The film “Sinners”, directed by Ryan Coogler, follows twin brothers Smoke and Stack, both portrayed by Michael B. Jordan, as they return to the Mississippi Delta intending to open a juke joint. Their plans are dramatically disrupted by the arrival of Irish vampires, introducing a supernatural layer to the narrative. Costume designer Ruth E. Carter viewed the horror elements not just as genre details, but as a metaphor, crafting outfits that highlight how “people turn their pain into joy,” deeply reflecting the cultural tapestry of the Delta.

Carter’s design process carefully considered historical migration patterns, reflecting on the plantation system of the South and the frequent movement of blues musicians among plantations, influencing the film’s visual storytelling. The color palette prominently features reds and blues, establishing a distinctive tone, while Carter tailored designs for key characters and pivotal moments to align with narrative and historical context.

For Smoke and Stack, returning from Chicago in the early 1930s, Carter drew inspiration from photographs of Chicago gangsters of the era, noting that “wool was the constant fabric in suits.” Despite filming in the summer, Michael B. Jordan, clad in custom wool suits, reportedly never complained, demonstrating his commitment to authenticity.

Sammie, the preacher’s son, embodies both the archetype of a sharecropper and a symbol of hope. His wardrobe diverges from the reds and blues, opting for earthy tones like browns and golds, rooting him in the land. Carter described his garments as “a little bit more weathered,” reflecting his lived experiences and the wear of a young musician aspiring to emulate Stack. Historical details, such as barefoot characters, were deliberately included to enhance authenticity, emphasizing the era’s socio-economic conditions.

A memorable post-credit scene showcases Sammie in Chicago as a musician, visited by Stack and Mary, played by Hailee Steinfeld. Stack sports an authentic Coogi sweater, “the Gambler,” which Carter sourced from a Los Angeles collector, while Mary’s ensemble of high-waisted jeans and a bustier was inspired by Paula Abdul, a request by Coogler, highlighting the film’s attention to period-accurate fashion.

The film’s juke joint sequence presents Sammie conjuring musicians from across centuries and cultures, from ancient Africa and Asia to contemporary rappers and rockers. Integrating such a range while maintaining narrative coherence required Carter to meticulously prepare visuals using tripods with boards and fitting photos. Cinematographer Autumn D. Arkapaw guided audiences through this intricate sequence, ensuring the storytelling flowed seamlessly: “We see this electric guitar player. It’s iconic. It carries us around to the Zaouli dancer, who has this mask. We see the girl with the cowry shells. It keeps us informed.”