Divine Reimagined: Through the Afro-Queer Lens invites viewers to consider the transformative power of art and identity. How can icons like Divine evolve when viewed through new cultural lenses? What does it mean to celebrate boldness and visibility in a world that often seeks to marginalize those who embody it?

Through this project, I honor the legacy of Divine and John Waters while asserting the enduring vibrancy of Afro-Queer creativity. The result is a celebration of camp, drag, and cultural fusion, transforming an iconic aesthetic into a testament to the power of reimagination.

"Divine Reimagined: Through the Afro-Queer Lens" is a multidisciplinary wearable art project that reimagines the legendary drag performer Divine, celebrated for her work with filmmaker John Waters in the cult classic Pink Flamingos. Both Baltimore icons, Divine and Waters have profoundly shaped drag culture, camp aesthetics, and pop culture at large. This project merges African gown design with the theatricality of queer drag pageantry, creating an Afro-Queer reinterpretation that celebrates visibility, self-expression, and artistic transformation.

A Multidisciplinary Experience

Wearable Art
At the heart of this project is the gown itself, a dynamic piece of wearable sculpture. With 200 yards of hand-layered tulle creating a voluminous, cloud-like silhouette, the gown fuses the craftsmanship of African gown-making with the boldness of drag pageantry. Every pleat and embellishment tells a story of cultural fusion, embodying the transformative power of art to reclaim and celebrate identity.

Photography
This project is presented through high-saturation photography, capturing the interplay of light, texture, and movement across the ensemble. The vibrant edits and dramatic framing honor the vibrancy of Divine’s original aesthetic while situating it within an Afro-Queer perspective. Each image frames the gown as both a tribute to and an evolution of camp’s theatricality.

Conceptual Art
At its core, this work is a dialogue between past and present, reimagining Divine’s legacy while celebrating Afro-Queer identity. It offers a space for viewers to reflect on how cultural icons are transformed through diverse lenses and how camp connects global communities in their celebration of individuality and creativity.

Makeup and Prosthetics
I included a bald cap and exaggerated makeup to replicate Divine’s distinctive look, bridging her aesthetic with the theatricality of Afro-Queer drag. These elements emphasize the physical transformation inherent in drag and the cultural transformation achieved through reimagining icons.

Creation and Craftsmanship

Every detail of this project was designed and constructed by hand, with meticulous attention to authenticity and artistry. The gown required over 200 yards of tulle, layered and shaped to create a cascading silhouette that exudes grandeur. The corset, a centerpiece of the ensemble, was hand-sewn with structural reinforcements, balancing functionality with dramatic flair. To recreate Divine’s iconic look, I crafted and painted a custom bald cap and paired it with her signature arched brows and exaggerated eyeliner.

This process was deeply informed by research into African gown aesthetics and Divine’s film appearances. The bold textures, intricate detailing, and meticulous styling reflect both traditions, ensuring that this piece pays homage to its inspirations while adding new dimensions to their legacies.

Blending African Gown Design with Queer Pageantry

The ensemble is a sculptural masterpiece that merges traditional African gown elements with the exaggerated proportions of drag pageantry. The cascading layers of tulle create a sense of movement and presence, while the corset’s metallic accents and intricate beadwork evoke the opulence of both African design and drag.

To pay homage to Divine, I integrated bold colors and dramatic textures reminiscent of her larger-than-life persona. The use of a bald cap and exaggerated makeup amplifies her aesthetic while incorporating Afro-Queer influences, transforming the wearer into a living sculpture. This fusion celebrates the intersections of culture, identity, and art.

Themes of Transformation and Celebration

This project celebrates the transformative power of drag and camp to transcend cultural boundaries. It reimagines Divine’s boldness through Afro-Queer aesthetics, emphasizing the universality of camp as a tool for visibility and self-expression. The oversized gown, dramatic styling, and bold colors amplify the act of taking up space unapologetically, embodying the defiance that defined Divine’s career.

Rather than challenging historical narratives, Divine Reimagined enriches them by highlighting the intersection of race, gender, and queer identity. By blending Divine’s aesthetic with Afro-Queer influences, I hope to assert that camp is a universal language that celebrates individuality and creativity while connecting communities across boundaries.

Divine’s Legacy and the Politics of Camp

Divine, born Harris Glenn Milstead, was a trailblazer in drag culture and an enduring symbol of transgression. Her collaboration with John Waters in films like Pink Flamingos (1972) broke boundaries and redefined taste, earning her the title of “the filthiest person alive.” Divine’s declaration, “Filth is my politics! Filth is my life!” became a rallying cry for rejecting societal norms and celebrating excess.

Her work continues to inspire drag artists to embrace theatricality, authenticity, and defiance. Divine’s influence on pop culture and camp aesthetics paved the way for drag to be recognized as art. This project honors her legacy, reinterpreting her iconic style through the lens of Afro-Queer identity to highlight camp’s capacity to connect diverse cultural expressions.

Photos were taken by Sihan, with all styling, costume design, prosthetic work, and photo editing executed by me to bring this vision to life.

Through this piece, I invite viewers to consider the challenges Black queer bodies face simply existing in public spaces. What does it mean to protect ourselves in a world that makes us both a spectacle and a target? How does the act of creating and wearing such armor transform the body into a declaration of resilience and power?

The spikes, belts, and reflective surfaces of this ensemble turn me into both a shield and a weapon—a living testament to the need for self-preservation. The choice to walk through Baltimore’s harbor reflects the city’s duality as both a vibrant community and a site of vulnerability for Black trans and queer individuals. By navigating this space in my armor, I reclaim it, asserting my right to be seen, to move, and to exist unapologetically.

"Chrome Self Protection" is a multidisciplinary project that merges wearable art, video, and sound design to explore themes of Black queer resilience, the need for self-protection, and the transformation of the body into a site of resistance and defiance. This piece reflects the constant tension of being seen as a spectacle while being denied meaningful interaction with the world—a reality Black queer bodies face daily, especially in Baltimore, where the loss of Black trans lives is a stark reminder of the hostility we navigate simply for existing.

The centerpiece of the project is a wearable art ensemble that transforms my body into armor. The outfit, constructed from shimmering silver fabric with disco-like platelets, features dramatic spiked cones erupting from the shoulders, sleeves, and toe covers. The spikes on the sleeves flow downward, creating an almost cascading effect but with sharp, rigid edges. They make it impossible to hug or touch anyone without the spikes figuratively (and perhaps literally) poking them. This design speaks to the isolation Black bodies experience—we are often seen, examined, or admired but are rarely allowed to truly connect without repercussions.

The cascading belts that drape from the upper body, taut at the top and looser as they descend, symbolize the constant negotiation between the restrictions placed upon us and the desire for liberation. A black face-covering headpiece, crowned with a silver spike, obscures my identity while asserting my presence. This duality of invisibility and visibility is at the heart of what it means to navigate the world as a Black queer person.

I also wear a coverup piece in the video—a black base adorned with shiny silver dots. When worn over the garment, it creates an anti-KKK aesthetic, deliberately subverting the imagery of intimidation into one of reclamation. The piece confronts the idea that Black bodies must protect themselves not only from physical harm but also from the systemic oppression that looms over us. By turning this iconography on its head, I assert the power and beauty of survival and transformation.

Video and Soundscape

The video was filmed in downtown Baltimore’s harbor, a space that holds dual significance: a bustling public area and a reminder of the isolation Black queer bodies face in urban environments. The piece begins with an ominous view of the harbor, accompanied by the sound of a ticking clock. This sound builds a sense of urgency, reminding viewers of the fleeting nature of time and the preciousness of life. As the clock ticks, the word "AAVE" is whispered hauntingly, almost like a spectral call, as the visuals shift into motion.

The video accelerates and reveals me in the coverup, walking deliberately through the harbor. Shots of me in the ensemble interacting with the environment flash by in quick, disjointed sequences, mimicking the fragmented way Black queer individuals often navigate public spaces—seen yet disconnected, present yet under constant scrutiny. The clock’s ticking intensifies as these moments pass, creating a haunting juxtaposition between the beauty of the garment and the harsh reality it represents.

The video concludes with a composite image: various shots of me in the outfit, frozen in a wallpaper-like screen, as my logo spins in the center. The echoes of "AAVE" reverberate, layered with increasing reverb, creating an unsettling yet empowering ending. The soundscape mirrors the visual elements, turning the video into an immersive narrative of survival, resilience, and self-expression.

Craftsmanship and Inspiration

The ensemble is entirely handcrafted. The shimmering silver fabric was carefully pleated, layered, and sculpted to maximize its interaction with light, creating a kinetic effect with every movement. The spikes on the sleeves, shoulders, and toe covers were constructed with precision, emphasizing the sculptural quality of the outfit. The belts, which cascade downward, were designed to embody both restriction and freedom. The headpiece—a black face covering topped with a silver spike—adds an element of anonymity and protection.

This piece is inspired by the resilience of Black queer bodies and draws literary resonance from works such as Samuel R. Delany’s Dhalgren and Octavia Butler’s Bloodchild, which explore fragmented identities, survival, and the transformation of the body into a vessel of creation. These themes are central to my work, which seeks to bridge the personal and the communal through wearable art.

Multidisciplinary Interaction

• Wearable Art: The armor itself is a tactile exploration of form and function, combining sculpture and fashion to transform my body into a living narrative.
• Video: The video amplifies the ensemble’s message, blending the physical and the digital to explore themes of survival and resilience in urban spaces.
• Sound Design: The custom soundscape ties the visual elements to an auditory experience, layering echoes and rhythms to heighten the emotional impact of the piece.
• Conceptual Art: By incorporating subversive imagery and addressing systemic oppression, the work challenges viewers to confront the reality of Black queer existence.

"Chrome Self Protection" is an unapologetic declaration of survival, strength, and transformation. Through the interplay of wearable art, video, and sound, I aim to create a piece that not only protects but also provokes—turning armor into art, defiance into beauty, and resilience into an unforgettable statement.

"Cheetah Café: Bodega Chronicles" is a multidisciplinary wearable art and performance project blending drag, fashion design, music, and performance art into a surreal and camp-filled exploration of transformation, resilience, and the commodification of identity. Inspired by absurdity and gaudiness, the piece reimagines a bodega as a fantastical, theatrical space where a cheetah-clad figure serves as both the provider and the spectacle. Every element is handmade by me, with attention to detail and materiality, emphasizing resourcefulness, craft, and connection to local culture.

At its core, the work celebrates camp aesthetics, drawing from the tradition of using humor, exaggeration, and the theatrical to critique societal norms. The gaudy and over-the-top design of the ensemble—featuring a floor-length overcoat, a sculptural hat, and a milk-dispensing breastplate—deliberately leans into absurdity. By transforming everyday items like milk, coffee, and a blunt into the tools of an elaborate performance, the piece revels in its ridiculousness, challenging the audience to find meaning and joy in what might otherwise seem frivolous.

The ensemble itself is a testament to creativity and resourcefulness:

• The Overcoat: Made from locally sourced cheetah-print fabric, the coat features dynamic pleats, gathers, and triangular cuts that shift and catch the light with movement. It serves as a veil of mystery, concealing the transformative elements beneath.
• The Hat: Constructed from reclaimed poster board and paper strengthened with paper mache, the hat features a functional hinge door that transforms it into a whimsical storage vessel.
• The Breastplate: Combining Worbla and silicone breastplates, this sculptural piece is engineered with precision. Carved compartments hold wine bags that dispense milk through nozzles placed where nipples would be, merging functionality with absurd humor.

The Performances:

1. The Milk Ritual (Set to "Tom’s Diner"):
   The performance begins quietly, as the artist lip-syncs to the iconic “do do do” refrain of Tom’s Diner by Suzanne Vega. Dressed in the dramatic overcoat, the artist sets a table on stage, pulling glass cups and a coffee carafe from a bag with deliberate precision. The audience, intrigued by the routine but unaware of what lies beneath, watches as the table is prepared and coffee is poured—a nod to everyday rituals. As the music progresses to the line, “And instead I pour the milk,” the artist dramatically unveils the breastplate, revealing its absurd functionality. With the line looping in a custom sound mix, milk is poured from the breastplate into the coffee cups, transforming the mundane act of coffee-making into a surreal spectacle. The absurdity peaks as the artist aggressively drinks the coffee, eliciting laughter and cheers from the audience.

2. The Hat Reveal (Set to Erykah Badu’s "On & On"):
   In this performance, the sculptural hat takes center stage. Lip-syncing to Erykah Badu’s soulful On & On, the artist embodies a commanding presence as the song builds to the lyric, “Oh, now I’m feeling high.” At this moment, the music cuts dramatically, and the artist opens the hinged hat to reveal a blunt. Lighting it on stage, the act blurs humor, defiance, and self-care, transforming the wearable art into a tool for narrative and interaction.

Multidisciplinary Interaction:
Each artistic discipline interacts to build the audience’s journey through the piece. The visual art of the ensemble draws the eye, creating intrigue and suspense. The music shapes the emotional arc of each performance, from the steady buildup of Tom’s Diner to the dramatic shift in On & On. The performance art creates an intimate connection with the audience, as each action—setting the table, unveiling the breastplate, or opening the hat—draws them deeper into the surreal narrative. Finally, drag performance transforms the artist into a dynamic, living sculpture, amplifying the absurdity and joy inherent in the work.

"Cheetah Café: Bodega Chronicles" challenges perceptions of utility, gender, and art, while celebrating the gaudy, absurd, and transformative. The piece invites viewers to confront their expectations, revel in the humor, and embrace the surreal in a space where every action defies convention and reclaims power through the art of drag.

Plaid Rebirth invites you to question your own relationship with materiality and identity. What does it mean to reclaim the discarded, both in objects and in self-perception? How can transformation—whether through fashion or identity—serve as an act of defiance and renewal? Through this work, I demonstrate that sustainability, creativity, and empowerment are deeply interconnected, with each stitch, pleat, and photograph serving as a testament to the beauty of reinvention.

"Plaid Rebirth" is a multidisciplinary wearable art project that transforms thrifted and discarded garments into a bold statement on sustainability, transformation, and identity. Crafted entirely by hand, I created this piece to celebrate resourcefulness, creativity, and self-expression through fashion and drag. Set against the vibrant backdrop of Baltimore’s Artscape festival, this ensemble reclaims public spaces as stages for Black queer visibility and resilience.

Vibrancy and Visual Storytelling

I photographed and edited each image to emphasize the vibrancy and boldness of upcycled fashion. The photos are heavily saturated, bursting with color, and feature vivid backdrops, including graffiti-filled walls and kaleidoscopic urban settings. I wanted every shot to radiate life and energy, shattering the misconception that thrifted or reused clothes must be dull or understated. By saturating the colors and enhancing the urban aesthetic, I transformed the ensemble into a celebration of joy, resilience, and creativity.

Thrifted clothes don’t have to be dull. Through bold edits and intentional compositions, I aim to show how discarded materials can be elevated into something extraordinary.

Design and Craftsmanship

The ensemble consists of multiple layers, each contributing to the narrative of reclamation and rebirth. I constructed a fitted black corset with boning repurposed from the plaid shirt and added plaid accents and pleated details to frame the design. The lower half combines a sleek black skirt with a pleated plaid half-skirt, creating dynamic textures and movement. The outfit is crowned with an oversized red bow trimmed with plaid fabric, sitting atop a custom-sculpted blonde wig.

To create the wig, I combined two hairpieces, layering and sculpting them into a single oversized creation. I styled the bow by hand, using fabric remnants from the outfit to ensure it complemented the ensemble’s bold theatricality. Every detail—from the pleats in the skirt to the trim on the bow—was carefully constructed to merge sustainability with a striking visual narrative.

Themes of Reclamation and Identity

The act of transforming thrifted garments into a cohesive, striking ensemble mirrors the process of self-reclamation that Black queer individuals often undertake. Just as these garments were once overlooked and discarded, I gave them new life and purpose, symbolizing the resilience and creativity required to navigate and thrive in a world that frequently seeks to marginalize us.

The use of plaid fabric evokes its historical ties to working-class identities and the labor associated with textiles. By incorporating this fabric into a high-fashion context, Plaid Rebirth challenges these associations, redefining the material as a symbol of empowerment and reinvention.

Sustainability and Transformation

This project is my response to the environmental crisis caused by fast fashion, where billions of garments are discarded annually, contributing to overflowing landfills and ecological degradation. I used thrifted materials—including a plaid shirt, black t-shirt, red dress, and black dress—to construct the entire ensemble, highlighting the potential for creativity to combat wastefulness. Each element of Plaid Rebirth is an act of reclamation, turning overlooked and discarded items into a cohesive and striking work of wearable art.

Drag and Performance

For me, drag is inherently transformative. It takes the everyday and elevates it into something extraordinary. Plaid Rebirth builds on this principle, merging sustainability with the performative nature of drag to create a piece that not only transforms materials but also challenges norms around fashion, identity, and waste.

The images accompanying this piece were taken during Artscape, Baltimore’s premier arts festival. By placing the ensemble in this public and vibrant space, I reclaim the festival as a stage for Black queer artistry. These settings highlight the dynamic tension between celebration and visibility, challenging viewers to confront the systemic marginalization of Black queer bodies in public spaces.