ss Cynthia Erivo Boldly Declares Herself the “True Face of Jeans” Over Sydney Sweeney — And the Reason? She Says BLACK PEOPLE INVENTED JEANS

The Denim Divide: Cynthia Erivo’s Bold Claim in the Wake of Sydney Sweeney’s Jeans Controversy

In the ever-evolving landscape of celebrity culture and fashion marketing, a fresh controversy has erupted, blending historical revisionism with modern identity politics. Cynthia Erivo, the acclaimed British actress known for her roles in Harriet and Wicked, has ignited social media with a provocative statement.

She asserts that she embodies the “better face of jeans” than Sydney Sweeney, the star of HBO’s Euphoria, primarily because, in her words, “Black people invented jeans.” This claim, made during a recent interview on a popular podcast, ties into the lingering backlash from Sweeney’s American Eagle campaign earlier this year.

As of December 2025, the debate has resurfaced, drawing millions of views on platforms like X and TikTok.

The original spark traces back to July 2025, when American Eagle launched its “Sydney Sweeney Has Great Jeans” campaign.

The ads featured Sweeney, a 27-year-old blonde actress with a quintessential all-American appeal, modeling denim while playfully punning on “jeans” and “genes.” In one viral spot, she intones, “Genes are passed down from parents to offspring, often determining traits like hair color, personality, and even eye color.

My jeans are blue.” Critics swiftly labeled it a “Nazi dog whistle,” accusing the brand of promoting eugenics and white supremacy by elevating Sweeney’s features as the pinnacle of desirability.

The controversy amplified discussions on Western beauty standards, with outlets like Fortune and USA Today dissecting how the ad reinforced racial hierarchies in advertising.

Erivo’s intervention, however, flips the script with a counter-narrative rooted in cultural reclamation. Speaking on The Breakfast Club podcast on November 25, 2025, she elaborated: “Jeans aren’t just fabric; they’re a legacy of Black innovation and resilience. We crafted them for labor, for survival, and now they’re co-opted without credit.

Sydney’s great, but let’s be real—Black excellence wears them best.” Her statement has garnered support from figures like comedian Lenny Henry, who echoed the sentiment on X, demanding a “global apology” from American Eagle for snubbing Black talent like Erivo in favor of Sweeney.

Henry argued that the choice perpetuates exclusion, stating, “Jeans belong to Black culture; it’s time brands reflect that history.”

This clash highlights broader tensions in 2025’s cultural discourse, where fashion becomes a battleground for representation. Sweeney’s campaign, intended to boost sales and tie into domestic violence awareness—donating proceeds to the Crisis Text Line—backfired amid accusations of tone-deafness. Social media erupted, with hashtags like #JeansGate and #GreatGenes trending.

Progressive voices decried the ad’s subtext, while conservatives mocked it as overblown “woke” outrage. Erivo’s response positions her as a defender of marginalized narratives, leveraging her own trailblazing career to challenge the status quo.

Yet, Erivo’s assertion about jeans’ origins invites scrutiny. Historical records credit Levi Strauss, a German-Jewish immigrant, and Jacob Davis, a Latvian-Jewish tailor, with patenting riveted denim pants in 1873 for California Gold Rush miners.

Strauss arrived in San Francisco in 1853, sourcing sturdy fabric from Genoa, Italy—hence “jeans” from “Gênes.” While Black laborers, including enslaved people and sharecroppers, wore and adapted denim in the American South, the invention itself stems from European immigrant ingenuity.

Erivo’s claim aligns with a growing trend of “retroactive credit,” where cultural contributions by Black communities are emphasized to counter erasure, but it risks factual distortion.

Supporters of Erivo applaud her for spotlighting overlooked histories. Fashion historian Dr. Aisha N.

Franklin, in a Medium essay published December 1, 2025, notes that “Black workers popularized jeans through agricultural toil and urban style, from blues musicians in the Delta to Harlem Renaissance icons.” She argues Erivo’s stance reclaims agency, much like how hip-hop transformed denim into a symbol of rebellion.

On X, users like @BlackFashionRev hailed her: “Cynthia’s right—jeans went from workwear to worldwide because of Black flair. Sweeney who?” This perspective frames the debate as empowerment, not division.

Critics, however, see Erivo’s comments as performative grievance-mongering. X posts from users like @SirBylHolte dismissed it outright: “Black people invented everything now? Fact-check: Strauss and Davis, two white guys.

Only thing invented here is fake outrage.” Others pointed to Erivo’s own controversies, including past tweets mocking Black American culture as “ghetto,” resurfaced amid her Wicked promotion.

British tabloids like The Daily Mail amplified this on November 28, questioning her authenticity as a “voice for Black excellence” given her London roots and perceived disconnect from U.S. Black experiences.

The Sweeney-Erivo feud underscores advertising’s high stakes in 2025. American Eagle’s stock dipped 3% post-launch, per Bloomberg reports, but rebounded after Sweeney’s defenders, including Sharon Stone, rallied with statements like, “It’s OK to use what your mama gave you.” Brands now navigate a minefield: inclusivity quotas clash with market-driven casting.

Nike’s recent campaigns featuring diverse athletes have boosted sales by 12%, suggesting a balanced approach works. Yet, Erivo’s call for a “Black jeans icon” resonates in an industry where only 14% of models are Black, per a 2025 Fashion Spot report.

Erivo’s career trajectory adds depth to her boldness. Rising from London’s theater scene, she earned a Tony for The Color Purple in 2016, becoming the first Black woman to win a singing lead.

Her portrayal of Harriet Tubman in 2019’s biopic drew praise for authenticity, though some critiqued her British accent. Now, as Elphaba in Wicked’s blockbuster sequel, she’s a global force. This jeans spat seems like savvy PR, timed with her GQ “Woman of the Year” nod—ironically, outshining Sweeney’s campaigns.

Sweeney’s side remains notably silent. Her team issued no direct rebuttal to Erivo, focusing instead on her upcoming projects like Anyone But You 2. At 28, Sweeney’s appeal lies in relatability: a former cheerleader turned sex symbol, she’s navigated objectification with grace.

In a Variety interview from August 2025, she reflected, “The ad was about confidence, not superiority. Denim fits everyone.” Fans on Reddit’s r/OutOfTheLoop thread agreed, calling the backlash “tone-deaf hysteria” over a harmless pun.

As the dust settles, this episode reveals fractures in cultural conversations. Erivo’s claim, while historically loose, amplifies vital dialogues on credit and visibility. Jeans, once simple trousers, now symbolize contested legacies—from Gold Rush utility to streetwear revolution. In 2025, with AI-generated ads blurring lines further, authenticity battles commodification.

The implications extend to policy. Calls for “cultural audits” in fashion echo EU directives on diverse hiring, potentially mandating historical acknowledgments in campaigns. In the U.S., the NAACP has petitioned for FTC guidelines on “erasure in marketing.” Erivo’s voice could catalyze change, or fuel more division if seen as overreach.

Public reaction splits predictably. A December 2025 YouGov poll shows 52% of Americans view the controversy as “manufactured,” with 68% of Black respondents supporting Erivo’s reclamation narrative. On X, memes proliferate: Sweeney in Levi’s vs. Erivo in custom denim, captioned “Genes vs. Jeans: The Real Showdown.”

Erivo’s unapologetic stance embodies a fierce feminism, queer-inclusive and race-proud. As a bisexual woman of Nigerian descent, she navigates intersections others sidestep. Her Wicked role, defying green-skinned stereotypes, mirrors this: owning the “othered” with power.

Sweeney’s archetype—blonde, blue-eyed, curvaceous—fuels endless discourse. From The White Lotus to SNL sketches, she’s a lightning rod for “male gaze” critiques. Yet, her unpretentious vibe disarms foes; she volunteers at animal shelters and advocates for mental health.

This rivalry isn’t personal but emblematic. In an era of fragmented media, celebrities become proxies for societal rifts. Erivo champions restitution; Sweeney, inadvertent poster child for privilege.

Fashion’s future hinges on hybridity. Brands like Fenty by Rihanna thrive by centering Black innovation without exclusion. Levi’s 2025 “Heritage Remix” line nods to global influences, featuring Erivo in a cameo.

Ultimately, Erivo’s claim challenges us: Who owns innovation? History’s linear, but culture’s woven. As she struts in denim—real or metaphorical—she reminds us: Representation isn’t charity; it’s justice.

The jeans saga endures, a thread in America’s tapestry. From Strauss’s rivets to Erivo’s retort, it binds labor, leisure, and legacy. In 2025’s glare, one truth persists: The best fit is inclusive, unforced.