Costume designer Kate Hawley, production designer Tamara Deverell, and prosthetic makeup effects designer Mike Hill break down the artistry behind Guillermo del Toro’s Frankenstein. In this exclusive behind-the-scenes interview, the trio reveal how they created a unified, painterly world inspired by Caspar David Friedrich, Caravaggio, Francis Bacon, and Victorian-era illustration.
When Jacob Elordi joined the film late in production, Hill had roughly five weeks to adapt the creature design to a new physicality—after eight months of prior development. Instead of exaggerated wounds, the team focused on restraint. As Hawley explains, “He’s talking with his eyes,” so the prosthetics 엘에이 fc 대 휴스턴 다이너모 were streamlined to preserve performance while subtly emphasizing skeletal structure. Hill details matching costume distress and makeup cardinals vs padres damage through explosions, underwater sequences, and Arctic conditions to maintain a poetic consistency.
Deverell also shares how Victor’s laboratory evolved from an abandoned water tower into a towering Victorian industrial space inspired by London’s Crossness Pumping Station. Across Toronto and Scotland, massive builds, custom furniture, anatomical models, and carefully coded color palettes (Victor’s reds and blacks; Elizabeth’s iridescent blues and greens) came together in constant collaboration with cinematography and lighting.
Every element, they explain, served one goal: to make each frame feel like a painting.
0:00 Introduction – Kate Hawley, Tamara Deverell & Mike Hill
0:47 Artistic Inspirations: Friedrich, Caravaggio & Blake
2:36 Building a Color Language for Victor & Elizabeth
4:06 Recasting the Creature: Jacob Elordi’s Arrival
5:14 Mike Hill on verona vs como Designing Subtle Prosthetics
6:40 Constructing Victor’s Laboratory
9:50 Mia Goth as Claire Frankenstein
12:21 The Creature’s Costume Evolution
15:04 Rebuilding the Monster in Five Weeks
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