culture and Social Justice, which features articles written by several different writers and scholars, discusses Black popular culture, explaining how it legitimizes new identities ansd emphasizes the voices and issues that have been ignored. It essentially creates a new cultural hegemony by contesting dominant representations of Black people in the media and creating new images made by and for people in the Black community (Bonnete-Bailey and Gayles, ch.6). In addition to allowing members of the Black community to align themselves with social-political movements, fashion also provided a means for cultural progress and acceptance on a mass scale; however, generations of racial prejudice have created several obstacles. 

Author Maha Ikram Cherid writes, “… the symbolic harm caused by appropriation as an enactment of power dynamics causes concrete consequences for the culture of origin and its people. Their legitimacy in society and the meanings they ascribe to their own symbol are negated in favour of those who are appropriating” (Cherid). Again, this iterates the importance of presentation to the perception of identity, as well as the harms of power imbalance. The commodification of Black culture, rooted in theft and appropriation, has taken from the Black image; culturally significant fashion has become mass-produced, and the positive connection between Black people and an admired item has been severed. Instead of complimenting and accrediting Black individuals, people go out of their way to adopt the elements of Black culture that they like, ignoring the importance of their roots. As Cherid puts it, “Rather than being a successful integration of Black people into the public sphere, the commodification of Black culture is a superficial show of tokenized representation …” (Cherid). Image is crucial to identity, which is in turn crucial to social progress; however, existing power differentials make it difficult for Black people to eradicate prejudiced preconceptions of their identities, as their attempts to establish Black culture for themselves have been impaired by capitalists and vultures. 

Television, like movies and other forms of sequential media, is one of the best reflections of our society’s cultural opinions and values; having been around since the 40’s, TV shows present the creative and reality-based narratives of generations, documenting the ideology and cultural values of the time with some of society’s most recognized figures. Black representation in television—rather, the lack of it—has been a subject of controversy for many years now, especially with the resurgence of activism sparked by the Black Lives Matter movement. When Black characters are shown on screen, their storylines are often second to a white protagonists, or given stereotypically brutish roles with criminalistic connotations. This is not always the case—Derek Morgan and Lieutenant Jeffords, played by Shemar Moore and Terry Crews, are both black men who are predominantly known for their work as an FBI agent and New York City Police officer, respectively. Both men are incredibly muscled (though Terry is admittedly a different level), incredibly skilled at their jobs, and incredibly devoted to justice and the law as a result of the traumatic childhoods. The obvious “cop-oganda” in these shows is a point of contention, but another interest lies in the difference in how the shows portray the men: while Lieutenant Jeffords looks strong and intimidating, he has a soft soul filled with nothing but love for his wife and daughters; he is also not the only black cop on the show. Derek Morgan, on the other hand, is known for his reputation as a bad ass. He relies on brute strength and force throughout his time on the series, even in situations it is not necessary, and he is the only re-occurring POC on the show for many of the early seasons. 

 

 

Fig. #1: Derek Morgan kicks in motel door despite having access to the key.

aionsCMclips. “[026] S02e04 - Psychodrama - Morgan Doesn’t Need No Key!” YouTube, 9 Oct. 2012, www.youtube.com/watch?v=u-Mwa2hPeYM.

 

Criminal Minds first aired in 2005; Brooklyn-99 came out eight years later in 2013. Though both men wore suits and attire fitted to law-enforcement, their characters’ overall demeanors are entirely different. Derek comes across as a strongman on the “good side,” and is idealized for his attractive charm with ladies. It could be speculated that his character plays to the stereotype of the brute, womanizing Black man. He certainly has a large amount of sexual appeal and a timely “coolness” that drew fans in. In eight years, however, a television show was created that includes a diverse cast full of characters that subvert tropes, all while defying dominant portrayals of Black men. 

Stereotypical characters have not all been erased as of yet, but work is constantly being made. Bonette-Bailey and Gayles make a mention of Black feminist theorist Patricia Hill Collin’s concept of “controlling images,” which are stereotypical perceptions of Black women that further rationalize and perpetuate sexist and racist ideologies. Examples of these tropes would be the Mammy, the welfare queen, the Jezebel, the matriarch, et al. They discuss how the 2020 television adaption of Lovecraft Country, however, depicts the Black women in the show in ways that defy the “controlling images.” Ruby Baptiste, a Black woman whose sexual exploits provide her with the opportunity to experience life as a white woman affirms Black girlhood by choosing her own life, providing one of many character arcs centered on reshaping Black presentations and celebrating Black appreciation.   

 

Fig #2. Ruby Baptiste from Lovecraft Country (2020).

Gooden, Tai. “LOVECRAFT COUNTRY Uses Body Horror to Liberate Ruby Baptiste - Nerdist.” Nerdist, 3 Nov. 2023, nerist.com/article/lovecraft-country-body-horror-ruby.

 

            Shows marketed toward younger audiences should also be considered in an analysis of character identity, because the media consumed as a child is just as formative as the people in one’s social sphere. One of Disney’s most popular television shows in recent years is Good Luck Charlie, which focused on a white family and their children. Ivy Wentz is the teenage best friend of the show’s main character. She is one of three black characters on the show with a re-occurring role, the others being a teenage boy and a grumpy neighbor. Ivy is often shown wearing animal print, or brightly colored outfits, and she is known for her humor and bold personality. She resembles the “Sassy Black Best Friend” trope, though her character is looked at fondly by most of the kids that watch the show. Her wardrobe speaks to the tropes that build her character, and she does not have a storyline in the show outside of her friend. 

Fig #3 Ivy investigating Teddy’s cheating ex-boyfriend (as a wonderful friend does).

Wiki, Contributors to Good Luck Charlie. “Ivy Wentz.” Good Luck Charlie Wiki, goodluckcharlie.fandom.com/wiki/Ivy_Wentz.

A more recent Disney show is the Marvel series Falcon and the Winter Soldier, which continues the story of Sam Wilson and Bucky Barnes following the death of Steve Rogers who, in his passing, named Sam the next Captain America. While based on a comic series, the show takes on many topical themes. As one of the protagonists, Sam’s wardrobe is particularly a subject of interest. Sam struggles to know if he or society would accept a Black man as Captain America. He debates if he wants to wear symbols that would link him to a country with issues on an institutional level, a country that is prejudiced against Black people like him; in turn, he doubts they would accept him because of his Blackness not meeting the stereotypical image of American heroism the public recognizes (Bonnette-Bailey and Gayles, Ch. 16). His choice to embody Captain America, to wear a suit altered with stars and stripes, and to utilize Cap’s shield is one that correlates Blackness with patriotism, though the series makes it clear that Sam is still looking for progress to be made before he could fully feel secure in representing America. Not only is it huge for Black men to be highlighted as hallmark superheroes due to the preconceived notion that Black heroes would not draw as many sales, but to have a Black man wear the flag—and acknowledge the anger he will receive, from both sides—is a statement of pride and of hope for real progress in the foreseeable future. I believe Sam’s costuming on the show is indicative of a new wave of shows from recent years that seek to bolster the Black image with professional, admired, and iconized wardrobes. 

 

 

Fig #4. Sam’s Speech, The Falcon and the Winter Soldier, Episode 6.

Giffert Liwang. “Sam Wilson Full Speech [HD] - the Falcon and the Winter Soldier (2021) - Episode 6 - Disney+.” YouTube, 23 Apr. 2021, www.youtube.com/watch?v=VNT0gRyKrFU.

Lastly, I present an example of television that speaks to how Black individuals are viewed in terms of fashion in a more realistic representation of life. In this episode of the reality show Dance Moms, Nia’s mother is incredibly irate that her dance teacher has Nia dressed in an afro and animal print; she argues that, while the majority of her other students get lyrical numbers or contemporary routines, Abby sticks Nia into typecasted, “performance-y” roles. I include this to once again reiterate the fact that there is an association of fashion with Blackness; an issue arises from people who find enjoyment in exaggerating these trends, or relying on them to make a stereotypical character that fails to be legitimized. 

 

 

Fig #5. Nia Sioux performing her jazz competition solo “They Call Me Laquifa!”

“She’s a Fighter 2011).” IMDb, www.imdb.com/title/tt2049026/mediaviewer/rm2510362624/?ref_=tt_md_1.

Including authentic narratives that allow for multi-dimensional portrayals of Black characters is crucial. Whether it be in television, movies, or any other form of art media, the significance of Blackness to a character can no longer be overlooked. In the past ten years alone, television shows seem to be making strides toward including more developed POC characters, but progress in mainstream popular media is slow. The wardrobe of Black characters, especially in recent shows, is speaking toward society’s impression of Black individuals as a whole, while  also speaking to the inherently progressive mission of establishing something influences cultural preconceptions of the Black identity.

 

Bibliography 

 

aionsCMclips. “[026] S02e04 - Psychodrama - Morgan Doesn’t Need No Key!” YouTube, 9 Oct. 2012, www.youtube.com/watch?v=u-Mwa2hPeYM.

Bonnette-Bailey, Lakeyta M., and Jonathan I. Gayles. “Black Popular Culture and Social Justice.” Routledge eBooks, 2022, https://doi.org/10.4324/9781003308089.

Cherid, Maha Ikram. “‘Ain’t Got Enough Money to Pay Me Respect’: Blackfishing, Cultural Appropriation, and the Commodification of Blackness.” Cultural Studies <=> Critical Methodologies, vol. 21, no. 5, SAGE Publishing, July 2021, pp. 359–64. https://doi.org/10.1177/15327086211029357.

Giffert Liwang. “Sam Wilson Full Speech [HD] - the Falcon and the Winter Soldier (2021) - Episode 6 - Disney+.” YouTube, 23 Apr. 2021, www.youtube.com/watch?v=VNT0gRyKrFU.

Gilmore, Ardeth J. "Fashion Trends: A Reflection of Our Political Culture." (2008).

Gooden, Tai. “LOVECRAFT COUNTRY Uses Body Horror to Liberate Ruby Baptiste - Nerdist.” Nerdist, 3 Nov. 2023, nerdist.com/article/lovecraft-country-body-horror-ruby.

Lawrence, Jonquil, and Bricks Team. “A Brief History of Trends That Originated From Black Communities - BRICKS Magazine.” BRICKS Magazine - if You Have a Voice, Use It., 29 June 2020, bricksmagazine.co.uk/2020/06/29/black-culture-in-fashion-a-brief-history-of-trends-that-originated-from-black-communities.

Ogden, Jane, and S. T. Russell. “How Black Women Make Sense of ‘White’ and ‘Black’ Fashion Magazines: A Qualitative Think Aloud Study.” Journal of Health Psychology, vol. 18, no. 12, SAGE Publishing, Dec. 2012, pp. 1588–600. https://doi.org/10.1177/1359105312465917.

Rooks, Noliwe. "From the Editor: Black Fashion Art. Pleasure. Politics." Nka: Journal of Contemporary African Art, vol. 37, 2015, p. 4-5. Project MUSE muse.jhu.edu/article/605633.

“She’s a Fighter 2011).” IMDb, www.imdb.com/title/tt2049026/mediaviewer/rm2510362624/?ref_=tt_md_1.

Vargas, Mary. “Fashion Statement or Political Statement: The Use of Fashion to Express Black Pride During the Civil Rights and Black Power Movements of the 1960’s.” Virtual Commons - Bridgewater State University, vc.bridgew.edu/undergrad_rev/vol5/iss1/19.

Wiki, Contributors to Good Luck Charlie. “Ivy Wentz.” Good Luck Charlie Wiki, goodluckcharlie.fandom.com/wiki/Ivy_Wentz.