And the Oscar Goes to 'Poor Things'
The Oscar-winning costumes of 'Poor Things' exemplify a masterful fusion of historical accuracy and creative innovation, setting a new standard in cinematic costume design, and here's why.
In "Poor Things," Emma Stone's character, Bella, dons a series of outfits, prominently showcasing puffy sleeves characteristic of the Victorian era. Courtesy of Searchlight Pictures.
The costume designer, Holly Waddington, is an expert in women's period costumes. Since this film is deeply surrealistic and feminist, Waddington's approach is absolutely unconventional. The film is set in the late 1800s, although the director, Yorgos Lanthimos, did not want it to be a strictly historical film with overly didactic references. Therefore, the costume design work for this film was done by combining different eras, starting from late 1800s structures that were deconstructed and reassembled.
“Poor Things’. Courtesy of Searchlight Pictures.
There are several references to Victorian clothing, but with strong nods to the 1930s and 1960s. The main focus is often on the shoulders, which are voluminous and colorful, reminiscent of 1980s shoulder pads, symbolizing female empowerment and power dressing in the film, as they did back then. Given the feminist nature of the film, the choice was made to eliminate all corsets, despite them being typical of the 19th-century era.
Director Yorgos Lanthimos and Stone on set. Courtesy of Searchlight Pictures.
The costumes were used to visually represent the evolution of the character Bella Baxter, played by Emma Stone. Let's start with Bella Baxter at her home in London, with a childlike brain trapped in a woman's body. Here, the costume designer wanted to emphasize this aspect through the clothes. We see Victorian-inspired clothing on the top, while she wears children's underwear, a typical garment for children, on the bottom.
“Poor Things’. Courtesy of Searchlight Pictures.
The second part of the film takes place in Lisbon, where Bella Baxter begins her teenage years, and here the costumes too reflect the character's mental state. Bella begins to discover the world, herself, pleasure, and consequently, the clothes have increasingly transparent fabrics and vivid colors. The element of shorts remains, but with a more sensual connotation.
“Poor Things’. Courtesy of Searchlight Pictures.
The third part sees Bella Baxter kidnapped and taken on a cruise ship. This is a transitional period where she begins to come to terms with reality, discovering that not everything is as beautiful as it seems. She begins to develop a passion for reading, philosophy, and literature. In this phase of self-definition, the clothes fully reflect the change. They are more structured, the fabrics heavier, and the colors become more subdued.
“Poor Things’. Courtesy of Searchlight Pictures.
Finally, Bella Baxter arrives in Paris, wearing a cloak, dubbed by the costume designer as the "condom dress," marking her arrival at the brothel, where, contrary to the stereotype of the place, which evokes strong and provocative colors, clothes that recall the natural and subdued skin's color were chosen. This symbolizes the liberation of the body from constraints. In Paris, Bella also comes into contact with socialism and decides to become a doctor. The costumes for these scenes were inspired by late 1800s medical schools, where all-black attire was worn, adding the ironic touch of a short skirt.
“Poor Things’. Courtesy of Searchlight Pictures.
In the final parts of the film, Bella gains full awareness, so the clothes become more constructed and complex, with different types of fabric. Particularly in the last scene, there is a reinterpretation of the voluminous shoulders that become more contemporary, present in a sweater easily wearable in our days.
