section_path: Production/Costumes
section_name: Costumes
paragraph_text: Costumes
  
  Costume designer Emmanuelle Youchnovski was hired on the film after reading the script and creating a Pinterest board to show Fargeat. She drew inspiration from fashion photos and the poster for the film Queen Margot, in particular for the Monstro finale.
  
  Youchnovski developed contrasting looks for Elisabeth and Sue. Elisabeth's design emphasized masculinity, using suits with minimal skin exposure, shiny fabrics, and primary colors like blue, red, and black. For Elisabeth's yellow coat, Youchnovski purchased 20 options; unhappy with their fit and color, finding them too mustard or too green, she sketched a design and she and her team made the coat using fabric sourced from London in a month. The yellow coat matched sunshine and egg hues found in the film, and enveloped Elisabeth "like armor" with its wide shoulders and large pockets. During prep, Moore initially questioned the exaggerated choice, noting that no one in Los Angeles would wear a heavy coat in summer, but Fargeat said that it was essential to her character. After production ended, Moore took the yellow jacket as a keepsake.
  
  Sue's wardrobe emphasized femininity, exposing her body, focusing on clichés associated with the male gaze including pink metallic colors, black Louboutin boots and a tennis skirt. Her pink leotard was inspired by Beyoncé in the music video for "Blow" and an outfit worn by Dua Lipa during her concerts showing her midriff. Sue's clothing becomes darker as the film progresses and was designed thematically to represent danger and snake-like qualities. Her custom-made bomber jacket features the letter "S" on the back for "Sue" and for "Snake" and her catsuit as a second skin. Youchnovski had to redo the snakeskin pattern on the catsuit as the initial attempt wasn't shiny enough. Sue's dragon robe, representing rebirth and domination, was the most difficult piece to design, requiring 10,000 sequins made over 2 months.
  
  For Monstro's dress, Youchnovski first designed the version for Monstro, then adapted it for Qualley, reversing her usual process since she didn't have access to Qualley in the prosthetics. She surveyed the prosthetic in London and fitted the costume to a mockup of Monstro, struggling with the design of the top due to Monstro's number of breasts.
  
  For Harvey, Youchnovski dressed him in colorful Etro and Dolce & Gabbana suits. She explained: "I wanted his style to be very strange. Like what rich people wear."
  
  Youchnovski emphasized the motif of the spinal column in the costumes. Elisabeth appears at the beginning of the film, before taking the substance, with an open-back dress. After taking the substance, she appears in a red Balmain dress with a zipper, while Sue mirrors this design choice by donning a catsuit, also featuring a zipper. Moore and Qualley had approximately three fittings each, Youchnovski focused on ensuring that the leotard was comfortable and character's silhouette was clearly defined. She would then sketch the look, adjusting color or other details as needed.
  
  Costume designer Emmanuelle Youchnovski was hired on the film after reading the script and creating a Pinterest board to show Fargeat. She drew inspiration from fashion photos and the poster for the film Queen Margot, in particular for the Monstro finale.
  
  Youchnovski developed contrasting looks for Elisabeth and Sue. Elisabeth's design emphasized masculinity, using suits with minimal skin exposure, shiny fabrics, and primary colors like blue, red, and black. For Elisabeth's yellow coat, Youchnovski purchased 20 options; unhappy with their fit and color, finding them too mustard or too green, she sketched a design and she and her team made the coat using fabric sourced from London in a month. The yellow coat matched sunshine and egg hues found in the film, and enveloped Elisabeth "like armor" with its wide shoulders and large pockets. During prep, Moore initially questioned the exaggerated choice, noting that no one in Los Angeles would wear a heavy coat in summer, but Fargeat said that it was essential to her character. After production ended, Moore took the yellow jacket as a keepsake.
  
  Sue's wardrobe emphasized femininity, exposing her body, focusing on clichés associated with the male gaze including pink metallic colors, black Louboutin boots and a tennis skirt. Her pink leotard was inspired by Beyoncé in the music video for "Blow" and an outfit worn by Dua Lipa during her concerts showing her midriff. Sue's clothing becomes darker as the film progresses and was designed thematically to represent danger and snake-like qualities. Her custom-made bomber jacket features the letter "S" on the back for "Sue" and for "Snake" and her catsuit as a second skin. Youchnovski had to redo the snakeskin pattern on the catsuit as the initial attempt wasn't shiny enough. Sue's dragon robe, representing rebirth and domination, was the most difficult piece to design, requiring 10,000 sequins made over 2 months.
  
  For Monstro's dress, Youchnovski first designed the version for Monstro, then adapted it for Qualley, reversing her usual process since she didn't have access to Qualley in the prosthetics. She surveyed the prosthetic in London and fitted the costume to a mockup of Monstro, struggling with the design of the top due to Monstro's number of breasts.
  
  For Harvey, Youchnovski dressed him in colorful Etro and Dolce & Gabbana suits. She explained: "I wanted his style to be very strange. Like what rich people wear."
  
  Youchnovski emphasized the motif of the spinal column in the costumes. Elisabeth appears at the beginning of the film, before taking the substance, with an open-back dress. After taking the substance, she appears in a red Balmain dress with a zipper, while Sue mirrors this design choice by donning a catsuit, also featuring a zipper. Moore and Qualley had approximately three fittings each, Youchnovski focused on ensuring that the leotard was comfortable and character's silhouette was clearly defined. She would then sketch the look, adjusting color or other details as needed.