Fashion
Ruth E. Carter Sets Oscars Record As Most-Nominated Black Woman
The legendary costume designer received her fifth Academy Awards nomination for her work on ‘Sinners.’
Ruth E. Carter is officially in a class all by herself. The legendary costume designer made history last week as the most-nominated Black woman in Academy Awards history for her work on “Sinners.” The Ryan Coogler film is also making history this awards season, earning 16 Oscar nominations, more than any other film this year.
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With five Oscar nominations and two wins, the milestone adds to a career that has steadily reshaped how Black stories are visually told in Hollywood.
Many first came to know the woman behind the work in 2019, when Carter became the first Black person to win the Academy Award for Best Costume Design for her work on Black Panther. The win marked Marvel’s first Oscar and signaled a broader shift in how costume design was being recognized as central to world building. Carter grounded Wakanda’s visual language in African and diasporic traditions, using research and cultural specificity to shape how characters and communities were understood on screen.
Later that same year, Carter also became the first Black costume designer to receive a star on the Hollywood Walk of Fame.
But her influence stretches far beyond awards and milestones. As she noted in Episode 2 of her Behind The Seams channel, she was shaping Black visual history “before the days of Spanx,” working on more than 50 feature films over the course of her career.
That body of work includes more than a dozen collaborations with Spike Lee over 25 years, including Mo’ Better Blues, Jungle Fever, and Do the Right Thing. She also designed costumes for Tina Turner’s biopic “What’s Love Got to Do With It,” as well as Rosewood and Selma. Carter earned additional Oscar nominations for Malcolm X, Amistad, and Black Panther, reinforcing the consistency of her work across decades and genres.
Carter has said her passion for costume design came from a desire to celebrate the literal fabric of Black art and culture. “I wanted to create costumes worn by people who look like us and by artists who wrote stories about us, who made our future possible for us,” she said.
“We were living our Afrofuture behind the scenes and in front of the camera,” Carter said of her work with Lee. “We were telling our stories the way we wanted to tell them, not the way Hollywood wanted us to tell them.”
Over the years, her work has expanded what was possible for designers and creatives who had rarely seen their work acknowledged at the highest levels of the industry. Carter’s career helped reframe costume design as a space of authorship and influence, not simply execution.
That legacy continues with Sinners. While her work is rooted in Blackness, it is a reminder that her success is not tied to a single genre or moment, but to sustained excellence.
