Mia Goth in Frankenstein: When Costume Becomes Soul, Not Just Clothing
- Matheus Hooks/ Editor-In-Chief
- 3 hours ago
- 3 min read
In Guillermo del Toro’s long-awaited reinterpretation of Frankenstein, Mia Goth transcends the role of the gothic muse and emerges as a symbol of a new aesthetic — one that fuses the dark and the ethereal. Her costumes don’t merely dress the body; they reveal the spirit.
“I tried on a dress for the first time, and it clicked … She was always far closer to me than I knew.” — Mia Goth
That sentence captures the starting point for the entire visual identity of the character. According to costume designer Kate Hawley, every look worn by Elizabeth Lavenza — the devoted yet doomed wife of Victor Frankenstein — is a physical translation of the soul: sometimes translucent, sometimes decaying, but always human.
On-screen costume: when the body becomes a visual laboratory
Del Toro’s team dove deep into an aesthetic inspired by insects, anatomy, and religious iconography. The chosen materials — iridescent organza, metallic embroidery, and delicate lace — reflect the film’s central dualities: science and faith, love and sacrifice.
“Elizabeth is such a complex mix of love, loss, and strength … I wanted to bring a lot of emotion to her, to show her heart and her courage, not just her sadness.” — Mia Goth
The palette conceived by Hawley blends aniline green, magenta, and lavender glass tones, echoing beetle wings and the pigments of the Victorian era. One standout piece — a fractaled shawl inspired by insect wings — represents Elizabeth’s emotional metamorphosis.
When Goth transforms into Claire Frankenstein, Victor’s mother, her wardrobe turns blood-red, with a veil that flows like smoke. Hawley reveals that Del Toro wanted her “to look like she was made of fog and devotion.”
“The shoot was difficult and intense … I walked onto that set and was so nervous I could feel my heart beating in my body.” — Mia Goth
Even behind the scenes, the process was visceral. For Goth, the costume wasn’t decoration — it became a second skin, shaping her posture, breath, and expression.
From the set to the red carpet: fashion as an emotional extension
The darkly romantic and translucent aesthetic of Frankenstein continued through Mia Goth’s real-life appearances. Each premiere became an echo of the film’s haunting beauty:
In New York, she wore a sheer Ferragamo dress with wool shearling panels and lace detailing — a modern vision of gothic femininity.
In London, she appeared in a lavender gown by Conner Ives, backless and semi-transparent, mirroring Elizabeth’s iridescent palette.
In Los Angeles, she embodied the darker side of romance in a black lace gown by Dior, channeling both mystery and sensuality.
Her looks were paired with archival Tiffany & Co. jewelry, including a necklace featuring over 40 carats of diamonds, a direct reflection of the opulent precision seen in the film’s costuming.
“That was helpful, because that’s exactly how a woman in the Victorian world would feel, and it formed how I moved and how I sat … from the outside in this time around.” — Mia Goth
Goth admits that the costumes guided even her smallest gestures. From the stitching to the emotion, everything intertwined — a literal embodiment of Frankenstein’s theme: creation stitched between worlds.
A new gothic legacy: redefining feminine darkness
Mia Goth’s portrayal in Frankenstein signals a new chapter in the fusion of fashion and cinema — where gothic style is no longer caricature but refined melancholy.
Hawley’s designs and Del Toro’s vision construct a visual poetry that inspires modern fashion narratives: transparency, lace, heirloom jewelry, and the celebration of emotional vulnerability.
For the fashion world, Frankenstein stands as more than a film; it’s a visual study in rebirth — a meditation on beauty, fragility, and transformation.
And Mia Goth, through her visceral performance, becomes the beating heart of that aesthetic.
