Poor Things Are Dressed to Impress!

The true mark of a cinematic artwork is its ability to resonate deeply, to make you feel every image, color, camera movement, line of dialogue, sound, and costume as if they are speaking directly to your inner self. Yorgos Lanthimos' 'Poor Things' fits this esteemed category. The film masterfully adapts the eponymous book by Scottish writer Alasdair Gray. It unfolds as a universal tale of embracing our role in existence and creating our own lens through which to continuously express ourselves. Moreover, it's a narrative about the quest for independence, uniquely portrayed through the perspective of a woman: the new Frankenstein, Bella Baxter.

The beauty of 'Poor Things' can be described from a myriad of perspectives. In this article, however, our focus is on the costumes, a significant strength of the film. The importance of costume design is evident from the opening scene itself, which features a detailed shot of the protagonist’s night cape. This moment immerses us in the world of Bella, introduced through the elegant satin and white quilted silk of her dressing gown.

As the story progresses and Bella's consciousness and independence evolve, so does her wardrobe. Holly Waddington, the costume designer, collaborated closely with director Yorgos Lanthimos and actress Emma Stone to weave a narrative through clothing. This collaboration, as Waddington has shared in various magazines, was pivotal in crafting a wardrobe that evolves in tandem with Bella’s character

The plot of 'Poor Things' is set in the Victorian era, but its execution strays from the traditional period piece. The creative team, led by costume designer Holly Waddington, aspired to craft a futuristic interpretation of the era, infused with Bella’s sense of wonder and elements of gothic steampunk. Waddington’s challenge was to create a wardrobe that subtly hinted at the late 19th century while accentuating the story's irrational, whimsical, and rebellious themes.

Her focus was primarily on one distinctive aspect of Victorian fashion: the voluminous sleeves. In an interview with Bazaar, Waddington shared: 'Bella is either adorned in leg-of-mutton sleeves or is sleeveless. Yorgos Lanthimos was very receptive to all the ideas I brought from the late 19th century, particularly these exaggerated sleeves. Both he and Emma Stone were keen on this design in our meetings. I adore the dramatic effect they have on the body, creating a sense of otherness with their highly textured and almost creature-like fabrics.’

In the first act of 'Poor Things,' we witness Bella's rapid mental evolution, contrasting with her physical age. She is metaphorically a prisoner in a golden cage, much like an overgrown baby, constantly overseen by her maid, Mrs. Prim, her father-like creator, and his assistant. During this phase, her clothing, chosen by Mrs. Prim, reflects this infantile state. Bella is often dressed in baby-like garments that allow her freedom of movement and exploration.

Holly Waddington, in her interview with Bazaar, elaborates on this design choice: 'When I was conceptualizing Bella's childish phase, I drew inspiration from my own experiences with children. They often quickly dishevel and show a natural inclination to undress. I imagined Mrs. Prim dressing Bella in a ladylike skirt and bodice each morning, only for the skirt to be discarded by mid-morning.' This approach in costume design subtly underscores Bella's inner conflict and burgeoning self-awareness.

Bella's personal revolution begins with her journey to Lisbon, a turning point both in her character arc and in her wardrobe choices. Here, she is seen in some of the most iconic outfits of the movie, marking a transition to choosing her own clothing—a futuristic pastel dream. This change is inspired by Jodie Foster’s look in 'Taxi Driver,' particularly when she steps out onto the streets of New York. Waddington reimagines this with silk shorts akin to 1930s French knickers, paired with futuristic white boots straight out of a 1960s sci-fi film.

In her interview with The Credits, Waddington discusses her main inspirations stemming from the 1960s, particularly designers like André Courrèges, Pierre Cardin, and Paco Rabanne, renowned for their space-age fashion. This stylistic choice significantly contributes to depicting Bella's journey towards independence and self-discovery.

As Bella steps onto the streets of Paris, realizing her true calling to become a doctor, the audience is captivated by an array of Dark Academia-inspired outfits. These ensembles, interspersed with pastel-colored bondage corsets and laced overcoats, present a striking contrast between deep black and soft pastel pink. This dichotomy is preceded by a unique latex raincoat, which the costume designer intriguingly crafted to resemble a Victorian condom, setting the tone for the film's first brothel sequence.

As the film draws to a close, Bella emerges as a fully self-realized woman, a transformation mirrored in her attire. She is adorned in a soft sweater paired with a long, divided skirt – a style that in the 1890s symbolized newfound freedom for women, including the ability to ride bicycles.

Poor Things proves to be a comprehensive work of art, where every detail contributes to narrating a cohesive and profound story of self-discovery and knowledge, in a way that hasn’t been seen on the silver screen in ages.

Article by @lluciamarinelli

Images Courtesy of @searchlightpics

RED•EYE WORLD