Karyn Wagner, the costume designer for Tyler Perry’s film The Six Triple Eight, embarked on a meticulous journey to accurately portray the only all-Black Women’s Army Corps battalion to serve in Europe during WWII. The film, streaming on Netflix, highlights a largely untold story, emphasizing the challenges and triumphs faced by these women. Wagner’s research delved into the historical context of the era, recognizing that Black women were often excluded from mainstream shopping experiences and relied on homemade or altered clothing. This understanding informed Lena Derriecott King’s (Ebony Obsidian) early wardrobe, featuring floral dresses symbolizing the love and support of her family. A serendipitous encounter with a vibrant fabric inspired Lena’s memorable dress, reflecting the joy of her relationship with Abram David (Gregg Sulkin). The dress, along with Abram’s coordinating attire and the chosen car, created a poignant "capsule of joy" amidst the film’s somber backdrop. This visual harmony underscores the devastating impact of Abram’s death, a turning point that fuels Lena’s commitment to joining the WACs and fighting against the forces that took her love.
The task of costuming the WACs presented an immense logistical challenge. Wagner and her assistant, Josh Mar, exhausted traditional avenues like rental houses, finding only scant remnants of period uniforms. Their search expanded globally, scouring online marketplaces and reaching out to collectors. The few original pieces they unearthed were too small, reflecting the historical reality of uniforms not being designed for the figures of women of color. This necessitated a complete overhaul of the uniform production process. Wagner collaborated with Heidi Hafer to redraw and resize original patterns, accommodating the curvier figures of the actresses. This meticulous approach ensured an authentic representation of the women who served, moving away from the unrealistic and often inaccurate depictions of body types in historical films.
The scale of the costume production was staggering, comparable to outfitting an entire season for a major clothing brand. Wagner oversaw the creation of 1,200 uniforms, 1,600 pairs of shoes, approximately 1,400 pairs of gloves, 1,000 purses, and four different hat styles. Even pantyhose, foundation garments, and coveralls were custom-made, demonstrating Wagner’s unwavering commitment to detail and historical accuracy. Sourcing materials was another hurdle. The scarcity of appropriate wool led Wagner to commission the weaving of 12,000 yards specifically for the film. Thousands of buttons, a seemingly minor detail, were cast to ensure uniformity across the multitude of uniforms. This dedication extended to the creation of period-accurate galoshes, a seemingly small element that held significant meaning for Wagner in capturing the spirit of the time. The sheer volume of items produced speaks to the monumental effort required to bring this story to life.
Beyond the sheer quantity, the details within the costumes further enrich the storytelling. Kerry Washington, playing Captain Charity Adams, embraced the collaborative process, thoughtfully considering each garment in relation to her character. An early scene depicting the women en route to training camp showcased custom-designed fabrics, highlighting a vibrant, patriotic flag dress adorned with unique, repurposed airplane buttons. This subtle detail served as a poignant tribute to Abram, connecting Lena’s personal loss to her commitment to service. The inclusion of historical figures like FDR and Eleanor Roosevelt, played by Sam Waterston and Susan Sarandon respectively, offered another opportunity for nuanced costuming. Their attire reflected the practical, non-fashionable sensibilities of the era, particularly Eleanor’s preference for well-made, yet understated dresses, reflecting the wartime ethos of making do with what one had.
Oprah Winfrey’s portrayal of Mary McLeod Bethune, Head of the National Council of Negro Women, presented a unique challenge and opportunity. While Bethune appreciated fashion, Wagner was mindful of the societal constraints placed on Black women during that time. Dressing too fashionably could lead to unfair judgments and accusations. Therefore, Bethune’s costumes reflected a quiet elegance, incorporating details like antique lace, hinting at a respect for the past and a subtle display of personal style within the boundaries of social expectations. This nuanced approach acknowledges the layered complexities of self-expression within a racially charged environment.
Wagner’s work goes beyond simply recreating historical garments. She uses costume design to convey character depth and societal nuances. The clothing choices for the main characters establish their values, their sense of duty, and their place within a complex historical context. The power suit worn by Bethune, for example, communicates both strength and grace, reflecting her influential position. This attention to detail extends to the unspoken narrative of economic disparity and the limited opportunities available to Black women at the time. Many joined the WACs not just out of patriotism, but also as a means of economic advancement and access to the GI Bill, a crucial pathway to generational wealth. This underlying theme, though not overtly stated in the film, is subtly woven into the fabric of the characters’ lives through their clothing, adding a layer of depth and historical significance to their journeys.
