Bio

Black and white photo of two women in a photography studio. One woman with long wavy hair is smiling and walking, while the other with short hair is standing in the background, gazing. Photography equipment, including softboxes, a light stand, and a backdrop, surrounds them.

BIO / JESSICA MAYFIELD

I like figuring out who someone is before I decide what they should wear.

I’m Jessica Mayfield, a wardrobe stylist and costume designer working across commercial, editorial and narrative production.

I came to wardrobe with more than sixteen years behind a camera and a background that also spans writing, design, brand strategy and creative direction. All of it changed the way I see clothes.

A woman with sunglasses and earrings standing outside near a building wall with large windows, wearing a black coat, denim overalls, and white shoes, holding a patterned bag.
Collage of four photographs related to a filming or photo shoot, including a close-up of a woman in a white dress with a pearl necklace, a framed poster of Leonor Fini, a woman in a green and white jacket at a convenience store, and a black-and-white shot of a child being filmed with a camera.
A woman with curly dark hair stands in a photography studio, dressed in a light green double-breasted blazer with decorative embellishments, in front of a brown backdrop. There is a person adjusting something in the background, and photography equipment including lighting, a ladder, and a suitcase are visible.

I’m rarely thinking about an outfit in isolation. I’m thinking about the whole frame. The story. The person. The light. The location. The movement. What the director is trying to communicate. What the client needs to recognize as their brand. What feels too styled. What doesn’t feel considered enough.

And then, of course, I’m thinking about whether we have it in three sizes.

That intersection of creative thinking and practical problem solving is probably my favorite part of the job.

I’ve styled national campaigns, professional athletes, actors and real people. I’ve built costumes, dressed large groups of background talent, researched characters, sourced across multiple states and stood on set with a sewing kit trying to solve something nobody knew would be a problem twelve hours earlier.

I love the scale and collaboration of commercial production, and I love the specificity of narrative costume. In both, I’m after the same thing: clothes that make the world in front of the camera feel more true.

My work has included projects for adidas, Nike, Carhartt, Dick’s Sporting Goods, Tractor Supply Co., Oklahoma City Thunder, Paycom, Devon Energy and Oklahoma Tourism, alongside independent film, music and editorial work. In addition to my work on set, I contribute fashion recommendations and styling perspective to The Wall Street Journal’s Buy Side.

I’m based in Oklahoma City and work throughout the U.S. and internationally.

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