NO FUCKING YANKS ON THE THREAD

"The house really dictated how to approach the costumes, from a sculptural point of view, to give them extra depth, to give them a painterly quality. I didn’t want to get myself caught up in detail that didn’t feel like it meant anything, like generic lace or decoration. So all the details we made and they all came from the symbolism of the characters or the house itself. The leaves on Lucille’s dress were constructed by hand, with a single piece of cording. And for Edith, the motifs of the flowers, she blooms. It was about trying to create an atmosphere. [...] [Edith's] like a chrysalis at that point. She’s very fragile, so the butterfly is dying and becoming this little husk. [...] When Guillermo said to me, “It’s about a house that breathes,” that’s why we chose the lightest fabric, just a little thing to try and help the storytelling with the idea of the house." "[As Edith falls in love with Thomas Sharpe,] the silhouette of the sleeves becomes fuller, and the flowers start growing on her dress. You have the world of the moon, and black, and Lucille being the moth, and Edith being the butterfly.” - Kate Hawley

"I wanted texture to be everywhere in the costumes… for everything to feel like it was living and breathing – from an animal or a sea creature from a shell. It all has a kind of organic quality to it. There are curvy, linear shapes, and no sharp lines. Bella’s costumes are very airy. Those sleeves are like huge lungs full of air, and she’s just been reanimated so that felt like a good thing to include. The huge sleeves also affect her body shape, which felt like a good idea, because she is more creature-like when she wears these.” - Holly Waddington