Stylecurated: DOURIEAN FLETCHER: JEWELRY OF THE AFROFUTURE @MAD MUSEUM

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Okoye, General of the Dora Milaje, as seen in Marvel Studios’ Black Panther (2018), full ensemble featuring necklace, belt buckle, armor, and shoe accessory, c. 2018; Ruth E. Carter and Marvel, designers and Douriean Fletcher, maker

"Who is Douriean Fletcher?" I asked myself, as I headed to the Museum of Arts and Design (MAD) to check out the Douriean Fletcher: Jewelry of the Afrofuture exhibit. Since the kid came along, I've been distracted, but still peripherally familiar with happenings in fashion. The name sounded familiar, but I couldn't place the work. When the elevator doors opened, there was gold. There was a creative ferocity. And there was a bold, unmistakeable Black Afro-futurist vibe. Surrounded by images and costumes from Marvel's Black Panther, everything snapped into focus. Keep reading for a look inside...

Installation view Douriean Fletcher: Jewelry of the Afrofuture at Museum of Arts and Design

The exhibition features 150 works--many of which are crafted by Dourien Fletcher and some mementos that provide inspiration. The first of three galleries sets the foundation of the "Formative Years"--who Douriean Fletcher is, where her aesthetic comes from, and why her culture is central to her storytelling. Early pieces emphasize ritual, protection, and Afro-centrism—jewelry as a declaration rather than an accessory. it's an introduction to the spiritual and cultural vocabulary that later shows up in her later, more sculptural works.

Up close of the dress, hardware and headpiece

The second section is where the energy intensifies. This is the world of Black Panther, Roots, Coming to America—a convergence of concept sketches, prototypes, and the finished pieces that helped shape Black visual identity in Hollywood. Up close, the craftsmanship is stunning: hand-forged metal, layered textures, and silhouettes that blur the line between jewelry and armor. A row of of black mannequins wearing nothing but pieces from the Messengers collection makes you pause. With the body stripped of costume and context, the jewelry become the narrative--each piece distinct, sculptural and commanding its own space. Off-screen, without the choreography of film lighting or movement, the work takes on an entirely new presence. They’re bolder. Heavier. More intentional.

Costume worn by Queen Ramona in Black Panther, designed by Ruth E. Carter with silver chest plate by Douriean Fletcher

The final section showcases the present--Fletcher experiments with scale, new materials, and themes that imagine what adornment looks like in future. If the first section tells you where she came from, and the second shows the moment that propelled her into global recognition, this last section reveals where she’s headed—and why her voice matters in the evolving landscape of fashion, film, and cultural design.

Installation view

Co-Curated by Sebastian Grant, a professor and design historian, and Barbara Paris Gifford, the senior curator of contemporary art, craft, and design at MAD, Dourien Fletcher: Jewelry of the AfroFuture is a vibrant showcase of Fletcher's creative force--equal parts history lesson, mood board and manifesto. It challenges you to rethink what "jewelry" can represent, inviting you to see adornment not simply as decoration, but as language, culture and possibility. Visit before the exhibit closes March 15, 2026.