Guillermo del Toro’s latest adaptation of Mary Shelley’s Gothic masterpiece, “Frankenstein,” transcends mere narrative retelling. Costume becomes a central vehicle for thematic and emotional resonance.
Del Toro’s vision, realized through the meticulous craftsmanship of Emmy-nominated designer Kate Hawley, constructs a world where clothing is inseparable from character. It reflects psychology, mythology and historical texture.
In a Vogue Hong Kong article from Nov. 2025, Hawley described a design approach that synthesizes biblical iconography, Crimean War modernism and archival Tiffany treasures. Her work creates a visual language that navigates the Gothic, the historical and the fantastical.
Elizabeth
The first look of Mia Goth as Elizabeth is unforgettable. Facing away, she slowly turns to reveal blue feathers, a halo-like headpiece and a skull in hand. She appears angelic through Victor’s eyes, reminiscent of his mother’s warmth. Her character, attuned to even the tiniest creatures, reflects everything she loves in science and botany. The blue beetle necklace, a unique Louis Comfort Tiffany piece from the early 1900s, ties her to Mary Shelley’s world, the Age of Enlightenment and Victorian inspirations. Hawley explored Tiffany’s 200-year archive to find pieces that resonate with history and meaning.
Elizabeth’s wardrobe is painterly and sacred. She wears sheer, bold veils and a yellow bonnet inspired by a Madonna painting. Mia noted that Elizabeth hides behind her veil but gradually reveals herself near the creature. It symbolizes her loneliness giving way to belonging. Her wedding dress, constructed from the inside out like the creature’s bandages, layers silk and Swiss ribbon to mirror his anatomy.
Victor Frankenstein
Victor remains tied to Mary Shelley’s era. He is an aristocrat, wearing velvet coats that reflect his family’s status. As the story progresses, his velvets wear down, showing his decline as he immerses himself in his laboratory. As he spends more time with Harlander, his garments shift toward a theatrical and flamboyant style. Inspired by Mick Jagger in Soho, Rudolf Nureyev and the irreverent energy of Francis Bacon and Picasso, he dresses like a “punk-rock dandy,” as described by Kate.
Aristocratic clothes are stained with blood and chemicals from his experiments. The character’s actor, Oscar Isaac, explained that the red gloves pay tribute to his mother’s blood-red dresses and veils, linking death to his obsession with reanimating life.
The Creature
Jacob Elordi’s creature is a haunting mix of humanity and artifice. Behind the scenes, time-lapses show Jacob transforming into a figure that embodies the beauty in imperfection. Towering and sculpted, his body is deliberately constructed. Prosthetics emphasize geometric, almost mechanical forms, signaling he is “made” rather than born. Hawley mirrors this in his clothing. Leather bandages suggest Christlike vulnerability. A salvaged, patched military coat echoes his fractured body and gives him a long, dramatic silhouette. His hair, grown from different “scalps” and shifting in earthy tones, humanizes him without losing its uncanny quality.
Jacob recalled his first camera test. It took 12 hours just for the makeup. He described it as a beautiful moment, fully embracing the role. Elle magazine in a Nov. 2025 article shared that the process involved 42 separate prosthetics.