Across the world, clothing reflects ethnicity, nationality, power, and freedom.  Within the United States of America, clothing is a direct reflection of time, power, and race.  The antebellum period in the United States of America refers to the years preceding the Civil war.  During this time, abolitionists were gaining momentum as tensions grew between the north and south.  Beyoncé’s song Formation, which debuted in 2016, was written in response to continuing oppression and violence against African Americans.  In her music video, Beyoncé uses flashes of black women in antebellum-era style clothing to reflect the time when the ultimate form of black oppression, slavery, was initially challenged.  These flashbacks also reflect the need for modern day change in the way black people are treated throughout the United States of America. Through the appropriation of traditional white culture in the antebellum-era, Beyoncé calls for change in the way black women are viewed in American society. 

The first scene which the audience is exposed to Beyoncé in antebellum-era attire is set in a small room where she sits rigid holding a small white parasol, in a white high-necked dress.  White, in the antebellum-era, symbolized power and status, while the high neck symbolizes innocence. Painted on the walls behind her are images of young slaves, while in the lyrics she discusses her heritage -- “My daddy Alabama, Momma Louisiana, you mix that negro with that creole make a Texas bama” (0:30).  This scene represents that blacks were once slaves, but now they sit alongside whites in the same houses and clothing that the whites traditionally wore.  However, Beyoncé’s rigid appearance, and lack of facial affect, allows the audience to see that the appearance of perfection may be misleading. The angles of this scene are reflected in medium shots and close ups in order to portray the look of disdain and condemnation Beyoncé feels towards the neglect of blacks in America. Scopophilia and the normative heterosexual gaze are also prevalent, as the camera focuses in on Beyoncé’s breasts and on her opening her legs in a seductive manner. While her clothing reflects that of a wealthy, white, innocent woman, her body suggests that she is there to be sexualized and taken advantage of the way that many black women of the antebellum-era were. 

While the garments worn by Beyoncé and the other characters within the second scene reflect power, they were historically worn by powerful, white, women.  Additional African American women can be seen on the couch, sitting rigidly and fanning themselves from the heat.  However, in these scenes the posture remains rigid, while the clothing has become scandalous for the timeframe, exposing shoulders and cleavage. With this scene, the camera has little range of angles in a slight transition from a long shot to a medium shot.   The chorus of this song -- “I go hard, get what’s mine” (2:23) – these words reflect the black woman’s journey to gain equality, acceptance, and status.  These words also go hand in hand with the contrasting fact that during this time period, and in this particular location, Louisiana, these women may have been slaves, and yet their dress and position reflect the opposite, i.e., women of power, wealth, and importance. The image of Beyoncé and her girls in a setting traditionally reserved for white women, signifies that in today’s society, African Americans and whites are equals, regardless of how African Americans were oppressed and demonized throughout history.  

Beyoncé then uses three young black girls - one being her daughter - in traditional white antebellum-style dresses, to display how white supremacy affects black women from an extremely early age.  The image of young girls is flashed as the lyrics sing, “I’m a star” (2:25). The contradiction between the words and the image lies in that black girls are taught that ‘white is pretty.’  In this scene, appropriation of white culture, with a simultaneous confidence boost of being a star reflects that black girls too can be innately beautiful and powerful.  Through using a close up shot, a strong message is sent to the audience that even in young children, white value and culture is imposed.  On the face of the girl in the center, a hint of satisfaction can be seen, while the other two children seem smug.  They too are in the room where pictures of slaves hang around them.  The implication of the power of white suppression on black culture generates perhaps the most powerful dialogue of all the antebellum shots throughout the video. 

With less than ten seconds left in the video, Beyoncé and her antebellum girls flash one last time across the screen.  The dresses hang off the shoulders, and the women are leaning back, less rigid than before. This scene once again forms a powerful contradiction as the lyrics sing, “Okay ladies now let’s get in formation” (4:27).   While their bodies suggest that they have relaxed and feel comfortable, the lyrics imply more than ever that action must be taken. The camera angles for this scene remain constant throughout each clip, differing between close ups, long shots, and medium shots. The facial effects also remain unchanged:  solemn and unwavering.  

Ethnicity, nationality, liberty, and power are all reflected through attire worldwide.  What a woman wears can show the time in which she lives, her race or social status, and the way she was treated on a day to day basis.  Black female slaves during the antebellum era traditionally wore torn cotton clothing due to lack of means and opportunity.  Today, when looking at the clothing worn by black and white women in America, it is nearly impossible to tell the difference.  The antebellum-era dresses on black women in the video symbolize the need for change in our mindsets regarding black women and beauty.  As racial tensions grow in America, with continuous accusations of unjust police brutality and lack of opportunity for people of color, Beyoncé’s song Formation gives way to a political element of both song writing, and music video creation. 
