Dept. Chair & Professor Mrs. BJ Arnett
Clark Atlanta University Senior Exhibition & Fashion Show
FEATURES
MODEL MAJESTY PHILOSOPHY
Founded in 1979 as Just BJ, modeling and etiquette course for children ages 5 – 18 which was established with JC Penney stores of Georgia. The program became Model Majesty in 2000 reflecting the change in growth of Camy and BJ Arnett with the idea to better serve children and their parents in the fashion and film community.
Professor Mrs. BJ Arnett is the proud Department Chair of Fashion Merchandising, and founder of Fashion Week at Clark Atlanta University.
With over 40 years in the film/fashion/entertainment/education arena, let her help you build a platform that takes your business or brand to the next level.
ADDITIONAL COURSES TAUGHT:
HISTORY OF COSTUME
EXECUTIVE LEADERSHIP
BUSINESS ETIQUETTE
COSTUMING
MAKEUP MODELING
PREPRODUCTION, PRODUCTION, AND POST PRODUCTION
AUDIO, FILM AND TELEVISION PRODUCTION
Always available to help tell your story.
As a department chair, I am responsible for providing academic and professional advice to fashion merchandising concentration majors. This concentration is the most heavily subscribed in the department. To further that commitment, I have engaged in mentorship discussions with students to help develop and or build their personal businesses. Students who demonstrate business, cultural and social excellence as it relates to their specific career aspirations are then given the opportunity to work/mirror or intern with some of the nations' best and brightest Fashion, Art and Business professionals and companies. This also ties back into objective #1 -- expanding opportunity with the industry and student accountability exchange. I have fostered relationships within the Fashion & Film/Costuming/Business community and expanded internships, jobs and mirroring opportunities. This interface with the industry has strengthened students' understanding of the industry and often given them intern opportunities. The following is a list of industry professionals and companies that currently have a relationship with the department:
Macy’s Lenox Square Fashion Show
The Atlanta Apparel Mart Annual Fall and Spring Show
Crate & Barrel
CBS Channel 46
Cinema Greens
NBC Channel 11- Alive
Randi Layne – CEO, Catwalk Productions
RollingOut Magazine
Scotter Taylor – Digital Media Corp
MVO Marketing
Stevee Ashlock - Stevee Ashlock Productions
Oz Magazine
South Fulton Neighbor Newspaper
Sheen Magazine
Anita Finklestien- Costumer Film and Television
Studio Movie Grill Marietta
Monica Woods-Younger- Costume Stylist Buyer CBS Television show Kevin Probably Saves the World
Empress Holley- Costumer Marvel Black Panther Movie
Fulton County FACE
Harlem’s Fashion Row
Macy’s
PUMA
American Eagle Outfitters
Nordstrom
Neiman Marcus
JCPennys
Walmart
SAKS
Tiffany & Co.
Athletes Foot
Coach
Tapestry
Golden Goose
Atlantic Station
Regal Theaters
Brain Love
Vogue
Nike
Levi Straus & Co
LVMH
LUXE Makeup and Mocktails
Gwynnis Mosby Make Up Artist Training Center
Usher Raymond (Recording Artist)
Superstar Kya
PLC Detr
RESEARCH & SCHOLARSHIPS
My research and scholarship reflects an applied rather than theoretical process. The work is activity based and centers on the application of fashion costuming and styling in the film industry in addition to directing fashion shows and speaking on fashion to professional audiences. Costuming and styling involve selecting clothing, hairstyles and accessories to help stage a director’s vision for the time period being filmed. Fashion professionals make this aspect of the industry happen.
The philosophical underpinning of my research agenda is the recognition that Fashion Industry and Wardrobe Styling constitute an art form when used as a major tool through which the creators of a film bring realism and beauty to the screen. Without the Fashion Industry, Costuming/Wardrobe Styling, Set Design and Props, a story cannot effectively be told. The visual presentation of a film involves a wide variety of textures that bring a film to life. How would The Color Purple have been able to transport viewers to another time and emotional intensity without the extraordinary costumes, locations, authentic period homes, cars, and even juke joints? Each color and texture is selected to evoke an emotional response drawing the viewer into the film. The visual style of a film becomes the vessel that adds authenticity to the characters and time periods, and contributing heavily to the impression that the film is seeking to communicate.
The applied research that I have developed centers around: 1) the importance of Fashion and specifically Costuming/Wardrobe Styling, both nationally and globally, to the film industry; 2) participation in invited talks and professional organizations; and 3) the work I am engaged with in Faculty Mentored Undergraduate Creative Works.
Finally, it is important to note that the majority of my research output centers around communicating positive and uplifting content. So much of contemporary art, film and music express messages of despair, nihilism, and misogyny. My work is meant to express, faith, hope, and love, founded on Christian beliefs, within a diverse community. While embracing an atmosphere of mutual respect for all people.
New York City Tours & Trends
FUNDRAISING
Collectively, contributions from the previously mentioned corporate partners have surpassed the $1 million mark as of the 2021–2025 academic year.
TEACHING PHILOSOPHY
I have always believed that a meaningful teaching philosophy cannot exist without profound encounters between educator and scholars. These encounters occur in many forms—through classroom discussions, off-campus site visits, or one-on-one conversations, that organically happen. Scholar success is my foremost priority and the driving force behind all of my course designs. To me, teaching is the art of activating a scholar’s curiosity, guiding them toward their personal best, and fostering the development of clear areas of expertise that culminate in demonstrated professional competence.
My teaching philosophy has been deeply shaped by the remarkable educators who mentored me throughout my life. From my transformative eighth-grade teacher—a Holocaust survivor who awakened the writer within me—to my insightful African American history teacher who empowered my voice and cultural identity; from the distinguished math instructor who replaced my fear of numbers with rhythm and confidence, to the elegant Ebony Fashion Fair model and acting coach who taught me grace and poise for my first theatrical tour—each left an indelible mark.
These influences have profoundly shaped my teaching style, which embraces both the unconventional and the inspirational. As a child once labeled a “slow learner” and later misdiagnosed with dyslexia, I know firsthand the challenges faced by nontraditional learners. These experiences cultivated in me a deep empathy and a teaching approach grounded in patience, creativity, and adaptability. They also ignited my passion for preparing undergraduate students to become scholars and to enter an industry that demands professionalism, innovation, and readiness from day one.
As a professor of over 40 years within the art, fashion and business arena, I am committed to extending learning beyond the traditional classroom. Simply because it works. I strive to make the field itself an active educational space, integrating my experience in fashion, business, and film to dissolve the boundaries between theory and application. My teaching aligns with Clark Atlanta University’s principles of applied learning—connecting academic study to real-world practice. We find a way; we make a way.
Most Fashion Merchandising scholars seek professional training built upon a liberal arts foundation. Our president George T. French Jr. emphasized the connection between education and innovation—an approach I fully endorse. While developing strategies that help scholars build their own table as entrepreneurs inviting others to work alongside them. We combine technical skill with creative vision. This balance produces graduates who can both contribute to and innovate within the industry, reflecting the mission of Clark Atlanta University and my personal commitment as an educator.
My teaching philosophy embraces an interactive relationship between the classroom and today’s socio-cultural environment. Scholars can only learn so much from textbooks and lectures; therefore, my role is to immerse them in the marketplace—bringing industry professionals into the classroom through guest lectures and connecting theory with application during events like Art and Fashion Week. My responsibility as an educator is not merely to speak, but to engage—to spark critical thinking, creativity, and confidence and to be an example of that.
In my classroom, students first master the fundamental principles of art and fashion, then use that foundation to innovate and develop entrepreneurial strategies for growth. My teaching responsibilities reflect not only my scholarly interests and professional background but also a steadfast commitment to my scholars.
My guiding motto is simple yet powerful: Ignite. Refine. Execute.
STUDENT ENGAGEMENT
OUTSIDE THE CLASSROOM
As Chair of Art & Fashion, I currently chair the Student Engagement Committee, overseeing production assistants for on‑campus film projects. My work since joining includes:
Expanding Access: Fashion Styling Minor
To elevate our curriculum and expand access, I spearheaded development of a Fashion Styling minor open to all scholars. This program integrates instruction by industry partners and connects scholars from outside the merchandising track to the dynamic opportunities in fashion and film—particularly given Georgia’s leadership in production.
Art & Fashion Week & Industry Placement
Over my tenure, I have used my 40+ years of industry relationships to place scholars in roles as sales representatives, dressers, stewards, and production coordinators within the Atlanta Apparel Mart. These positions align directly with foundational courses like Fashion Show Production, Retail Management, and Industry Principles. Through workshops, panels, and applied events, our Art and Fashion Week has become a signature annual showcase—drawing guest scholars, industry leaders, peer institutions, and high school audiences. During production of This Day with BJ Arnett, scholars mirrored professional roles in lighting, camera, production, and wardrobe, integrating classroom learning with live broadcast experience.
NYC Trends & Tours Field Immersion
In Spring 2018, I launched the first departmental NYC study tour, inviting scholars from Fashion Merchandising and Design. The itinerary included backstage access to Broadway costume production, visits to millinery and pattern houses, meetings with FIT faculty, workshops with Bloomingdale’s, and a panel with Women in Television & Film NYC. Scholars also designed a custom shoe at Nike’s design store, and participated in candid discussions about buying, marketing, and career pathways. To ensure reflection and accountability, scholars completed a daily log, collected business contacts, and engaged in post-trip networking.
Leadership in Experiential Engagement & Research
I have championed events such as open houses, portfolio reviews assessed by industry evaluators, styling competitions, evening showcases, and speaking series featuring leaders across fashion, film, and business. I launched the FAB Lab, our on-campus experimental retail boutique, giving scholars hands-on experience in visual merchandising, store operations, product development, and consumer response. Additionally, as faculty mentor, I have guided scholars’ presentations in the CURC Undergraduate Research Symposium, resulting in award‑winning projects such as organic fashion concepts inspired by Black Panther and an evening gown crafted from thousands of dyed coffee filters.
In every initiative, my goal is to bridge theory and practice, to foster entrepreneurial agency, and to ensure that our scholars are prepared not only to enter the field, but to shape it.
Expanding Professional Engagement: NYC Production Assistants
In Fall 2025, I expanded the department’s student engagement efforts by initiating hands-on production assistant opportunities tied directly to major industry events. This term, I led a group of eight scholars to New York City to serve as production assistants at Harlem’s Fashion Row 18th Annual Fashion and Style Awards—a premier event spotlighting BIPOC designers and fashion leaders. Scholars were embedded in all aspects of event execution, from backstage coordination and guest management. This immersive experience allowed them to apply classroom principles in a high-pressure, professional setting while building networks with some of fashion’s most influential figures. Their participation represents our commitment to ensuring scholars are prepared to enter the industry.
My role as a department chair and instructor is to strengthen students in a knowledge of the industry basics, promote the creativity of the present and press for the innovation of tomorrow. If I am the only one speaking, then I have missed my primary function – to spark critical thinking. As an educator my ears must be open to hear the great minds that are in the classroom with me. Understanding the millennial student has also led to a better understanding of the millennial consumer. Below is a description of the ongoing research of the millennial shopper.
New York Trends and Tours
Six Day Fashion Merchandising & Fashion Design Industry Experience
The Fashion Department as a whole had never had a NYC fashion merchandising and fashion design trip. This experience was the first of its kind! Here are some highlights. We were able to gain relationships with FIT professors which led to an exchange of fashion education, teaching methods, and speaking opportunities. Our continued collaboration with FIT is being developed. We toured Tiffany’s with an AUC graduate who had taken fashion and art courses at CAU, and Mood, the fabulous fabric store from TV. We met Bloomingdale's VP of talent acquisitions, the Nike design shop of Chinatown's VP of Marketing, and spent two hours with the costume producer of the Lion King. We had a crazy back stage tour and costuming class which took us from designing to the manufacturing side of the business. We spent two hours with famed designer B Michael of B Michael America. Lastly, which was our opening event in NYC, we were able to walk through the production process with two costumers, and then go to a three hour tour of a manufacturing house. We saw the process in action on all levels. Trends, Tours, and Talk was an outstanding success!