Bella Baxter’s Wardrobe: Unveiling the Sartorial Magic of Poor Things
Explore the visionary artistry of costume designer Holly Waddington as we unveil how her work shapes protagonist Bella Baxter’s character arc and enhances the film’s aesthetic narrative.
By: Grace Pisciotta
Among the many highlights of Yorgos Lanthimos’ Poor Things, one of the biggest stand-out features of the film was its costume design. We got to watch Emma Stone, adorned in lavish ruffles and silks, grace the screen as one of her most complex characters yet, Bella Baxter. Alongside her stood Mark Ruffalo, playing her love interest, and Willem Dafoe, her father figure, both clad in eccentric suits and hats.
Holly Waddington, the creative force behind the not-so-traditional period costumes, ingeniously blended historical references with contemporary flair, breathing life into each character, with a particular focus on Bella. Bella’s unconventional life, as portrayed by Stone, unfolds in stages, each progressing quicker than the last. The intricate costume design mirrors each of these stages, capturing the essence of Bella’s transformative journey.
Birth and Childhood:
The film opens with Bella as a child. Her father figure, Godwin, brings her back to life by swapping her brain with that of a fetus, leaving her with the mental capacity of an infant but the physical appearance of an adult woman. Think of her as a sort of female Frankenstein-esque creation.
During this stage, Bella wears an assortment of playsuits and bustles (undergarments used in the mid-to-late 19th century to add volume at the back of a woman’s dress), accompanying her lively, nearly chaotic personality. Dressed in pastel yellows and blues, her outfits appear haphazardly assembled and incomplete, as if she personally assembled them herself. By midday, she’s shed most of her clothing and is left frolicking around her backyard in just her balloon-like sleeves, bloomers, and socks. The vibrant yet uncoordinated qualities of Bella’s outfits in this phase symbolize her youthful nature.
Adolescence:
Following her childhood, Bella swiftly transitions into adolescence. Waddington incorporates plenty more yellow fabrics into Bella’s style, symbolizing sun, light, and youth. So, even as she enters this stage of maturity, she still retains a childish aura through both her demeanor and attire. She wears ruffled blouses, silk jackets featuring her signature statement sleeves (reminiscent of Victorian dresses), vintage tap pants, and peep-toe boots—which would have never been worn in the Victorian era. The juxtaposition of different eras and historical references in Bella’s clothing reflects her unconventional character. As she steps into the world, embarking on adventures in Lisbon, Alexandria, Paris, and London, she radiates joy and curiosity, mirrored in the fairytale-like silhouettes and vivid colors of her wardrobe.
Womanhood:
As Bella enters womanhood, the lightweight, flowy pieces from her youth are swapped out with more structured, masculine ones. She wears a black A-line coat with puffed sleeves as she heads to medical school, aiming to blend in with her male counterparts. However, true to her unconventional style, she’s (naturally) opted to forgo pants. Surprisingly, she pulls off the look in a chic and effortless manner—perhaps aided by the fact that it’s Emma Stone we’re talking about. Regardless, Bella is finding her way in the world, pants or no pants.
The costume design in Poor Things tells its own story, especially that of Bella Baxter’s. Through Waddington’s meticulously crafted ensemble, we witness Bella evolve from a naive child into a flourishing woman. Each outfit serves as a visual representation of her journey, reflecting her personality, struggles, and triumphs, immersing the audience in her captivating tale with every stitch and seam.