Dominique Dawson is stepping into new territory and doing it in a major way. As the costume designer behind GOAT, she helped build the bold, high-energy world of Sony Pictures Animation’s latest animated feature. The film, which opened in theaters on February 13, blends global sports culture, next-generation animation, and fearless creativity.
Backed by the artists behind Spider-Man: Across the Spider-Verse and featuring four-time NBA champion Stephen Curry as part of the production team and voice cast, the film arrived with serious expectations. However, while audiences may focus on the action and star power, Dawson’s costume design quietly shapes every frame.
Emmy-nominated and known for her work on projects like Origin, Swarm, and HIM, Dawson brings a strong storytelling lens to everything she touches. With GOAT, she proves that animation can be just as layered, cultural, and emotionally powerful as live action.
Costume Design in Animation: Building the World of GOAT
GOAT centers on Will, a small goat chasing his dream of playing professional roarball, a high-intensity, full-contact sport dominated by fierce animals. Therefore, Dawson approached the project determined to create a world that felt real, even inside an all-animal universe.
“I really wanted to step into the world of Vineland,” Dawson explained. “The climate and landscaping are very jungle vibes. It’s hot. There’s a lot of hills. So we knew we couldn’t do a lot of layering with big coats because it just wouldn’t make sense.”
To make the world believable, she did deep research. She studied animal movement and anatomy. She also asked practical questions: What do these animals do for a living? Are they lawyers, doctors, or construction workers? That social hierarchy shaped how each character dressed. As a result, every outfit supports the larger story.
Designing Jett Fillmore: Power, Femininity, and Style
One of Dawson’s biggest creative moments came while designing Jett Fillmore, the league’s celebrated MVP, voiced by Gabrielle Union. Dawson wanted Jett to feel strong but still feminine.
“I wanted Jett to feel powerful,” she said. “I played with power suits in the beginning. What I learned is by showing more of her frame, you actually get a better understanding of her swag and femininity.”
That balance between masculine and feminine energy became central to Jett’s look. The team sometimes created up to 60 versions of one outfit, adjusting colors and details until it felt right. “The main issue was the catwalk looks,” Dawson added. “That was really where we wanted to make a statement.”
Street Ball Influence and Character Growth
Will’s wardrobe also tells a story. As the undersized rookie determined to prove that “smalls can ball,” his clothing had to reflect his mindset. Dawson studied street basketball culture, including famous courts like Rucker Park and West 4th Street, to shape his style.
“He’s the one small who, when he comes to the court, wants to appear at least as big as he can,” Dawson explained. “Going in a slimmed-down silhouette is not going to service him. He wants to bulk it out.”
As a result, Will wears baggy hoodies layered over long tees to make his presence bigger. Later, as he finds success, his look evolves into deconstructed bomber jackets and elevated styles that show growth and confidence. Through fashion alone, viewers can see his journey.
Technology, Body Positivity, and Creative Freedom
Animation gave Dawson a kind of freedom she rarely experiences in live action. She did not have to worry about whether a couture piece would arrive on time or fit properly. Instead, she could imagine without limits.
“None of those worries were part of my thinking, which is so freeing,” she said. “I really just got to have at it.”
The advanced technology behind GOAT also allowed for detailed fur, layered garments, and holographic jersey effects that pushed scenes into a surreal space. At the same time, the film’s message stayed clear. “The main objective is really body positivity and embracing all sizes,” Dawson said. “We really wanted the costumes to reflect that.”
Ultimately, Dawson sees costume design as essential to storytelling. “If there were no costume designers, it really would be a bunch of actors just walking around naked,” she said, referencing her union’s “Naked Without Us” campaign. “We are a huge story component.”
With more than 160 television episodes behind her and a degree from NYU’s Tisch School of the Arts, Dawson continues to take creative risks. She embraces the strange and the unexpected. And if GOAT is any sign, her work in animation is only beginning.
