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28 TEACHING BLACK DESIGNERS
American consumer market for several Fortune 500 clients. When I discussed the potential offer with an industry mentor (a White, male creative director at a suc- cessful, mainstream agency), he advised that I not take the position at the minority agency, as it would stigmatize me as only being able to do “that” sort of work. I took his advice. To work in this industry and
be taken seriously meant that while my intersectionality of being a Black, female designer was appealing for diversity ini- tiatives, when it came down to it, my work needed to blend into White-dominant culture to be deemed legitimate.
In an attempt to critically examine Eurocentric design, many educators have begun to diversify their teaching materials, often encouraging their students to find ways to represent their identity in their design work. While it’s important to create opportunities for students to share their cultures, we must be careful to make sure minority students don’t feel tokenized or put on display for their differences.
As educators work to move the nee-
dle forward, it’s important for industry “gatekeepers” (creative directors, recruit- ers, etc.) to recognize how differences
in culture and identity might show up in the portfolios of Black designers and to confront potential biases in their reviewing standards.
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ban boutique that sells collegiate paraphenalia and is located in atlanta, ga.
STUDENT ENERGY My students refer to daily life in their branding projects. Poster by Damyr Moore (left); logo by Ravyn McCollins (above); courses taught by Kaleena Sales, Tennessee State University.
clothing boutique