How the Costume Designer of Frankenstein Brought the Film to Life

      Welcome to The Who What Wear Podcast, your direct connection to the designers, stylists, beauty experts, editors, and trendsetters who are influential in the fashion and beauty industry. You can subscribe to The Who What Wear Podcast on Apple Podcasts and Spotify. Costume designer Kate Hawley, known for her work on Frankenstein, describes her encounter with Guillermo del Toro during a project in New Zealand as fateful. "He looked at my collection of horror books and said, 'We can communicate. We understand each other. We have the same books. We can work together,'" Hawley recalled. That meeting sparked a significant collaboration, leading to their joint efforts on several projects, including Pacific Rim and Crimson Peak. Now, they are once again partnering for Netflix's adaptation of Frankenstein.

      In the latest episode of The Who What Wear Podcast, Hawley reflects on her first meeting with del Toro, the significance of color in designing the film’s costumes, and more. For highlights from their discussion, read below. I'm interested in hearing about how you first connected. He was in New Zealand for meetings with Peter Jackson regarding The Hobbit. Peter had me tucked away in a corridor on another project. When Peter walked in, Guillermo was right behind him. They were chatting, and as they talked about work, Guillermo noticed my bookshelf, which made a significant impression on me. It wasn't about showcasing my work; he simply looked at my collection of horror books and said, "We can communicate. We understand each other. We have the same books. We can work together." That was my greatest takeaway. I was thrilled, realizing I had just met my hero. It was truly about shared communication and understanding.

      I’d like to know your thoughts on the evolution of color in the film. Initially, we see her [Elizabeth] in a bluish-green dress, followed by a scene where she has a red umbrella and a vivid yellow scarf, which I found particularly striking. How did you decide on these colors? This connects back to images of beetles, glass, and iridescence, particularly inspired by Favrile glass and Louis Comfort Tiffany, while focusing on those beetles. Since she is ephemeral and embodies fleeting images of women, it also symbolizes metamorphosis, with the colors continuously changing. One fabric we developed was inspired by skin and blood cells, which then transformed into malachite patterns that resembled beetle-like designs when enlarged. This detail is reflected in the little jacket within the cell as well.

      When I observed how Guillermo and Dan, our exceptional cinematographer, framed everything—transitioning from wide shots to close-ups, especially during the creature's creation—it felt essential to amplify those textural elements, mirroring the large patterns seen on beetles.

      I’d also love to discuss her bridal look. Can you walk me through how the design process unfolded and how you ultimately decided on this specific look? It’s crucial to stay mindful of what your collaborators are doing. I regularly check in with Dan—often on a daily basis—as well as with Tamara and her contributions. I observed her developing the cell for the creature, designed like a ribcage. When the creature picks up his first piece of clothing from the forest floor, it's a dead man’s coat, symbolizing the memories he carries. By the second half of the story, as the creature’s narrative unfolds, Elizabeth begins to connect with him and reflect that world. I approached the design from the inside out, which meant crafting the dress as an exoskeletal skeleton, while incorporating elements from historical garments of the period.

      This interview has been edited and condensed for clarity.