This chapter explores the relationships between animal skins, prints, and the reclamation of Black femme humanity within the context of Black burlesque performance. It traces the historical significance of these materials, which have long symbolized power, status, and exoticism in the Western fashion-industrial complex, particularly during colonialism when non-Western cultures were fetishized and objectified. The meditation further investigates how these motifs have been employed by Black femme performers as both a critique of racial and gender stereotypes and kinship to nature. By examining the artistry of performers Aida Overton Walker and Josephine Baker, the analysis highlights how Black femme burlesque artists subvert traditional notions of beauty and sexuality and transform symbols of oppression into tools of resistance. The chapter critically engages with the ethical implications of using animal materials, situating these discussions within broader conversations about speciesism and the systemic discrimination faced by both marginalized humans and non-human animals. Ultimately, it argues that the reclamation of animal skins and prints not only challenges entrenched stereotypes but also fosters solidarity across species boundaries, illuminating the interconnectedness of struggles for liberation in the face of historical oppression.