Fashion In Movies: How Jaclyn Banner Faison Redefines Costume Design in Film & TV

In an industry where visuals can define the emotional truth of a story, Jaclyn Banner Faison stands tall as one of the most dynamic creative forces working fashion In movies today. For over a decade, she has quietly helped sculpt the visual language of some of the most celebrated projects in film and television—from Jordan Peele’s Get Out to every installment of The Hunger Games franchise. With a range that moves effortlessly through contemporary drama, sci-fi, fantasy, comedy, thriller, action, and period work, her fingerprint appears on projects for FX, BET, STARZ, Amazon, Disney+, USA Network, and beyond.

Yet behind the accolades and the long résumé is a woman who never saw this world coming.

A Path She Never Planned—But Was Meant For

Jaclyn’s journey began in fashion, not film. She grew up obsessing over magazines like Honey, Elle, and Vogue, dreaming of becoming a star stylist or fashion editor. That passion led her to pursue an associate’s degree in fashion merchandising—but when an internship with W Magazine required a bachelor’s degree, she pivoted, graduating from Georgia State and returning to Atlanta rather than New York.

That twist changed everything.

She started assisting stylists for music videos and fashion shows. Eventually, commercials pulled her back to New York—until life forced another detour. When she moved to Atlanta again, she found herself homeless, living with her friend Ronnie Green. That same friend worked for Tyler Perry Studios and invited her to shop for wardrobe on For Better or Worse. One door opened another.

Networking led to background costume work—and Frank Helmer eventually gave her the break that transformed her career: her first job as an Assistant Costume Designer. From there, her rise was swift. She entered the industry in 2010, began designing in 2016, and remains humbled by what she calls “a faster trajectory than most.” She credits it all to God and continues to see herself as “an eternal student.”

From Styling to Storytelling

Jaclyn’s styling background still shapes how she builds character through clothing. Attention to detail has always been her currency, but costume design requires a different discipline—one tied deeply to story, time period, and directorial vision.

“There are general rules of the trade,” she said, referencing her standards, such as avoiding visible logos to prevent brand misrepresentation. She takes pride in submitting looks she can stand behind artistically, yet she understands the collaborative nature of film. Some choices she wins; others she doesn’t. But every look, every fitting, every discussion adds to her craft.

Lessons From the Big Leagues: Get Out and The Hunger Games

Though she wasn’t the lead designer on Get Out or The Hunger Games, her work as a shopper and fitter on these juggernauts sharpened her instincts.

On The Hunger Games, she stepped into a world with no creative boundaries—a designer’s playground. With four to five hundred people requiring custom looks, she and her team pushed each other’s imaginations daily. Watching the head designer manage the enormous machine taught her how organized one must be to lead big-budget productions.

Fittings became her sanctuary. Keeping track of scenes, continuity, schedules, and design logistics became second nature. As she put it, “You just have to be on it.”

Favorite Pieces, Hard Lessons, and Creative Highs

Period work remains closest to her heart. Her costumes for FX’s Kindred—a project that earned her a Black Reel TV Award nomination—hold a special place. Another standout was her Rosa Parks project for TV One, where she oversaw custom builds that brought history to life.

Still, she acknowledges that learning never stops. There’s one show she’d revise if she had the chance, simply because too many responsibilities collided at once. But she doesn’t view it as failure—it was a lesson in pacing, boundaries, and growth.

Film vs. TV: The Creative Trade-Offs

Jaclyn has navigated both mediums with ease. While she sees more similarities than differences, the biggest shift comes down to pace.

Films often allow weeks of preparation, but as budgets shrink and schedules tighten, even movies can become a faster grind. Her recent experience on Jacob Beats Up Nate—a St. Louis–based film—required relying on actors’ personal wardrobes due to time and budget constraints.

TV, however, demands constant motion: 7–10 days per episode, rotating directors, multiple voices giving input, and cross-prepping for upcoming episodes while shooting the current one. “Having an open dialogue is key,” she emphasized.

Recognition in an Overlooked Craft

Her nomination for Kindred meant more than a trophy could express. Costume teams often receive less pay, smaller budgets, and little acknowledgment for shaping the look and emotional tone of a project. Being recognized by organizations like the NAACP was a powerful validation.

“When they recognize us,” she said, “it feels good for what we are doing.”

Staying Inspired in a Shifting Industry

Jaclyn fuels her creativity by watching the landscape evolve—and by looking to icons like Ruth E. Carter and Francine Tanchuck. Their longevity and recent recognition encourage her to keep pushing boundaries. “If they can do it, I can do it too,” she said with pride.

Advice for the Next Generation

Her guidance for rising designers is simple but essential:

• Network relentlessly. “You have to have an in.”
  
• Be pleasant, positive, and professional.
  
• Be an asset—not a problem.
  
• Stay humble and teachable.
  

In a small, unforgiving industry, relationships can make or break a career.

What’s Next for Jaclyn Banner Faison

She is excited about the upcoming release of Jacob Beats Up Nate, a comedy with a serious undertone filmed in St. Louis. She’s keeping details under wraps for now, leaving the promotion to the studio—but the cast includes some recognizable names (with a nod to yours truly).

She recently wrapped work on the Hallmark film A Grand Old Opry Christmas, overseeing everything from ACD duties to shopping to background styling. And with her hands in upcoming projects across genres, her creative horizon is only expanding.

I asked Jaclyn, when her story is finally written and she’s long gone from this earth, what she hopes people will remember about her. She paused, then smiled and said, “That I was that girl. That I was a kind-hearted soul—funny, silly, humble, and grounded. That I was a great costume designer. And that I loved my family, and I loved God.”

From humble beginnings to blockbuster universes, from period dramas to hit TV comedies, Jaclyn Banner Faison continues to redefine what it means to tell stories through costume. Her journey is proof that sometimes the path you never planned is the one you were destined for.

Where to Find Her

Website: jaclynbanner.com
Facebook & Instagram: @JaclynBannerFaison

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