Since being under fire for its balaclava sweater that resembled blackface, luxury brand Gucci is attempting to redeem itself. According to harpersbazaar.com, the Italian fashion house has announced a new global program and scholarship fund called Gucci Changemakers that will promote diversity and inclusion throughout the company with a multi-step action plan.
The program includes three tiers: the Gucci Changemakers Fund, a scholarship program, and a company-wide volunteering initiative. All three programs intend to foster racial diversity within the company as well as the fashion industry as a whole. Legendary designer Dapper Dan, who launched a street style-themed collection for Gucci last year, has been working with Gucci to develop Changemakers. Dan took to Instagram yesterday to publicize these steps towards progress:
Time will tell if these actions will be enough to redeem the brand and establish true inclusion and equity, but with DeRay McKesson, will.i.am, writer/activist Brittany Packnett as part of the Changemakers Council as well, Gucci is at least setting itself up to be held accountable.
For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.
MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.
“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”
She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.