Written by: Briana Riggins
the blacker the berry…
When you saw the promo videos of an Uncle Sam reimagined, or men in business professional attire with white gloves that you automatically assumed were black, you couldn’t help but wonder: what is The Blacker the Berry?
The Blacker the Berry embodies both Black Dandyism and Ghetto Elegance. It goes beyond telling a story but instead leaves the audience with an everlasting feeling and a powerful message: to be Black is powerful.
Our culture — the way we dress, talk, walk, and do our hair is not only a reflection of who we are, but of who we’ve always been and will continue to be. Black Dandyism challenges the stereotypes of what it means to be Black, and that’s exactly what this show did.
Ghetto Elegance stems from the constant misinterpretation of Black identity. To embody ghetto elegance is to hold Black beauty and boldness with grace and unity. The generational cookouts, the intricate braids, the grills, the long nails, and the streetwear fashion — they are not trends up for everyone’s interpretation, but it is our culture. They are expressions of pride, love, and history.
Originally meant to be titled “The Ghetto,” The Blacker the Berry became a movement. It wasn’t created to tell a fictional story but it was meant to leave a message, one that inspires the audience to embrace the boldness within their Blackness.
We’ve been called too loud, too reckless, too ghetto. But this production turned those words into art. The pearls and flowers in the hair, the Black Uncle Sam with grills and blonde hair, the woman in a gown made of newspapers orchestrating a man in a suit covered with sticky notes, braids as ties, and interlinked cornrows, each scene challenged those narrow definitions.
Because, you see, The Blacker the Berry is meant to be felt not just seen. It’s an interpretation of Blackness that defies misunderstanding and reclaims power through expression.
The director
The Head Director of this years 2025 Homecoming Fashion Show was Kaeden King-Casey, a graduating senior, Business Marketing major and Leadership Studies Minor, from Richmond, Virginia. Kaeden has been involved in the Hampton University Homecoming Fashion Show since his freshman year and finally as a senior, he was appointed as the Head Director.
Kaeden describes the word Ghetto as a description that people use to patronize us as black people and that in reality, they just can not find a word that describes black creativity. Black Ingenuity can be found in multiples facists but specifically of how we express ourselves through fashion. Ghetto elegance comes from the fact that ghetto has multiple different meanings depending on who you talk to, but in the context of The Blacker the Berry, it stands for black excellence.
With the process of creating a production this huge was actually very expedited which is what many do not realize. 400+ hours dedicated to the show for every single person involved was meant to bring Kaeden’s powerful vision to life. He explained how the fashion show tryouts held in the Hampton Universities Student Center was held before the Hampton v. Howard Game in Washington, D.C. and everyone behind the scenes and on stage modeling, were instantly put at work once everyone returned back to campus.
The exploitation of black people has gone on for decades, and the show was meant to shed light on the different scenes that all drastically differ. Kaeden describes these switches as what we had, to what we tried to do, to what we ended up doing, and to what we see/have now. He wanted to leave everyone with the impactful message that reflected how Black people have been exploited, the ways we’ve fought to reclaim our narrative, and how those movements continue to educate and inspire. It was also a reminder that our creativity is not only resistance, but art.
Although Kaeden, was overly-critical over his production he stated that the models did an amazing job of executing his vision. He was happy that their months of hard work was shown on the stage and able to express themselves the way they genuinely wanted to. It didn’t take until days after the show that he was able to fully process all that he had just accomplished.
The promos
When you saw the promos, the show was never meant to be given to you on a silver platter. When it goes into bring a production like this to life, every moment is meant to be intentional. So if you watched the Uncle Sam videos or the ones of the black art with the poem in the back, you were supposed to question yourself in the sense of “what is this about” or “what does this mean.”
I WANT YOU
In this video, Uncle Sam is seen walking down the aisle of a classroom. When he reaches the teacher’s desk, he picks up an American flag hat and places down a copy of To Kill a Mockingbird. He then looks directly into the camera, flashes a smile lined with grills, and declares, “I want you.” But what some may have failed to realize is the symbolism behind every factor.
Walking through the classroom could correlate with learning and bringing awareness to the subject at hands.
Picking up the American flag hat leaves the impression of who really embodies patriotism.
Putting down To Kill a Mockingbird symbolizes the themes of racial injustice and how the issues in the book are still being taught and re-lived to this very day.
The smile with grills blends “ghetto elegance” into a sense of power that reclaims a black aesthetic often judged by mainstream culture.
Saying “I want you” echoes the original Uncle Sam recruitment posters, but here, it is a demand for acknowledgment, not assimilation within the Black community.
white glove
In this video, no faces are shown — only movements. Each person wears white gloves, which stand out against their unseen skin. The men, dressed uniformly, march toward a man holding a sign that reads “Fashionable.”
As they move, their individuality shines not through their faces but through their hands. This is shown through the way they tap, gesture, and express personality without ever revealing identity. Though their faces remain hidden, it’s unmistakable that they are Black men.
Uncle Sam stands at the center, commanding them. By the end of the video, he removes his top hat and places it on the head of the man he deems “ghetto until proven fashionable,” then crowns himself this time with a New York Yankees cap.
The use of white gloves symbolize the meany definitions that black people had to abide by in order to be seen as “acceptable” specifically in white-dominated spaces. Although the gloves hide the men’s skins, and we aren’t able to see the rest of their being, their blackness is still undeniable. This represents how identity can not be erased or hidden under the symbols of conformity.
By focusing on their hands throughout the entirety of the video, the representation of silencing black people is unveiled. However, even in the midst of silencing, our self-expression and identity still shines through.
The man holding the “Fashionable” sign represents the standard of what’s considered acceptable or refined in mainstream culture. When Uncle Sam crowns the man “ghetto until proven fashionable,” it becomes a commentary on how Black style and expression are often labeled as “too ghetto” until validated by mainstream (often white) approval. This is also symbolized by the Yankees cap, an icon of American culture and fashion.
Altogether, the scene explores perception, acceptance, and reclamation. It describes how Black creativity doesn’t need validation to be powerful or beautiful, and how identity persists even when the world tries to cover it up.
for the workplace
This promo takes place in a barbershop — a sacred space in Black culture. A man sits in the chair, getting his haircut. When the barber hands him a mirror to see his new look, the reflection staring back isn’t his own but is instead the face of Black Uncle Sam. The man leaves the shop in visible distress, shaking his head as the video ends. His face is never revealed.
Kaeden explained that this scene was designed to express Black Dandyism through the creative and symbolic power of our hair which is a reflection of identity and individuality. It speaks to how we’ve often had to alter or separate parts of our culture to fit into spaces not made for us. This moment challenges the idea of changing ourselves for acceptance, instead celebrating the beauty in standing out, reclaiming, and redefining what it means to belong.
Our hair as black people are beautiful and the scene was strictly designed to describe that notion.
envy
This promo opens and sets the tone with a poem playing in the background that is verbally expressed by a black woman. It is accompanied by a deep, rhythmic clicking sound after each line. On screen, we see Black women braiding hair, practicing ballet, reading, and painting — each moment capturing the quiet power and artistry of what it truly means to be Black, beyond culture or stereotype.
The video closes with Black Uncle Sam staring into a television, and it’s revealed that the clicking sound came from him flipping through channels. This moment symbolizes how Uncle Sam (representing the white majority) is always watching, choosing what to see, and what to take. As he leans closer to the screen in awe, it reflects how society often tries to imitate, consume, and profit from the beauty and creativity that define us.
Real-life promo
If you missed it, in the Hampton University Café around noon on the Monday of Homecoming Week, you witnessed history – the first ever live promo for the Homecoming Fashion Show.
In this promo it is Uncle Sam and the men featured in White Glove marching down the stairs and handing out ghetto until proven fashionable cards to students sitting in the café. On the back of each card was a QR code linking directly to the show.
The men wore business professional attire and signature white gloves along with their mouths covered with strips of tape reading phrases like “too loud,” “too reckless,” and “too ghetto.”
Although this promo was organized at the last minute, its message still came through powerfully. It illustrated Uncle Sam’s control and manipulation, using influence to draw the people in and make them watch him, both literally and symbolically.
Logistics
Two of the Head-Logistics Directors include Kendra Hill, a graduating senior, Business Management Major from Connecticut. Along with Aniyah Barnett, a graduating senior, Biochemistry Major on the Pre-Med track, Psychology Minor, from South Jersey.
Kendra Hill
I had the pleasure of sitting down with Kendra, and she told me that one of the ways she made sure all the moving parts of this year’s Homecoming Fashion Show ran smoothly was through her skill of organization. She kept herself on track by setting reminders, creating daily to-do lists, and setting weekly deliverables. This helped her follow up with whoever needed following up, schedule meetings, and keep everything neatly planned on her calendar — all while keeping faith and prayer close along the way.
When it came to her creative yet business mindset, she always made sure to take into account the financial budget, ensuring that proposals and hard copies were planned and ready for pitching to administration.
One of Kendra’s main tasks in bringing The Blacker the Berry to life was working with administration to set up a financial account and donation page with Alumni Affairs and the Office of Advancement, something she was very proud of. She also worked closely with them to communicate about business plans and what was needed to make the show successful. She shared that the leftover money they raised could be used for future shows — something she sees as the beginning of a legacy. Kendra feels that at Hampton, we’re just starting to embrace the creative side of academics, and that this kind of funding can open more opportunities for students to explore their creativity.
She also believed she played a huge role in making sure everyone on the committee was okay, because she knew how easy it was to forget to take care of yourself while working toward such a big goal. She made it a point to check in with everyone’s mental, emotional, and physical well-being — starting meetings with small talk, sharing a laugh, or lightening the mood when things got stressful.
Another big part of her job was making sure every committee stayed organized and connected.
One of Kendra’s biggest challenges throughout the process was what we know as the “Hampton run-around.” She expressed how being adamant and persistent with administration could be difficult, especially when working around their schedules knowing of the strict deadlines her team had set. But she overcame it through consistency, late nights, and persistence that paid off in the end.
Kendra knew she wasn’t doing this just for herself or to build her résumé. She wanted to create an outlet for students to bring their visions to life — whether that was Kaeden, the models, those interested in walking, or anyone hoping to break into the creative industry.
As part of logistics, she made sure to keep a hand in every area — from styling and media to videography — overseeing all the committees and ensuring everything was organized in a way that allowed everyone to bounce off each other for a smooth production flow.
She expressed how Sam, the Creative Coordinator, always carried an energetic spirit throughout the process. She felt that she and Kaeden were often the ones stressed, so when one of them was down, the other would lift them up. She said that everyone in the committee were stressed about the process but not about life, which allowed them to still have fun and maintain high spirits because of their shared love for the show.
The advice she gives to anyone stepping into her role next year, like her shadows, is simple — if you don’t want to do it, don’t. You have to have genuine love and passion for the fashion show and entertainment industry because that’s what keeps you going on the hard days. She said she could tell her shadows grew more love for it over time because of the environment and energy they were surrounded by.
Kendra concluded our chat by describing the show as fruitful and rewarding. She said it was fruitful because of the family you gain along the way, and rewarding because of the feedback from people who loved the show and felt the emotion and hard work behind it. That’s what made it so special and emotional for her — knowing that everything truly came together in the end.
Aniyah Barnett
When I had a small chat with Aniyah, she talked about how she made sure all the moving parts — like models, sets, media, and timing — ran smoothly by having lots of meetings with administration, the logistics team, and working alongside Student Involvement leadership. She included how this year they did something different, which was ensuring there was a solid logistics team that included shadows, directors, and outreach. They split the logistics team up this way so that each role was clear on their expectations.
Working with people like Calvin J. Harris, the Director of Student Activities, and grounds crew members who handled lights, sound, and other technical elements for the school contributed to making sure all those parts worked effectively.
Aniyah’s main role focused on overseeing outreach and meeting with administration. She had to make sure funding was provided, the stage was built, lights were directed before the show, model contracts were signed for agreements and liability, practice spaces were reserved, and that Convocation was set up in time, among many other responsibilities. She stated that her team helped her a great deal and that they were able to pick up the fallen pieces of her hard work and dedication.
One of the biggest obstacles Aniyah faced was financial planning. Many potential donors saw the team’s outreach emails but didn’t take the event as seriously as they might have administrative initiatives. Additionally, she mentioned that not being able to contact sponsors until September, just a month before the show, made the process more difficult.
Despite these challenges, the collaboration across departments was strong. Through multiple group chats, shared spreadsheets, and consistent meetings, everyone knew their roles, deadlines, and responsibilities, allowing the production to flow efficiently.
Aniyah shared her love for her co-leads, Kendra Hill and Ahmere Taylor, and how much of a genuine help Kendra really was for her this year. She also stated how Ahmere was her guiding light when she first got into the fashion show and how she was the one who taught Aniyah and Kendra how to work with outreach, send professional emails, and communicate with administration. This year, Ahmere was able to take a step back and allow Aniyah and Kendra to take a step forward, though she still played a big role in constructing emails and making sure all contracts for sponsors, local businesses, and outreach were sent out.
Aniyah expressed how proud she was of Kendra for going from outreach to director this year and how much she admires the hard work and dedication she put in to make this year’s Homecoming Fashion Show successful. She shared how the two had always been friends, but this year she was able to see her in a more professional light that showed how much of a businesswoman Kendra really is. She told me that Kendra’s family owns a business, and she was able to use that knowledge in the show — from budgeting and professionalism in emails to overall organization. Aniyah felt it was impressive because not many people could do that, but Kendra was more than capable.
Aniyah also praised the logistics shadows, who handled much of the behind-the-scenes busy work such as ticketing visuals, programs, and outreach materials. She expressed immense pride and gratitude for their dedication and support.
The advice she would give to someone taking on her role next year would be to start early in terms of outreach. She believes they waited too long because of needing admin approval, but getting a head start on anything helps. She also said to stay organized — making folders for things like contracts and checkoffs for each year’s show so you don’t overlap past shows with the present one — and to be strict with deadlines. Most importantly, she said to make strong connections with administration because nothing is possible on Hampton’s campus without them, especially when it comes to Homecoming.
We concluded our chat with her expressing that she saw the show as generational — both in message and meaning. She said it spoke deeply to the generational effects within the Black community, from gentrification to how people are inspired by us or steal from us without giving credit. She emphasized how Black culture is often the thought but rarely the representation, and that’s what the show was meant to educate on. It was generational in the sense that we continue to pass down our culture, never letting it die. She explained how things like long nails, cornrows, or hoop earrings hold deeper meaning to us — and that The Blacker the Berry was so beautiful and impactful because it showed that not every part of our culture is meant to be shared. Some things are sacred and meant just for us.
Creative Coordination
This year’s Head Creative Coordinator was Sam Lipscomb III, a graduating senior Marketing major from Seattle, Washington. Sam believes fashion is a form of storytelling and a way to express who you authentically are. To him, it isn’t about the specific piece, but about how confidently and truthfully you wear it. His role in the fashion show centered on keeping everything organized — from managing practices and scheduling, to ensuring each creative element came together seamlessly.
Sam emphasized that bringing this year’s cohesive vision to life was a true team effort. Inspiration came from sources like the Met Gala and artist Doechii’s photoshoot, where three girls had interlinked braided hair. That image directly influenced one of the show’s most memorable scenes: two Black women with connected cornrows and a Black man jumping rope with their hair; a powerful symbol of creativity and cultural expression through Black hair.
Despite late nights, minimal sleep, and the constant coordination between stylists and designers, Sam and his team successfully brought their vision to life. He expressed pride in showcasing just how much Hampton’s students can accomplish when creativity and collaboration collide.
Having co-led the show last year alongside Kaeden King-Casey, Sam shared that their brainstorming began as early as June, with the goal of continuing the legacy of excellence that defines Hampton’s Homecoming Fashion Show. For Sam, who has been involved in the production since his freshman year, this final show felt surreal which was the perfect closing chapter to his fashion show journey here at Hampton.
MEdia
This years Media Co-lead was Miracle Gross, a third-year graduating Senior Strategic Communication Major, Marketing Minor from Alexandria, VA.
After asking Miracle a few questions, she wrote that as a Media Lead, she knew her job wasn’t to be in the spotlight but to capture the energy that often hides behind it. To her, that meant paying attention when no one thought the cameras were rolling, listening to stylists, watching last-minute adjustments, and tuning into the music.
She saw her role as both a leader and a listener, trusting each photographer and videographer to follow the same vision of capturing the show through the director’s eyes rather than their own. Her job was to oversee and unify, making sure all the content felt cohesive across multiple platforms.
Her main goal was to over-record because, as she put it, you can never recreate a real moment once it’s gone. She expressed how the show was charged with passion from every angle, so she wanted the camera to feel just as alive as the people it was capturing.
She also wanted to make sure she was honoring Kaeden’s vision. She didn’t want to alter or reinterpret the story but to amplify it. Miracle wanted the viewers watching online to feel like they were sitting front row, visualizing the director’s message come to life through her lens.
Although she tended to over-record, she never over-planned. She shared that the pace of the fashion show is so fast that you simply can’t afford to—it’s all about instinct and teamwork. Whoever on her team was available stepped in where needed, and they’d later share footage and ideas in real time. If one person caught a moment from a better angle, they’d combine clips to make the story seamless. To her, it was about execution, not ownership.
In her words, the goal was simple: no missed moments, no ego, just synergy.
Her biggest challenge during this year’s show was trying to be everywhere at once—catching every outfit change, every pose, and every reaction—while realizing there’s only one of you. She had to get creative by using closeups, cutting between perspectives, and editing in a way that gave every scene its rightful space. The challenge, she said, was shaping such beautiful chaos into something cohesive without losing its energy.
One moment Miracle knew she had to capture was Scene Three, Sunday’s Best. The newspaper dress and suit were pieces she had seen being created and instantly knew would be iconic. She also felt the jump-rope scene captured Black Dandyism so effortlessly, describing it as a love letter to Black childhood and culture. To her, those scenes were statement pieces, and she recorded the entire sequence from start to finish because she knew it would define the show’s legacy.
Her favorite part of the show was watching the directors shape a vision from scratch—seeing models adjust their walks, study their cues, and grow more confident with every run-through. She said she observed like a student, not just a leader, so she could absorb the creative process from every department. Miracle believes there’s something sacred about watching an idea become art right in front of you, especially when everyone involved believes in it just as much.
She concluded by saying that seeing everyone’s reactions online once the content dropped was deeply fulfilling and that she could feel the energy shift afterward. She noticed that this year, people were more moved than hyped. The pride in being Black, being seen, and being part of something that celebrated that identity so boldly was visible everywhere. The posture, confidence, and sense of belonging were noticeable in the way people carried themselves after the show. Everyone walking out a little taller—that’s the kind of storytelling Miracle lives for.
Videography
This year’s Co-Lead Videographer was Bryce Sanders, a third-year Marketing major from Lansing, Michigan. He also took on the role of stylist.
Bryce expressed to me that he never goes into shoots with a shot list, but he did have a vision that built off what he did for the production last year. He wanted the video to be cinematic enough to make people who weren’t there feel like they were, and for those who were there to feel like they missed something.
He shared his saying, “It’s not about what you can see, but about what you can feel.”
Bryce explained that he and his team didn’t need a set plan because they trusted their craft and each other’s abilities to make anything come to life. He said his team gave each other the space they needed to individually create something beautiful together. Some moments, he explained, required just a photographer, while others needed a videographer—or sometimes both.
He also mentioned that he doesn’t capture every moment in the show because it’s simply not possible, so he and another photographer worked together to make sure they weren’t over-capturing certain scenes but still getting all the key moments. He emphasized how important it was to capture what was being shown on the screen too, because much of the storytelling came from those visuals just as much as from the models and designs.
Working on this show taught him the power of storytelling through visuals, especially when it came to highlighting Black Ingenuity. He wanted to make sure the designs were captured because he felt people often don’t realize how much time and effort designers and stylists put into bringing each piece to life.
When I asked Bryce how it felt to work in such a fast-paced environment, he said that was actually the best part of his job. He explained that a lot of scripted work feels oversaturated to him and doesn’t tell a real story, but filming something live allows him to find the story within what’s already happening.
Bryce said his favorite part of the show was walking at the end and seeing the emotion behind all of the key pieces, co-leads, directors, designers, and stylists. Those last moments meant a lot to him because people don’t always see the work that goes on behind the scenes of a production like this—they usually only see the models. He shared that having his work recognized was meaningful because he feels Hampton doesn’t always give enough credit to the people working behind the camera. He was grateful that this year’s team went out of their way to make sure everyone was acknowledged for what they contributed.
To conclude, Bryce felt that this year’s show was emotional because highlighting Black Ingenuity and fashion through visuals and the scenes that were set touched something in his heart and made him feel something.
Styling
I had the pleasure of talking to one of this year’s stylists, Asia Poindexter, a third-year Nursing major from Hackensack, New Jersey.
To start off, Asia stated that a look she was most proud of in the fashion show was Scene Three, Jada Coleman’s look. She expressed how the concept behind her look was to give Addams Family mixed with Black elegance. The bow on the back of her dress was meant to accentuate elegance and beauty, while the veil was added to portray a mysterious vibe.
When it came to designing looks that interpreted The Blacker the Berry, she had to delegate them by scene. She told me how the first concept was “Diamonds from Dirt,” which was meant to give a rugged, street look to accentuate the idea that, as Black people, we have always created from what we have — using curtains, pillowcases, and bedsheets. She expressed how the styles had to look torn to emphasize that theme.
The next scene was “Imposter Syndrome,” and that concept represented how Black people have often tried to fit into a standard not made for us — one held by white people or other demographics that we didn’t naturally fit into. She explained how creating looks for that scene consisted mostly of business professional attire, paired with intricate hairstyles like big Bantu knots and braid designs with flowers and pearls. She emphasized how our hair was the one thing that allowed us to stand out and still be seen as elegant.
When it came to collaborating with stylists and designers, her role was to take their clothes and concepts and help develop them further. Once sketches were done, she would ask what materials they wanted to use and help fit the look more into the theme of each scene. She would look at designers’ pieces and figure out how to elevate them — adding her own stylistic touches to enhance what the models were already wearing.
To blend modern looks with historical Black aesthetics, she and her team curated outfits carefully. For example, one look featured jeans paired with a fur jacket to give a Lil’ Kim-inspired vibe, modernized with a half-up, half-down hairstyle or a pair of Jordans. They catered each look to a specific time period whilst maintaining elegance while adding boldness to elevate the overall style. Asia believes that as Black men and women, we often lean more into streetwear than businesswear, so the goal throughout the show was to blend the two seamlessly.
Asia did multiple styles for multiple scenes, and although she said it was very time-consuming, she loved every single part of it.
She stated that the most important thing was to stick to the theme of the show.
Asia also expressed how, as Black people, we were once deemed “not proper” or “aesthetically pleasing,” but have been able to reclaim our identity by allowing our hair to be natural and authentic. At one time, natural hair was considered unprofessional, but now we’ve taken back that power and embraced it as part of our self-expression. She believes fashion has become an outlet for us — no longer just about putting outfits together, but a way to express ourselves creatively and say, “this is who I am.”
Asia described the show as transcendent because it followed the meaning of the word — overcoming limits and turning them into something beautiful. She explained that she was able to learn the ins and outs of what it takes to put on a production that big. Previously being a model, she was used to focusing on herself and her walk, but as a stylist, she learned how to handle organization and constant problem-solving. It allowed her to overcome challenges and grow individually, seeing how many limitations there were throughout the process. Despite obstacles and frustrations, they were able to put on an amazing show.
She said this year’s show inspired her like no other — motivating her to dive deeper into her cultural brand and creative identity.
Models
When it came to talking to models I talked with four people from my favorite scenes.
The first one was Nathan Legardy Jr, a second-year Flight Education Major from Chicago, Illinois, a part of scene two.
The next one was Jordan Acevedo, a third-year Computer Engineering Major from New York, a part of scene two.
The third one was Jaylend Thevenin, a third-year Business Management Major on the Pre-Law Track from Atlanta, Georgia, a part of scene one.
The final one was Gary Herd, a second-year Electrical Engineering Major from Fairfax, Virginia.
Nathan
When it came to talking to Nathan about his scene, he felt like it represented African Americans trying to become preppy inside a white man’s world and how our hair was meant to stand out. Although we knew how to dress the part, he explained that we didn’t always know what to do with our hair. He described his look as ghetto, fashionable, and empowering.
Nathan was a part of both media-made promos and the live promo held in the Hampton University café.
He expressed that, as someone who is big on Black history, he felt the message the director was trying to get across was very important and valuable to him.
Backstage, he got his hair done right before the show, which made him feel stressed at first. He became even more nervous while watching his fellow models on the big screen, but when it was his turn, he looked into the lights and was able to do his part confidently.
He had previously participated in the Freshman Fashion Show and said that the Homecoming Fashion Show felt more nerve-racking because he could actually tell people were watching this time, rather than just looking into the bright lights. However, he also said this show made him feel more comfortable — to the point that it almost felt like another practice run.
A part of the creative direction that stood out to him was scenes two and three because he felt they were a great demonstration of the beauty in both hair and clothing.
Nathan shared that his favorite moment behind the scenes was goofing around with his friends. He recalled a specific moment where he got on the microphone and freestyled with them, which reflected how comfortable he felt with the people he was working with.
When I asked what people don’t realize goes into a show like this, he talked about how much sleep they lose and how the process is really a “build-your-own” type of show. He explained that when you’re placed into your scene, it’s because the director believes you’ll develop a personality that embodies what you’re portraying. Unlike the Freshman Fashion Show, where you were told exactly what to do, this one gave you more creative freedom.
He concluded by describing the entire show as a message.
Jordan
Walking in The Blacker the Berry meant being a representation of Black culture to her. Like Nate, she talked about how people often misinterpret us because of our hair and the ways we, as Black people, have tried to conform to societal norms.
When she first heard the theme, she admitted she was confused at first. She knew the phrase “the blacker the berry, the sweeter the juice,” but didn’t immediately see how it connected to the show. Once Kaeden explained it, she instantly loved it. She also shared her appreciation that the original name, “The Ghetto,” was changed.
Jordan said the moment that made her feel both proud and emotional was when everyone applauded at the end of the show. Seeing the creative directors, models, and production team all receive recognition made her feel overjoyed. She explained that Kaeden, Sam, and Aniyah had supported her from the very beginning of her journey at Hampton, and seeing their hard work celebrated was especially meaningful.
To prepare mentally for the show, she reminded herself that she was representing not only herself but also her community. She focused on staying positive during the long daily practices that could be draining. She knew that if she wanted to do something well, she had to give it her all. Physically, as someone who had never modeled before, she practiced by studying professional walks and consistently asking for feedback so she could improve each day.
Her outfit came together only the day before the show, but being surrounded by other creative people helped her find inspiration and figure out how to make the look work. She described her outfit as nonconformable, ethereal, and elegant.
She hopes that people remember the beauty of being different from her performance. Her scene focused on the struggles Black people have faced in professional spaces. Even when they dressed the part, they were still judged unfairly. She wants others to know that being yourself in every environment is not only powerful but also beautiful.
She recalled a funny and stressful moment backstage when another model borrowed her heels. When it was time for her walk, the model still hadn’t returned, and she had to go onstage wearing a pair that didn’t fit. She tripped slightly but recovered quickly. After her walk, she found her own heels just in time for her solo scene. She said she loved getting ready with all the other girls and that it felt like a real moment of girlhood.
Jordan also shared how much work goes into putting on a show like this. There were long nights, constant meetings, and frequent outfit adjustments when something didn’t feel right. The team searched through thrift stores, campus brands, and even each other’s closets to create the perfect looks. She said the process showed her how many creative minds it takes to bring something that looks so effortless to life.
She concluded by describing the entire show as art.
Jaylend
Jaylend played multiple roles in this year’s show. He served as a Co-Coordinator, a model, and a stylist.
He described his role in bringing The Blacker the Berry to life as being behind the scenes and making sure all the pieces were in place. From creating the program to organizing model headshots and helping with scene order such as who was walking when, what style they were doing, and what they were wearing, he made sure everything ran smoothly. He felt that much of his work behind the scenes was about keeping everything crisp and clean to bring Kaeden’s vision to life.
Jaylend said his favorite part of working alongside the directors, coordinators, and stylists was getting a better understanding of how things operate backstage. He had participated in the Homecoming and Freshman Fashion Shows during his freshman year and modeled in the Homecoming show again his sophomore year, but this year he wanted to be more hands-on. After experiencing both sides of production, he now feels more prepared and knowledgeable to help lead a show like this in the future. He also noted how the Freshman Fashion Show is more casual and fun, while Homecoming is a major event seen by the entire campus, media, and even outside publications, so the stakes are much higher.
He talked about the early mornings and late nights shared with Kaeden and Sam, filled with phone calls and coordination. Managing so many personalities while ensuring that everyone’s goals for the show were met was a challenge. From securing model contracts to collecting portfolio photos and involving stylists in every step, Jaylend worked to make sure everything came together seamlessly. He emphasized that at Hampton, presentation and prestige always matter.
When reflecting on what he took away from working on both sides of the production, Jaylend said he learned the importance of communication. He realized how some models expect to be styled a certain way based on their aesthetic but that stepping outside of their comfort zone can lead to growth and creativity. On the logistics side, he focused on keeping everyone satisfied and involved. For him, communication became the driving force behind successful teamwork.
Aesthetically, his favorite looks were the dress made entirely of denim and the one made from newspapers, both of which stood out for their creativity and craftsmanship.
His day-to-day routine was packed, starting with meetings right after class and continuing until two in the morning, followed by long nights of model practices.
Jaylend described the show as authentic because Kaeden wanted everyone to feel empowered, and to achieve that, everything about the production had to come from a place of authenticity.
Gary
Walking in The Blacker the Berry meant to Gary personally was a great feeling. He felt like displaying the message of Black Dandyism was portrayed very well and how it was more than just a show to him but it became like a family. He expressed how he met a lot of great people and valuable mentors that he will take with him even after the show.
Gary was a part of both media-made promos and the live promo held in the Hampton University café.
Gary’s look was a suit embedded with letters that had the text of “too loud,” “to ghetto”, and “too reckless.” He stated how the suit was made to look proper and how some said he sort’ve favored the Monopoly man but at the same time he still looked elegant.
Before he hit the runway he said the upperclassman and everyone were partying and getting excited to carry on this legacy to get excited for the show but also knew it was time to lock in and put on the show that they had been working so hard for for so long.
Apart of the creative direction that stook out to him the most was being apart of the live promo and handing out the cards was both important and fun. He felt like a lot of people saw it as creepy in which if you did not understand the message they were trying to portray it could look as so but he felt that as more people began to understand, they saw how cool it really was.
Being apart of the promos and displaying the message was very important to him as he was even the main contributor to the barbershop promo.
Within the live promo he stated how they were supposed to have music and Kaeden also stated to me how it was supposed to be all of the men from the show rather than four but because of the timeframe and the disapproval of admin it couldn’t be done.
Being apart of the promo allowed me to learn more about the message, creative and emotional side of the show than the average model. He stated that the barbershop promo took three to four hours of recording even though the final video was only 15-20 seconds long.
His favorite moment from the entire production was when everyone walked out in Business Professional attire. Inside of his head he was repeatedly telling himself not to mess up but once he got up there along with his peers who had worked long nights and the bright lights shining in your eyes, cameras flashing, and people saying your name, he expressed that it was a great feeling.
Gary describes his look as elegant, trill, and money. His look was personally designed for him and how his designer put a lot of emotion, creative thinking, and messages into it and he respects her for it. He felt like it stood out amongst other outfits in the show and it was an important piece to him. He told me how he was so happy when he was picked for wearing that specific outfit because it was different and he likes different.
The opening flood was actually his idea and he even picked the song along with the lights, spinning, and slow motion. For his interaction with his fellow model, Syd, he came up with the elegance of the interaction. He also added in faster spins and turns after his interaction for his personality walk.
His favorite part of the production was the chaos and stress that happened backstage before the show started because of how even in the midst of chaos something beautiful was still brought to life.
Something a lot of people don’t know about the show is that around 100 models were selected for the show but once they had cuts there were only 50-60 remaining.
He concluded with describing the entire show as family. From the people you meet in the show to the different creative aspects that everyone wanted to add to the show. Gary saw the show as cool and he values the strong bonds and connections he made and he is very excited to carry on the fashion show legacy for Kaeden.
…the sweeter the juice
The Blacker The Berry is more than just a production, or a ticket you bought just to showcase your homecoming outfit amongst your peers. It is a movement. It is to educate everyone about black exploitation and the beauty behind our “ghettoness”.
To be ghetto, to be loud, to be reckless, is to be black, bold, empowering, and beautiful. When I asked every interviewee if they could describe this show in one word and feeling, I received answers like moving, generational, rewarding, surreal, art, emotional, and authentic. And truthfully, as someone with a VIP ticket who was able to experience the show up close and personal, all of those answers are completely correct.
The person I was when I walked into the show was not the same as the person who left. Being on an HBCU campus is all about black companionship and culture and this show demonstrated every aspect. Being unapologetically black is what The Blacker the Berry roots from and it should have inspired everyone to carry their blackness with grace. To walk in the style that you created or that your family walks in, to talk with pride in your voice and lift your chin up when doing so, to love yourself and your fellow peers with all that you can, and to most importantly be authentically you.
You, Black woman or Black man, are a diligent piece of art. The color of your skin is not the only thing that defines you. As Black people, we are individuals with different personalities, passions, and souls — yet we unite as one not just because of the color of our skin, but because of the shared strength, creativity, and love that live within us. We carry generations of resilience and brilliance in everything we do, and that is what makes us, us.
To honor that truth, I send out a special thank you to everyone who helped bring this production to life. The Blacker the Berry will live within our hearts forever.