Blockbuster cinema often relies on sprawling worlds and striking visuals, but few modern franchises match the meticulous sartorial undertaking seen in the Dune series. Returning costume designer Jacqueline West recently detailed her creative process and the distinct visual evolution required for the upcoming third installment in an interview with Vogue. Set against the backdrop of a significant 20-year timeskip, the film provided West with an entirely new vision to explore, shifting the aesthetic away from the foundational tone established in the earlier movies while maintaining the universe's signature gravity.
The design journey always begins with reading the script before sitting down with director and co-writer Denis Villeneuve to discuss the psychological headspace of every character. For the original film, Villeneuve coined the term modieval to describe a blend of modern and medieval elements, mirroring how franchise creator Frank Herbert envisioned a distant future by looking back at the ancient past. However, for this latest chapter, West explained that the medieval influence evolved into a Renaissance-like style to reflect a narrative that grows darker before reaching a point of redemption.
Key takeaways
- Jacqueline West returns as costume designer for Dune: Part Three, working with a 20-year timeskip.
- Inspirations for the film's wardrobe include Francisco Goya, Cristóbal Balenciaga, and early papacy imagery.
- Paul Atreides wears substantial fabrics and rich leather inspired by the recluse Howard Hughes.
- Dune: Part Three hits theaters next month on December 18.
Historical and Artistic Influences
To construct the intricate garments, West and her concept artists gathered a diverse array of historical and artistic references. Visual inspirations for the clothing span the artwork of Francisco Goya, tribal garments from Etruscan and North American civilizations, the sculptural sartorial language of Cristóbal Balenciaga, and the ecclesiastical imagery of the early papacy. Moving deeper into the narrative, West pushed the boundaries toward a more modern aesthetic.
This modern shift is clearly visible in the wardrobe of Paul Atreides. Seeking a fitting reference for his character arc, West looked at the reclusive billionaire Howard Hughes, resulting in substantial fabrics and rich leather robes. Meanwhile, Chani wears a sleeker stillsuit that draws inspiration from scuba gear, constructed from Lycra coated in a rubberized texture designed to stretch naturally with the human body.
New Characters and Unique References
The wardrobe choices extend deeply into the film's new roster of characters, including Alia, played by Anya-Taylor Joy. Designed to feel reminiscent of the Bene Gesserit and dressed largely in white, Alia's look also incorporates a surprising cinematic nod. Following a phone call with longtime collaborator Jack Frisk and his wife Sissy Spacek, the star of the original Carrie, West developed concept art featuring Alia covered in blood, leading to the striking imagery seen in the promotional trailers.
Other characters received equally deliberate costuming choices to signal their roles in the story. Scytale wears robes layered over a stillsuit designed to appear unsettling and menacing, while Hoyt is dressed in fancy threads that present him almost like a gift to Paul. West's comprehensive work also addresses practical challenges like combating harsh weather on set and outfitting the samurai-inspired House featured in the trailers. Audiences can experience the full scope of these costume designs when Dune: Part Three arrives in theaters next month on December 18.
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