‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

The sword,the pen,and the uterus: multidirectional feminist culture and the Argentine dictatorship of 1976–1983

During the period 1982–1999, a cohort of feminist cultural activists highlighted parallels between the political, gendered, racial, and linguistic frameworks used to justify state violence in Argentina of 1976–1983 and in Germany of 1933–1945. Their cultural works indicate the transnational aspects of Argentina’s failures of modernity, and the parallel responsibilities to trauma memory assumed by women and Jews as marginalized members of society, who consequently emerge as both local and transnational agents of democratization. A number of scholars have noted Argentine writers’ and playwrights’ adoption of Holocaust cultural constructs to represent the 1976–1983 dictatorship, yet these cultural contributions have not yet been studied from the combined perspectives of post-Holocaust and post-dictatorship feminist scholarship. By providing a gendered analysis of “Holocaust multidirectionality” within a global arena of “postmemory,” this article shows the convergence of the two terms in the cultural production of women who remember, represent, and transmit the experience and meaning of the Argentine military dictatorship.