It was always certain that Qween Jean would design the costumes for Saturday Church—Damon Cardasis’s musical adaptation of his 2017 film, which draws inspiration from an LGBTQ+ outreach program at a West Village church and its connection to New York’s ballroom scene. This wasn’t just because she’s experienced in creating vibrant, colorful worlds or because she’s collaborated before with director Whitney White. (Her work will also debut on Broadway later this year in White’s play Liberation.) Since moving to New York to study costume design, Jean has become a central figure in the city’s trans community, actively organizing for various forms of liberation.
Her organization, Black Trans Liberation (BTL), holds weekly Wednesday Fellowships similar to those shown in the film, offering food and support to people in need. “It’s become a community cornerstone,” Jean tells Vogue, “a place where people can connect every week—somewhere for those who are waiting for a blessing, seeking one, or able to offer one.” She sees a parallel between voguing on a Saturday night and Sunday church service: both create spaces for deep connection and help people “learn how to strengthen the voice and the fire growing inside them.”
This idea is central to Saturday Church, which Cardasis adapted for the stage with James Ijames (Fat Ham), featuring music by Sia and Honey Dijon. The story follows Ulysses, a queer teenager from a strict religious home who discovers the legendary voguers at the Christopher Street Piers one night.
Jean found the ballroom scene in a similar way, remembering Thursday vogue nights at now-closed clubs like Escuelita and XL as “sanctuaries where people could explore their truths, ask questions, and understand their minds, bodies, and journeys.” She adds, “In those spaces, people build their armor so they can face the world with their heads held high.”
Jean understood the power of fashion early on, watching her grandmother make wedding dresses in Haiti and noticing “how people’s entire demeanor changed when they wore something made just for them.” In Saturday Church, she blends that insight with the curatorial sense she’s developed in New York, a city where Black queer culture has deeply influenced both streetwear and high fashion. “We are the fashion capital of the world,” she says, “and much of the instinctual design comes from Black queer culture, which continually shapes how we dress.”
She notes, “It’s no surprise—I think it’s divine—that this year’s Met Gala celebrated dandyism. We’re seeing the link from African traditions to how Black and brown people approach tailoring. Most importantly, we’re honoring the culture that originated these styles and how they’ve been adapted—and sometimes taken—into different contexts. You see it in streetwear, and now in brands like Telfar. There’s a new wave of fashion, full of resilience, and that’s how I’ve dressed every character in this musical: they have their armor to face the world.”
Telfar is well represented in Jean’s designs for the show, through handbags and other items, thanks to a partnership she arranged with the brand. She values the collaboration for its “earnestness and truth,” pointing to Telfar’s history of charitable work.She also mixes in other brands, like Supreme, along with inside jokes such as a tote bag that reads, “Don’t Rank Evil Andrew for Mayor.” These details come from her work with BTL and her connection to the city’s youth, seeing how they push back against systemic oppression.
“I see the way people show up despite what they might be going through,” Jean says. “There’s a beautiful balance in how people honor their truth while on their journey. Every small detail is rooted in something very human. That specificity comes from observing people on the train—how they tie their laces, the details of their shoes—little things that show how people put themselves together.”
“That, to me, is what makes our city the most magical and resilient place,” she continues. “People thrift like nobody’s business, finding something that no longer brings someone else joy, and then they upcycle and reimagine it. In the world of Saturday Church, there’s no need to hold onto rigid binaries. You’re free to play, explore, and imagine how you see yourself and relate to your body.”
The musical also gave Jean a chance to connect different New York scenes through her costumes. The ensemble represents Sunday churchgoers, Saturday Church attendees, and everyday New Yorkers on the subway or working out on Pier 46. Her goal, she says with a smile, is “to convey a broad sense of humanity.”
By working again with trusted collaborators and encouraging a holistic creative process, Jean says that White “creates regenerative communities through her work.” The two met when Jean was unhoused, sleeping in Washington Square Park while attending grad school. (She earned her master’s in Design for Stage & Film from NYU in 2016.) Jean loves exploring transformations like her own. The musical’s finale, centered on Saturday Church’s first ball, brings her a sense of joyful recognition.
“I remember that feeling of putting on your first ball,” she reflects. “What’s exciting is creating an intentional space for people’s light to shine—a runway where they can step out. Often, it’s in these moments that people’s journeys accelerate. They go from being a spectator, part of the congregation, to someone who participates fully. It takes nerve, courage, and it’s still a competition. You might not win every ball, but you’re trying, telling the community you’re here and you have something to say. That happened to me, even in my organizing work. There was a shift from just showing up with a sign to leading, galvanizing, and creating space.”
One of the competing houses, the Haus of Namibia, wears fierce leather outfits embroidered with roses—a blend of tough and tender that honors “the warriors who lead with love” in Jean’s communities.
“Society says you have to hold onto anger to show strength,” she says. “But for us, it’s the opposite, darling: It’s your softness. It’s your joy, even through turbulence, that measures your strength.”
Frequently Asked Questions
Of course Here is a list of FAQs about Qween Jean designing the costumes for Saturday Church written in a natural conversational tone
FAQs Qween Jean the Costumes of Saturday Church
Beginner General Questions
Q Who is Qween Jean
A Qween Jean is a celebrated costume designer stylist and activist known for her work in fashion and film particularly for creating powerful characterdriven looks for the LGBTQ community
Q What is Saturday Church about
A Its a film about a 14yearold boy named Ulysses who finds solace and expression in the ballroom community after facing bullying at home and school
Q Why does the film refer to the costumes as armor
A For the characters especially Ulysses the clothing isnt just fashion Its a form of protection and a source of strength that allows them to face the world as their true selves
Q What was the main goal for the costumes in this movie
A The main goal was to visually tell the story of each characters journey toward selfdiscovery and empowerment using clothing as the primary tool
Deeper Advanced Questions
Q How did Qween Jean approach designing for Ulysses versus the more established ballroom characters
A For Ulysses the designs show a progressionstarting with illfitting borrowed clothes and evolving into confident selfcreated outfits For characters like Ebony the costumes were already fully realized reflecting their established identity and status in the ballroom scene
Q Can you give a specific example of how a costume tells a story
A A key example is Ulyssess first gown made from his late fathers church curtains It symbolizes him reclaiming a symbol of his restrictive home life and transforming it into a beautiful expression of his identity
Q What were some unique challenges in creating these costumes
A A major challenge was the limited budget Qween Jean had to be incredibly resourceful sourcing from thrift stores using existing materials and collaborating with designers from the actual ballroom community to create authentic looks
Q How did reallife ballroom culture influence the designs
A The designs are deeply rooted in authenticity Qween Jean being part of the community ensured the costumes accurately reflected the