Guillermo del Toro does not make films; he conjures haunted cathedrals for the mind, where beauty bruises and monsters feel more human than most people scrolling X. In Frankenstein (2025), the maestro of melancholy returns, with Mia Goth gliding through candlelit corridors in fabrics that whisper secrets. Her wardrobe is not costume, it is confession, stitched by hands that understand madness as intimately as grace, turning every thread into a story that moves between shadows and shimmer.

As Guillermo del Toro resurrects Mary Shelley’s myth, the question lingers: who stitched beauty into the beast’s world?

Mia Goth does not just play Elizabeth Lavenza; she haunts her. In Frankenstein, Elizabeth is the candle in a house built of thunder, the woman everyone loves yet no one fully understands. She is betrothed to Victor’s brother, though Victor himself burns with forbidden curiosity. While others see a creature, she sees a soul; while others scream, she listens. Her costumes, insect-bright and alive, turn her into something between angel and moth, fragile, yet drawn fearlessly to danger.

While Elizabeth flutters between life and danger like a jeweled moth, the mind behind her luminous armor deserves the spotlight, where fabric becomes philosophy and color speaks louder than words.

Behind every cinematic fever dream lies a designer who turns emotion into thread, and that is Kate Hawley. The New Zealand visionary, handpicked by Guillermo del Toro, met him after he spied her bookshelf and realized their shared taste for horror, heartbreak, and beauty that bleeds. Together, they birthed Elizabeth’s beetle-like elegance, iridescent greens, jewel tones, and Tiffany scarabs, each shimmer symbolizing humanity fighting to survive in a gray, Gothic world.

As Guillermo del Toro molds cinema’s most iconic monster tale from myth, Kate Hawley wraps it in emotion, proving that even tragedy demands couture and every shadow needs a stitch.

Kate Hawley does not simply design costumes; she builds psychological architecture. From Crimson Peak’s silk-and-blood palette to Suicide Squad’s chaos couture, her work balances madness with method. Trained in New Zealand, refined in London, she reads emotion before fabric. Her Emmy-nominated career is a study in contrasts: violence dressed as velvet, sorrow shaped like a silhouette. The truth is simpler: she dresses humanity at its most haunted.

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What are your thoughts on Mia Goth’s gothic wardrobe and Kate Hawley’s eerie elegance in Guillermo del Toro’s Frankenstein? Let us know in the comments below.