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LOS ANGELES<\/strong> \u2013 Ruth E. Carter<\/a> has made history once more.<\/p>\n With her Oscar nomination<\/a> for \u201cSinners,\u201d Carter has become the most-nominated Black woman in Academy Awards history across any category, according to Variety. The trailblazing costume designer was recognized for her work on Ryan Coogler\u2019s blues-steeped vampire epic,<\/a> set in the Jim Crow-era Mississippi Delta.<\/p>\n \u201cIt\u2019s … pride, gratitude, responsibility,\u201d Carter told The Associated Press on Thursday. She previously won Oscars for \u201cBlack Panther\u201d in 2018 and \u201cBlack Panther: Wakanda Forever\u201d in 2023, becoming the first Black woman to win two Academy Awards.<\/a><\/p>\n Carter is now a five-time nominee, surpassing Oscar-winning actor Viola Davis.<\/a> She is tied with longtime collaborator Spike Lee<\/a> and Morgan Freeman for the third-most nominations among Black creatives, behind the late Quincy Jones<\/a> and Denzel Washington.<\/a><\/p>\n \u201cThis is a major step in the development of our voices in Hollywood,\u201d she said.<\/p>\n Over her career, Carter has shaped the visual language of some of Hollywood\u2019s most influential films. She earned Oscar nominations for her work on Spike Lee\u2019s \u201cMalcolm X\u201d and Steven Spielberg\u2019s \u201cAmistad,\u201d and received acclaim for period ensembles in projects including \u201cThe Butler,\u201d \u201cSelma\u201d and the reboot of \u201cRoots.\u201d Her designs have also been worn by Washington, Oprah Winfrey, Eddie Murphy and Jerry Seinfeld, including for the original \u201cSeinfeld\u201d pilot.<\/p>\n \u201cMy trajectory has been about telling the story of culture,\u201d Carter said. \u201cOur history is being erased as we speak. So to have this responsibility of telling our stories \u2014 and being as authentic as I can \u2014 and being awarded for it, is a celebration.\u201d<\/p>\n In \u201cSinners,\u201d Carter said she approached costume design as an act of protection rather than embellishment, determined to safeguard the visual truth of Black working-class life, particularly sharecroppers and migrants of the early 20th century.<\/p>\n \u201cWe made something out of nothing,\u201d she said. \u201cThere were hand-me-downs. There were patches. If the pants were long, we turned them up. If the hem was crooked, we left it. We wanted to show how we took things for what they were and still found a way to celebrate.\u201d<\/p>\n