I had lots of Otto Dix paintings and German expressionist paintings. Were there any paintings or films referenced in that book? © 2023 Searchlight Pictures All Rights Reserved. André Courrèges’ had zips up the back, so we merged that with the Victoria bootie. I was lifting little bits from these designers, like the peep-toe boots that Bella Baxter wears. We referenced astronauts and going to the moon. But yes, definitely ’60s: André Courrèges, Pierre Cardin, Paco Rabanne, and designers who were doing that whole space-age thing. I don’t think it’s an aesthetic Yorgos is particularly drawn to. I know a lot of people have described the work as being steampunk, but we were actually asked not to look at steampunk at all. What other kinds of references did that 200-page document contain? I’d assume Victorian, steampunk, and modish stuff from the ’60s. As there are in children, there’s a bit of animalistic behavior going on. She has an otherworldliness about her because of how her brain functions. They also transpose into these richly textured fabrics. I think he made a very good choice there because those sleeves are incredibly empowering to wear. That was very much his choice - but for the women, not the men, and specifically for Bella. It was quite grotesque originally, but Yorgos zoomed in on these images I had of these 1890s sleeves. In the beginning, all the big sleeves were for the men. That manifested itself in the sleeves but not in the way that I had delivered it in this early rendition. What we ended up with had a lot to do with texture - big textures in the clothing, things that felt organic, things that felt inflated. How much of what you developed independent of that bible is what we see in the film?Ī lot of it shifted because I was really encouraged by Yorgos to just go big. Then, I really had something to work with. But I was absolutely overwhelmed when I was given this bible, which was this massive, absolutely incredible 200-page document full of descriptions and references and beautiful concept work. I knew it was going to be rich and elaborate because I was already a big fan of Shona Heath’s fashion work. Then we had a series of meetings on Zoom, and it was really only at that point that Yorgos showed me what they’d done in the art department. I had this whole journey of exploring these lung-shaped sleeves and plasticity - things that breathe and deflate. Now an Oscar contender for the film, Waddington, whose past credits include Lady Macbeth and Hulu’s The Great, was able to blend a medley of sensibilities into one eye-popping palette.ĭid you know from the outset how hyper-saturated a lot of Poor Things‘ colors would be? The movie introduces her in what often look like baby-doll dresses, but her fashion becomes more sophisticated as she explores the world and develops unadulterated ideas about how to live in it.Īfter those inflatable pants jump-started Waddington’s initial brainstorm, her work zigged and zagged as the rest of the movie fell into place. Bella has been reanimated with a childlike brain thanks to a slightly mad Victorian scientist (Willem Dafoe) who sets out to observe her body and mind gradually synchronizing. The Frankenstein riff, adapted from Alisdair Gray’s 1992 novel of the same name, follows Bella Baxer (Emma Stone) as she discovers language, sex, and societal expectations anew. Waddington’s eclectic clothing aligns perfectly with Poor Things‘ eclectic story. “It was quite wild what I came up with in response to that.” “I designed a whole series of things based on this idea of inflation and compression,” she says. No material would be too anachronistic, no fit too audacious. The futuristic-seeming trousers made by London College of Fashion graduate Harikrishnan buck the movie’s late-19th-century setting, which encouraged Waddington to ignore the norms of time and space. Before costume designer Holly Waddington got started on Poor Things, Yorgos Lanthimos gave her a visual reference: inflatable pants.
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