Storied Threads

Janie's gift of storytelling by way of costume design has sustainably enabled her to work in film and television. Crossing from one genre to the next, filling in critical details like punctuation in a novel. Her smile returns as she speaks of gratifying moments during her career. The trendsetting costume designer has real instances of fandom herself. While giving a speech at the Fashion Group International Inc.‒ a leader in the fashion, beauty, lifestyle, and retail industry‒ Janie almost lost her place as two of her idols caught her eye. "I remember staring off to see Grace Coddington (former creative director at American Vogue Magazine), and Anna Wintour (Current Editor-in Chief of Vogue) staring back at me. I can see Anna Wintour's blonde hair and Grace Coddington's gray and red hair. It was so beautiful; I was so nervous saying my speech." After a laugh, Janie continues with what can only be described as a fashion designer's version of− Who would you have as a dinner guest if you could have anyone in the world? During the evening Bryant had the pleasure of meeting avant-garde fashion designer Pierre Cardin. After a book signing and what must have turned out to be one hell of a conversation, Pierre invited her to sit next to him at what would be the last fashion show he attended before passing. She cherishes the memory, and it clearly shows in the light in her eyes.

Relishing the natural ambience Southern California has to offer, Janie regularly enjoys the mountain views from her home near Ventura. Her work would not be what it is without her right-hand man, Vali. Prince Valiant to be proper— her 10-year-old champagne standard poodle. Vali joins Janie on most of her trips to the costume houses throughout Los Angeles and the pair are well known.

The Horror Genre

It may come as a surprise that someone walking about town with a majestic poodle is also responsible for your nightmares. Perhaps Janie's childhood Barbies attempted to warn us before meeting their end? With only a few notches on her belt in the horror genre, Bryant hits the mark every time. After working on The Hills Have Eyes 2, she followed up with The Last House on the Left. And to ensure your dreams would never be lonely, she designed the look for Pennywise in Steven King's IT (2017). To date the film has a worldwide gross over $701.8 million. Bryant created the clown's look using elements from the Medieval, Renaissance, Elizabethan, and Victorian eras. Pleats, bellowed sleeves and pants help catch light as Pennywise passes through the shadows adding depth to the silent killer's movement.

Janie Bryant speaks as if she is just getting started. She truly loves, as we all should, her job. Her multitude of talents are put to use each time she sits down to design the next detail you may not notice but is essential to make the picture perfect. I try to get Janie to share a few exciting details of her work on Bad Boys 4 with no luck. I even ask a question in long form hoping to talk about the new costume designs for season 2 of 1923−once again I strike out. But Janie's enthusiasm is clear, she is more than excited for fans to see where her newest creations will take us.

Building New Worlds

Since we last spoke, Bryant's world has only grown busier and more varied. She's now moving between Landman, Dutton Ranch, and The Madison, three shows with three entirely different visual identities, and somehow keeping each one distinct. "One of the things I love most as a costume designer is that every project asks you to create a completely new visual language," she tells me. Landman may be set in the present day, worlds away from the tailored silhouettes of Mad Men or the period elegance of 1923, but Janie insists it's every bit as rich in storytelling. "The world of West Texas oil is fascinating because it's built on contrasts. There is grit alongside immense wealth, hard physical labor next to extraordinary success, practicality mixed with luxury."

That contrast is the whole point, she explains. "I wanted the clothes to feel completely authentic to the people who live in that world. Taylor Sheridan's characters never feel like they're wearing costumes. They feel lived in. Every boot, every hat, every perfectly worn work shirt tells you something about where that person has been and what they've earned. At the same time, the people at the top of the industry express power in a much quieter way. Luxury isn't flashy. It's confidence, impeccable fit, and pieces that have lasting quality. My job is always to let the audience understand the character before they ever speak."

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My job is always to let the audience understand the character before they ever speak.

— Janie Bryant

Juggling three productions inside the same creative universe might unravel a lesser designer's focus, but Bryant treats it as a matter of returning to first principles. "Each project begins with the same question: 'Who are these people?' Once I understand the characters, their world begins to reveal itself." Even though Landman, Dutton Ranch, and The Madison all live inside Taylor Sheridan's larger world, she's careful to keep them from blurring together. "Landman has the confidence and ambition of the Texas oil industry. Dutton Ranch carries the legacy and authenticity of ranch life while introducing a new generation of characters. The Madison has its own emotional landscape and visual rhythm. My responsibility is to make sure each series feels completely unique while remaining truthful to its world." If anything, she says, the constant juggling has sharpened her process rather than strained it. "Working on multiple productions has certainly made me more collaborative and more organized, and it has also reinforced something I've always believed: great costume design is never about fashion. It's about storytelling. If you stay focused on the characters, each show's voice naturally stays distinct."

I bring up the meticulous, almost historian's research she described for 1923‒ sourcing authentic notions, hand-stitching hooks, avoiding zippers before 1936‒ and ask whether contemporary shows let her off the hook. They don't. "Contemporary design can actually be just as demanding because audiences know what modern clothing looks like. If something feels false, they'll sense it immediately." The research simply moves from the archive to the street. "Instead of studying museum archives, I'm spending time understanding how real people dress in their everyday lives. I'm looking at regional influences, local stores, the way clothing naturally ages, how garments fit after years of wear, and the subtle choices people make that reveal personality and profession." Whether she's dressing 1883 or present-day Texas, Janie says the test never changes. "I spend a great deal of time observing real people because authenticity is always the goal. Whether I'm designing 1883 or present-day Texas, the question is exactly the same: 'Would this person really wear this?' When the answer is yes, the audience believes the world."

It's impossible to talk to Bryant about menswear without bringing up the obvious: Mad Men didn't just dress a decade, it sent men back into suits. I ask if she feels any of her current work, Landman especially, might be having a similar cultural ripple. She's quick to deflect the credit toward the work itself rather than any strategy. "It's always wonderful when audiences connect with the clothing, and I've never approached a project hoping to start a fashion trend. My focus has always been character." Still, she's noticed a pattern in what resonates. "I do think people respond to authenticity. With Mad Men, viewers rediscovered the beauty of tailoring and craftsmanship. With Taylor Sheridan's shows, I think people are responding to clothing that has purpose. Well-made boots, beautifully worn denim, timeless workwear, quality leather, and pieces that feel like they'll last a lifetime. There's something incredibly appealing about clothing that isn't driven by trends but by authenticity and function." If a viewer walks away wanting to invest in something built to last rather than something merely fashionable, Janie counts that as a win. "If these shows encourage people to invest in timeless pieces with craftsmanship and character, I think that's a wonderful outcome."

Looking back across everything from Pennywise to dressing Harrison Ford and Helen Mirren on the range, I ask if there's one costume, one single piece, that feels most like her right now. She won't be pinned down to just one. "It's difficult to choose just one because every project leaves a piece of itself with me. Pennywise challenged me to create something entirely original that became instantly iconic. Working with Harrison Ford and Helen Mirren on 1923 was an incredible privilege because every costume had to carry history, resilience, and emotional truth." But pressed on what she's proudest of today, her answer has nothing to do with a single garment at all. "What I'm most proud of today isn't a single garment. It's creating wardrobes that disappear into the performance. When an audience stops noticing the clothes because they completely believe the character, that's the greatest compliment a costume designer can receive." She pauses, and it's clear the thought means something to her. "At the end of the day, that's what continues to inspire me. Beautiful clothing is wonderful, but authentic storytelling through costume is what I love most. Every project gives me another opportunity to tell a story without saying a word."

This fan can't wait!