Zambian costume designer Estelle Don Banda is gaining recognition in the film world, most notably for her work on the critically acclaimed On Becoming a Guinea Fowl. Recently shortlisted for the British Independent Film Awards (BIFA) in the Costume Designer category, Estelle’s talent lies in her ability to weave cultural authenticity into compelling storytelling.
“Costumes aren’t just outfits; they’re a language,” Estelle shares. “They tell you who the characters are before they even speak.”
On Becoming a Guinea Fowl: A Film of Transformation
Directed by the visionary Rungano Nyoni, On Becoming a Guinea Fowl is a deeply layered story exploring themes of identity, grief, and resilience. For Estelle, designing costumes for this film was about more than aesthetics—it was about grounding the characters in their world.
She drew heavily from Zambian culture to reflect the mourning traditions portrayed in the film. “The characters wore the same outfits throughout the mourning period,” Estelle explains. “It’s a reflection of real-life rituals and a way to immerse the audience in the narrative.”
One standout piece was Shula’s inflatable Missy Elliott-inspired costume, designed for a whimsical yet pivotal scene. “Balancing functionality with creativity was a challenge, but it was also one of the most rewarding pieces I’ve ever worked on.”
Uncle Fred’s eccentric costume, adorned with boots and sanitary pads, became another unforgettable element. “It symbolized his complexity and the contradictions in his character,” Estelle adds.
Being shortlisted for a BIFA was a surreal moment for Estelle. “It’s humbling and motivating,” she says. “This recognition isn’t just about me—it’s about African stories being seen and celebrated on a global stage.”
She credits director Rungano Nyoni and the talented cast and crew for bringing the film’s vision to life. “Rungano’s clarity and creativity inspired me to push boundaries and trust the process.”
Estelle’s work on On Becoming a Guinea Fowl exemplifies her ability to blend cultural authenticity with innovative design. “Every stitch, every detail has meaning,” she says. “Costumes should not only enhance the story but connect with audiences on a deeper level.”
As Estelle continues her journey, her work serves as a testament to the power of African creativity in global cinema. For her, the ultimate goal is clear: “I want to tell stories that matter, that resonate, and that leave a lasting impact.”
On Becoming a Guinea Fowl is a story of transformation, and Estelle’s costumes are a vital part of its narrative, proving that the beauty of film lies in the details.
