Victoria L. Rovine notes that “garments . . . are very literally embodied; when they travel, they serve as shorthand referents to the people and cultures with whom they originated.” Cinema and dress are, in this sense, connected as situated, embodied practices through which African subjectivities travel and are ‘re-fashioned’. “refashioned.” Taking the films La noire de . . . (1966), by Ousmane Sembène, and Les saignantes (2006), by Jean-Pierre Bekolo, as its focus, this chapter suggests that material traffic between costume and cinema is a generative rubric through which to examine the notion of African screen worlds. It argues that the “fashioned” nature of film is an essential formal consideration for the study of African cinema, as it reflects how filmmakers have shaped new and changing ways of inhabiting African identity, as well as the highly corporeal, situated practices by which women, in particular, have molded the contours of African cinema.