Can you hear the low hum of a chainsaw revving in the distance? It's (nearly) time for the annual FANGORIA Chainsaw Awards, celebrating horror and genre films. Every year, we are tasked with difficult decisions as fans to cast our votes, thinking back on a year (eighteen months in this case!) of film releases. This genre has a lot of heart behind it, and this year is no different.
As a costume designer, I must say this was also a year of some of the boldest and most creative costume choices post-covid, and it made my job as a voting fan very difficult. In the end, I cast my votes and like, am eager to see who takes home that beautiful trophy Sunday night. Join me as I unravel the threads of this year's nominees for Best Costume Design (fittingly sponsored by Vixen by Micheline Pitt).
Each designer brought these eerily seductive worlds to life through the clothing of our favorite characters. Boundaries were pushed, color, texture, and silhouette worked in perfect harmony with their surroundings, and we can't forget the actors who wore these creations, breathing literal life into the clothes. From the streets of Rome to the echoing halls of convents, fun flirty bedrooms, fantastical Jules Vern-ian cityscapes, and the TV studio of one late-night host, each of these films and their costumes brings another layer to the story unfolding before us.
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Late Night With The Devil - Steph Hooke
LATE NIGHT WITH THE DEVIL (Credit: Shudder) Starting with our Chainsaw host himself, David Dasmalchin, in Late Night with the Devil. Costume Designer Steph Hooke takes the simple concept of a '70s late-night talk show host and elevates it with her bespoke touches and creepy color palette. Steph is an Australian-based costume designer who has been artfully crafting clothing in Film and TV since 2012.
Hooke uses the color of each character to pop off the background and isolates each person within their own journey of this tale. The film shifts from segments of black and white to the broadcast color of '70s TV and never loses its texture. She chose monochromatic markers for each character (a staple in '70s wear) in warm autumnal tones and layers to add a cozying, almost disarming effect.
We know these characters (or at least we think we do) before the mayhem ensues. Working in perfect visual conversation with Production Designer Otello Stolfo, Hooke brings the tan suit for Delroy (Dasmalchin) into this world. He has become desperate to hold onto his fame and believes this broadcast is the key. Contrasting Delroy to June (Laura Gordon) in a professional plum pant suit, speaks to how much Jack has been consumed by his show, June and Lilly (Ingrid Torelli) are guests in Delroy's world, both literally and figuratively. Even his tie is a similar tri-tone stripe that matches the backdrop. Every detail was considered, and upon multiple rewatches you'll likely catch something new.
The First Omen - Paco Delgado
The 1970s and the concept of possession are a common thread between a few of this year's nominees, but possession is taken to a whole new level in The First Omen. With costumes by Spanish designer Paco Delgado, the scale of costume storytelling envelops audiences in the world of 1970s Roma.
Delgado is no stranger to large-scale costuming, having designed Les Misérables, John Wick 4, Death on the Nile, and many other notable films. The devil was truly in the details of this film, starkly contrasting the inner world of the convent with sterile blacks and whites, gold accents on the male priests for ceremonies, and touches of red with the protesting students and civilians of Rome. Seeing Margret (Nell Tiger Free) walking through the city streets set her into a fresco-like painting of her surroundings.
Delgado used muted, clay tones throughout and it feels as if you are in a museum looking at Medieval art. Even when Margret gets a small taste of freedom as she ventures out to the disco sans-habit, her dress evokes a Joan of Arc-like armor, and she becomes a martyr in her own right through this film.
Immaculate - Francesca Brunori
The concept of women's bodies as vessels of the church is really driven home in Immaculate, a dark take on the next coming of Christ. Costume designer Francesca Brunori creates a statue figure out of Sister Cecilia (Sydney Sweeney) from the first moment we see her. Starting off in a gray plain habit, Brunori “others” Cecilia and we are immediately aware that she does not belong in this environment.
There's an air of virginity and innocence in her demeanor, not only in how she is dressed but also in how Sweeney carries herself. When we discover that she has been chosen to become the next Virgin Mary, she is swathed in powder blue robes and adorned with florals and veils, bringing this idea of a statuesque figure into full view.
Body autonomy is a huge theme in this film, exploring the idea of how women are put on these pedestals until they are no longer “needed” by these societal structures, be it religion or another source. I enjoyed her use of color within the limited color palette of traditionally black and white religious garments. She uses their white sleeping gowns to create moments of breath and freedom away from the smothering nature of a habit. These garments also became an effective visual when blood and dirt come into play later on in the story.
Poor Things - Holly Waddington
Arguably one of the most fantastical pieces in the bunch, but still tied to the theme of bodily autonomy, are Holly Waddington's Oscar-winning designs in Poor Things. A sexual awakening take on the Frankenstein story with an air of Jules Verne, Waddington created an avant-garde version of turn-of-the-century clothing, creating bodily freedom within a traditionally restrictive clothing period.
Victorian sensibilities were not known for their ease of movement. But by pairing these large leg-o-mutton sleeves with flowing skirts or shorts, there's play within Bella Baxter's (Emma Stone) closet. Upon first glance, we see the complexity of the layers and textures, but as we follow Bella, it is almost as if we are breathing for the first time. There is ease in each piece, a softness and a playful combination of color. Waddinton's career has spanned some truly incredible works like Lincoln and Lady Macbeth, in which she injects this anachronism within the parameters of a period drama. Her work on Poor Things really brings costuming to another level, and it is no wonder that she took home the Best Costume Design Oscar this past year.
Lisa Frankenstein - Meagan McLaughlin
To round out our nominees with a fun and funky sensibility, no one has captured the art of play better through her designs than Meagan McLaughlin in Lisa Frankenstein. This deliciously '80s version of our Frankenstein tale from first-time director Zelda Williams brings a comically fun twist to a familiar story. I had the pleasure of chatting with Meagan for my own podcast back in February, and I was delighted to step inside her mind.
Each frame is a visual feast. Meagan brought Lisa (Kathryn Newton) out of her shell through the story by leaning into the goth/New Romantics movement of the 1980s. Her costumes hold a special place in Meagan's heart as she felt Lisa's style was similar to her own in her youth. The highlight for me was the dream sequence, filmed in black and white, shot in the style of silent era films; each garment on Kathryn and Cole was hand-painted to create a brushed effect. This film was very much a visual treat, and I have seen so many cosplays of Lisa and her creature at cons this year.
The nominees pushed the envelope as costume designers and created some truly incredible worlds for their actors to live and play in. Costume designers create some of the most lasting parts of our film-watching experience; they inspire our own wardrobes and create opportunities for cosplay and Halloween costumes. What would Lisa be without her black dress and docs or Bella without her powder blue jacket and yellow shorts? Congratulations to all the nominees, filmmaking is no small feat, and I eagerly wait to see who will take home the Chainsaw this weekend.
You're invited to watch with us live on Shudder October 13. We'll be live tweeting throughout the show, come on in and join the virtual party with #ChainsawAwards. As we gear up for the big day, tag us in your shared ballots, and all your Chainsaw party preparations! Check out our Chainsaw Awards Survival Guide for all the information on how and where to watch, and print your official 2024 Chainsaw Awards official Ballot PDF right here.
Or if you prefer a jpeg, you can download that right here.
A huge thank you to our wildly stylish sponsor Vixen by Micheline Pitt for supporting the Best Costume category and to all our sponsors Shudder, Paramount Scares, Impale, The Criterion Collection, and RED for making this year's show possible! For more, check out our Chainsaw Awards survival guide.
