The film “Sinners,” directed by Ryan Coogler, delves into the story of twin brothers Smoke and Stack, both portrayed by Michael B. Jordan, who journey back to the Mississippi Delta with the intention of opening a juke joint. Their plans, however, are dramatically interrupted by the arrival of Irish vampires, introducing a supernatural element to the narrative. Costume designer Ruth E. Carter viewed the horror aspects of the film not just as a genre detail, but as a profound “metaphor.” In her approach to crafting the film’s costumes, Carter, an acclaimed Oscar-winner, centered her focus on the rich cultural tapestry of the Mississippi Delta, striving to depict how “people turn their pain into joy,” a theme that resonated deeply with her.

Carter’s design process also meticulously considered historical migration patterns. She reflected on the plantation system prevalent in the South and how blues musicians were frequently rotated among various plantations, influencing the visual storytelling. The overall color palette for the film prominently featured reds and blues, establishing a distinctive visual language. Carter elaborated on her specific approaches to designing for the film’s main characters and pivotal moments.

For the twin brothers, Smoke and Stack, who return from Chicago in the early 1930s, Carter drew inspiration from photographs of Chicago gangsters of that era. She noted that “wool was the constant fabric in suits” during that period. Despite the film being shot during the summer, a concern about the heavy fabric, Michael B. Jordan, who wore all custom-made wool suits, never once complained.

Sammie, the preacher’s son, embodies the archetype of the sharecropper but simultaneously symbolizes hope within the narrative. His distinct color palette diverged from the dominant reds and blues of the other cast members, opting instead for more organic and earthy tones, primarily browns and golds, which rooted him to the land. Sammie’s clothing showcased wear and tear, reflecting his life circumstances. Carter described his garments as “a little bit more weathered,” adding that his “costume had a lot of character built into it.” This design choice powerfully illustrated a boy whose guitar strap had worn down his vest, and who aspired to emulate Stack, even desiring a fedora like his. A significant historical detail Carter incorporated was the observation that people in that era were often barefoot, a detail she deemed important to include.

A notable sequence occurs in one of the film’s post-credit scenes, where Sammie has relocated to Chicago and established himself as a musician. He receives a visit from Stack and Mary, played by Hailee Steinfeld. In this scene, Stack sports an authentic Coogi sweater, specifically named “the Gambler.” Carter humorously recalled that this particular costume doesn’t receive enough attention, having tracked down a collector in Los Angeles who possessed an entire warehouse of these 1990s-era sweaters, famously popularized by the rapper Biggie Smalls. Mary’s ensemble, featuring high-waisted jeans and a bustier, was directly inspired by Paula Abdul, a look Ryan Coogler specifically requested for her.

The film’s most showstopping moment unfolds at the juke joint, where Sammie’s powerful singing magically conjures musicians from across diverse centuries and cultures—ranging from ancient Africa and Asia to modern-day rappers and rockers. Integrating such a vast array of looks while maintaining narrative coherence was a complex task for Carter, requiring extensive preparation. She employed “tripods with boards and fitting photos” while shooting other scenes, allowing the crew to visualize elements like the Zaouli dancer’s appearance. Cinematographer Autumn Arkapaw’s work was instrumental in guiding the audience “through the emotional arc of what it was trying to say” during this sequence. Carter highlighted how the visual journey progresses, observing, “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.”