Erykah Badu captured in the famous knitted costume (L) and (R), Sarah Baartman (Middle)
American singer and songwriter Erykah Badu made waves online when she took to the stage at ‘Billboard’s Women in Music Awards’ ceremony on Saturday, April 5, 2025, wearing a striking brown knit bodysuit with exaggerated features, including a protruding butt shape.
Designed by Myah Hasbany, the ‘curvaceous’ costume had exaggerated, conical breasts and an enhanced behind, drawing attention for its provocative aesthetic.
While her performance was notable, it was her outfit that sparked the most discussion online, with many trying to decode its symbolism.
Some netizens claimed that Erykah Badu’s costume was a mockery of butt implants and other body modification procedures that have become trendy.
However, a more critical analysis of the outfit seems to draw a connection to the iconic image of Sarah Baartman’s body stature, especially considering Erykah Badu’s words on stage about celebrating women.
“This night is for us! It’s a night to celebrate the womb of the world, the womb of life, the womb-iverse of all things. The smartest creature on planet Earth. The wisest, the most invincible, sexiest, purest, finest. The woman. I want to thank God for giving me the opportunity to be born a woman!” Badu declared.
The Sarah Baartman link
In light of some netizens speculating that Sarah Baartman may have inspired Badu’s outfit, let’s examine the connection further.
The costume seems to reflect a body type that has been widely associated with Sarah Baartman even though she passed away many years ago.
Known as Saartjie ‘Sarah’ Baartman, she was a South African woman from the Khoikhoi tribe, born in 1789 in the Eastern Cape province.
Her body, particularly her large, protruding buttocks, became the subject of European fascination and exploitation.
Baartman, a slave, spent years in European “freak shows” where she was exhibited for her physical features, sparking both fascination and outrage.
In 1810, Baartman was taken to England by British doctor William Dunlop under the guise of offering her work as a servant, but she was instead displayed as a sideshow attraction under the name “Hottentot Venus.”
Her performances involved displaying her body, often nearly naked, to audiences in London and Ireland.
Baartman was later taken to France in 1814, where she continued to be exploited and mistreated. She died in 1815 at the age of 26, possibly from syphilis, smallpox, or pneumonia.
After her death, her remains were dissected and used to promote racist theories about African ancestry.
Her remains were preserved and displayed in a museum in France until 2002, when the South African government successfully campaigned for its return. She was reburied in the Eastern Cape province.
Erykah Badu’s reaction to her outfit’s connection to Sarah Baartman
While Erykah Badu has not confirmed the inspiration behind her outfit, some of her colleagues have openly connected it to Sarah Baartman.
American singer Tanerélle Stephens commented under Badu’s post, sharing an image of the costume, “I thought of Sarah Baartman the entire time.”
“I’m so sad that so many Black people really don’t know their history,” another verified user wrote, responding to debates over the outfit’s possible connection to Baartman.
Other comparisons were made to the Venus of Willendorf, a figurine dating back to 28,000–25,000 BCE that is often seen as a symbol of fertility and feminine beauty.
Despite all the speculation, Erykah Badu is yet to provide a detailed explanation of her outfit’s inspiration.
However, she has shared clues on her Instagram, hinting at a Venus-related theory.
The designer’s view
The designer of the outfit, Myah Hasbany, has stated that it is ultimately up to Erykah Badu to disclose the outfit’s meaning.
However, she stated, “There were a lot of different reference points. In the end, we’re glad to see people making their own interpretations about what the look could be paying tribute to.
“It’s amazing to see discourse around femininity and how people interpret feminine bodies, especially for Black women. We should be talking about both historical and current contexts.”
EB
