# Best Costume Design That Elevated the Story in 2025
The year 2025 has brought forth some of the most visually stunning films in recent memory, and much of that visual splendor can be attributed to the exceptional work of costume designers who understood that clothing is far more than just fabric draped on actors. These designers recognized that every stitch, every color choice, and every silhouette tells a story that words alone cannot convey. The costumes in 2025’s most celebrated films have become characters themselves, shaping how audiences perceive the narrative and deepening their emotional connection to the story.
## The Operatic Vision of Guillermo del Toro’s Frankenstein
When Guillermo del Toro set out to create his adaptation of Mary Shelley’s classic 1818 novel for Netflix, he knew he needed a costume designer who could translate his operatic vision into wearable art. He turned to Kate Hawley, a designer who had previously collaborated with him on Crimson Peak in 2015. This partnership proved to be exactly what the film needed to break free from the tired, dreary aesthetic that has long defined period horror films.[1]
Hawley’s approach to Frankenstein’s costumes was revolutionary in its rejection of muted Victorian tones. Instead of embracing the drab and dreary stylistic tropes typically associated with the Victorian era, she embraced grandiosity through bold color, dramatic scale, and intricate patterns.[1] This decision fundamentally changed how audiences would perceive the world del Toro was creating on screen.
The character of Victor Frankenstein, portrayed by Oscar Isaac, became a visual representation of ambition and obsession through his wardrobe. Victor graces the screen in pops of vibrant red and luscious robes that immediately signal to viewers that this is not a typical period piece.[1] These clothing choices communicate Victor’s status as someone willing to defy convention, someone whose very appearance suggests he operates outside the normal rules of society. The red tones that dominate his wardrobe become synonymous with his dangerous passion and his willingness to push boundaries in pursuit of his scientific goals.
Elizabeth, the fiancée of Victor’s younger brother, played by Mia Goth, steals scenes through her larger-than-life dresses rendered in various shades of bejeweled tones.[1] These gowns do more than simply dress the character; they establish Elizabeth as a figure of elegance and refinement, yet the exaggerated scale and jewel tones suggest she exists in a heightened, almost dreamlike world. The audience immediately understands through her costume that this is a woman of importance and presence.
One of the most striking costume choices involves Victor’s mother, Claire, who is associated with a vibrant shade of red throughout the film. This color choice was not arbitrary. The red veil that Claire wears, particularly in a memorable scene on the steps, serves as a visual language that communicates to the audience that they are entering del Toro’s unique world.[1] The costume becomes a signal, a way of saying to viewers that the rules of conventional period drama do not apply here.
The Creature, played by Jacob Elordi, presents perhaps the most complex costume challenge in the film. The Creature’s wardrobe reflects his journey in learning how to be a person, to understand humanity through the lens of clothing and presentation.[1] As the Creature evolves throughout the narrative, his relationship with clothing and appearance becomes a metaphor for his struggle to integrate into human society and understand what it means to be human.
Hawley’s work on Frankenstein represents a significant departure from her previous collaborations with del Toro. While she had worked with him before on Crimson Peak, this was the first time she was able to really play with pattern and color together in such an extensive way.[1] The malachite-print crinoline gowns and carnelian red floor-length veils that define the film’s visual aesthetic create a contemporary feel despite the period setting. These costume choices work in harmony with cinematographer Dan Laustsen’s visual approach, creating a cohesive world where the camera moves from wide shots to intimate close-ups, and the costumes maintain their visual impact at every scale.[1]
The costume design in Frankenstein has already garnered significant recognition and speculation about awards consideration. Industry observers believe there is a good chance that Frankenstein will steal the Best Costumes and Best Makeup awards from other major contenders, with the Best Production Design seeming almost a lock for this horror film.[2]
## The Grandeur of Wicked: For Good
While Frankenstein pushes boundaries through color and pattern, Wicked: For Good takes a different approach to costume design, one rooted in spectacle and the visual language of musical theater. The film, directed by John M. Chu and featuring Cynthia Erivo and Ariana Grande, is virtually a lock for multiple technical awards, including Best Costume Design.[2]
The costumes in Wicked: For Good serve the dual purpose of honoring the theatrical traditions of the stage musical while translating those designs for the cinematic medium. The film’s costume design is expected to pull in nominations for Best Costume Design, among many other technical categories.[2] The challenge of adapting stage costumes to film requires a delicate balance between maintaining the iconic visual elements that audiences know and love while ensuring those costumes work within the more intimate framing of cinema.
## The Dual Narrative of Sinners
Michael B. Jordan’s film Sinners presents another example of how costume design can elevate storytelling in 2025. Jordan plays two different characters, both leads in the movie, and both with unique personalities. The costume design must work to visually distinguish these two characters while maintaining the cohesive aesthetic of the film.[2] This approach to costume design demonstrates how clothing choices can help audiences navigate complex narratives and understand character distinctions at a glance.
The costumes in Sinners are expected to receive recognition in the Best Visual Effects, Production Design, and Costumes and Makeup categories.[2] This recognition reflects the understanding that costume design is not a standalone art form but rather an integral part of the overall visual storytelling that includes production design, makeup, and visual effects.
## The Evolution of Costume Design in 2025
What unites the best costume design work of 2025 is a fundamental understanding that costumes are not decorative elements added after the fact. Instead, they are integral to how stories are told and how audiences understand character, motivation, and theme. The designers working on these films have recognized that every color choice, every fabric selection, and every silhouette contributes to the overall narrative experience.
The work of Kate Hawley on Frankenstein demonstrates how a designer can completely reimagine a classic story through costume choices. By rejecting the expected aesthetic and embrac
