By: Sophie Shyer

Costuming in film is often what sells the world before the story is introduced. Guillermo del Toro’s 2025 adaptation of “Frankenstein” proves that immediately. From the opening frames, the costume design by Kate Hawley is meticulous and eye-catching, setting the scene for the film from the first shot. 

Hawley has worked with del Toro multiple times and is well-versed in bringing to life his strange, gothic imagination. For “Frankenstein,” Hawley won the “first-ever costume designer of the year award at the 2025 fashion awards” within the British Fashion Council. Her work is deeply rooted in the commitment to immersing herself in the world of the film. In creating “Frankenstein,” her immersion in the mid 1800s is clear, and her dedication allowed her to create a visual presence that was not only exquisite to look at but lent itself to the plot of the film. 

Hawley’s work in costuming the female characters in “Frankenstein” is particularly notable. As Claire Frankenstein, Victor Frankenstein’s mother, actress Mia Goth is consistently dressed in rich blood red color, which immediately sets her apart from others on screen, who are dressed in black and white. Even in her death, she is surrounded by red velvet in the coffin, furthering this idea of blood and death. Claire Frankenstein’s death throughout the film left a blood stain on Dr. Frankenstein, causing him to go on his journey to create the monster who avoids death. Thus, the costume choice has furthered the plot of the film, enhancing the deep relationship between Victor and his mother. 

Photo via latimes.com

Photo via imdb.com

After her death, the next major woman we meet is Elizabeth Lavenza, the wife of Victor’s brother, also played by Goth. Elizabeth’s costumes are ornate, richly colored, and extremely beautiful. The choice to dress Elizabeth in these rich jewel tones also sets her apart from the other characters. She becomes a sort of jewel herself, and her allure and beauty are established before we learn about her character. As the film progresses, she becomes the love object for both Victor and the monster. Elizabeth’s wardrobe becomes a realization of desire for her in the film world – a desire so strong that it often provokes violence and ends up being the reason she is killed.

Photo via elle.com

Kate Hawley was able to collaborate with Tiffany & Co. for this film and incorporate their heritage jewelry into the costumes. This grounded the film in the historical time period of the 1800s – a time when craftsmanship and decadence were celebrated and popular. The jewelry used helped to establish the time period in the film, as Mia Goth put it, “It put me in the right mindset for the world we were building.” This use of antique jewelry in combination with the elaborate clothing gives the film a visual richness that brings the characters to life.

In many Del Toro films, his worlds are divided between beauty and monstrosity (e.g., The Shape of Water, Cronos, Crimson Peak, etc). Frankenstein’s monster is dressed in torn, ruined clothing, which deeply contrasts with Elizabeth’s decadent gowns and headpieces. The love story between the monster and Elizabeth is already deeply complicated and tense, which is enhanced by the costuming. This contrast mirrors the entire conflict of the film: a battle between luxury and decay, or the monstrous and the beautiful.

Hawley’s work should be celebrated because of her dedication to her projects and her ability to create a costume portfolio that is perfectly curated. Each costume in the film is meticulously designed, and they each have a purposeful role, furthering the plot and the character development. In “Frankenstein,” the costumes shape the narrative and give the film an emotion through creating a gothic, haunting world. Hawley’s work is not only a beautiful sight but also tells a narrative story.