Emmy-nominated costume designer Dominique Dawson is making her mark in a completely new medium. The multidisciplinary creative has stepped into animation for the first time with Sony Pictures Animation’s GOAT.
The film opened at the box office on February 13, 2026. It blends global sports culture, next-generation animation, and fearless creativity into a visual spectacle.
From Live Action to Animation’s Jungle World
Dawson’s previous work includes acclaimed projects like Ava DuVernay’s Origin, Donald Glover’s Swarm, and Jordan Peele’s HIM. The San Francisco native has built a reputation for bold, story-driven costume design.
GOAT represents her first venture into animation territory. The original action-comedy centers on Will, a small goat with professional roarball dreams.
Roarball is a high-intensity, co-ed, full-contact sport dominated by the world’s fastest, fiercest animals. The film’s production team includes four-time NBA champion Stephen Curry, who voices Lenny the giraffe.
Building Vineland: A Culturally Grounded Visual World
Dawson approached GOAT with clear intentions about authenticity and cultural grounding. She wanted to create a world that felt both imaginative and believable.
“I really wanted to step into the world of Vineland,” Dawson told Black Enterprise. The fictional town features jungle vibes with hot climate and hilly terrain.
These environmental factors directly influenced her costume choices. “We knew that we couldn’t do a lot of layering with big coats because it just wouldn’t make sense,” she explained. Every design decision had to serve the story’s logic.
Deep Research Into Animal Anatomy and Society
Creating costumes for an all-animal cast required unprecedented research depth. Dawson immersed herself in understanding different species’ movements and physical structures.
“I built out decks and jumped into looking at animal movements and anatomy and understanding the different species,” she shared. The research extended beyond biology into sociology.
She considered what each animal character does for a living. “Being able to have that hierarchy—careers, lawyers, doctors, construction workers—that dictated a lot of their looks,” Dawson noted. Social structure shaped visual identity throughout the film.
Animation Unlocks Creative Freedom From Live Action Constraints
Working in animation eliminated practical problems that plague live-action costume design. Dawson no longer worried about garment availability, shipping delays, or sizing issues.
“Typically, I have to figure out how I can get my hands on this couture piece—is it going to arrive on time?” she reflected. Those logistical nightmares disappeared in animation.
“None of those worries were part of my thinking, which is so freeing,” she said enthusiastically. “I really just got to have at it.” The medium opened creative possibilities she’d never experienced before.
Designing Jett Fillmore: Power, Swag, and Feminine Energy
Jett Fillmore, the league’s celebrated MVP voiced by Gabrielle Union, required special attention. Dawson wanted her to radiate power without sacrificing femininity.
“I played with power suits in the beginning,” she recalled. However, she discovered a different approach worked better.
“What I learned is by showing more of her frame, you actually get a better understanding of her swag and femininity,” Dawson explained. The final designs balanced masculine and feminine vibes perfectly. “It still feels like she’s on that line,” she added.
Sixty Versions for a Single Outfit
The scale of work for GOAT was genuinely massive. Dawson created dozens of variations for single character looks.
“Even just for one rendering of Jett’s looks, we would do like 60 versions,” she revealed. Each version featured different colorways, adjustments, and detailing.
The catwalk looks presented the biggest challenge and opportunity. “That was really where we wanted to make a statement,” Dawson said. These moments required extra creative investment and iteration.
Dressing Will: Making the Underdog Look Bigger
Will, the undersized rookie protagonist, needed costumes that reinforced his underdog story. Dawson drew on street basketball culture for inspiration.
“I studied a lot of street ball—courts like the Rucker and West 4th,” she shared. She understood how smaller players compensate through 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. Slim silhouettes wouldn’t serve his psychological needs. She dressed him in baggier hoodies layered over longer tees to exaggerate his presence.
Showing Character Growth Through Costume Evolution
Will’s wardrobe evolves throughout the film to show his professional development. Initially, he stays in practice gear exclusively.
“Then you get to see him step out in a deconstructed bomber jacket,” Dawson described. The costume changes reflect his growing confidence and financial success.
“He’s got some paper now, and he can express himself in that way,” she noted. Fashion becomes a visual language for character transformation and achievement.
Drawing on Personal Sports Knowledge for Authenticity
Dawson’s own athletic background informed her design choices significantly. She grew up playing basketball with deep knowledge of sports culture.
“I’m a sports fan. I just got off doing two football movies back-to-back,” she shared. This experience gave her clear understanding of fandom and athlete presentation.
She also looked at gladiator aesthetics for the high-stakes roarball league. “The stakes are high and it’s do or die, so we really wanted to showcase that,” Dawson explained.
Designing Modo: Freedom From Safety Concerns
Modo, the Komodo dragon voiced by Nick Kroll, became one of Dawson’s favorite characters. Animation allowed her to dress him in ways impossible for live actors.
“If an actor was wearing tight denim pants with all these belts and piercings, there would be concern about safety,” she noted. Physical stunts would be dangerous.
However, animated characters face no such limitations. “Him doing flips and all of the action and quirkiness he does. We were free of that,” Dawson said. Technology enabled pure creative expression.
Advanced Animation Technology Enhances Emotional Impact
GOAT’s production team utilized cutting-edge rendering tools throughout development. Recent technical gains make complex characters with fur, hair, and layered garments possible.
These technological capabilities enhanced Dawson’s designs significantly. “There was a holographic effect put on the jerseys,” she described as an example.
“It kind of entered this surreal space,” she continued. “Those moments really hit and had an impact.” Technology and artistry combined to create unforgettable visual moments.
Costume Design as Essential Storytelling
Dawson sees her work as fundamental to narrative, not decorative. She references her union’s campaign called “Naked Without Us.”
“That really says it all. If there were no costume designers, it really would be a bunch of actors just walking around naked,” she stated. The profession provides crucial story components.
As an NYU Tisch School of the Arts directing program graduate, she approaches projects through storytelling lenses. “Every choice that we make for the screen needs to support and elevate the story,” she emphasized.
Balancing Visual Elements Like Painting
Dawson compares costume design to visual art composition. She considers color balance and energy distribution across the frame.
“I always look to the text—the script—but I also look at it like painting,” she explained. Too much of any single color disrupts visual harmony.
“There’s a balance in looking at the energies of characters,” she added. This holistic approach ensures cohesive visual storytelling throughout the film.
Embracing the Weird and Strange
After designing over 160 television episodes and collaborating with visionary filmmakers, Dawson remains driven by creative risk. She gravitates toward unconventional projects.
“I love the weird. I love strange,” she declared enthusiastically. “I’m very much into showing things that we don’t typically see.”
Standard commercial work doesn’t interest her creatively. “I’m not just like, ‘Oh, I want to do the standard commercial vibe.’ That’s not me at all,” she stated clearly.
GOAT’s Message of Body Positivity and Empowerment
The film’s core themes aligned perfectly with Dawson’s values and design philosophy. GOAT champions acceptance and confidence across all body types.
“The main objective is really body positivity and embracing all sizes and empowerment of everyone,” she explained. The costumes had to reflect these values visually.
This mission made GOAT a natural fit for Dawson’s sensibilities. She could combine technical skill with meaningful cultural messaging.
Planning More Animation Projects From Home
Dawson sees animation firmly in her professional future. The medium’s possibilities have won her over completely.
“Most definitely,” she confirmed when asked about returning to animation. The collaborative process appeals to her immensely.
“You’re on Zoom with illustrators in South Africa or Paris or Canada, and you’re getting to make magic over the computer from home. I love it,” she shared. Global collaboration from her own space represents an ideal working situation.
Shaping Audience Connection Before Dialogue Begins
As animation continues evolving technologically and culturally, designers like Dawson are shaping viewer experiences profoundly. Costumes create character connection before any words are spoken.
GOAT demonstrates what’s possible when diverse creative voices enter animation spaces. Dawson’s cultural knowledge and design expertise elevate the entire project.
If this film indicates her future trajectory, audiences can expect many more groundbreaking animated projects. Dominique Dawson is only just getting started in this exciting new medium.