For decades, costumes in science fiction cinema have been defined by sleek, metallic surfaces and futuristic silhouettes. However, with the release of “Dune,” costume designers Jacqueline West and Bob Morgan have reimagined the definition of sci-fi in the costume industry. West and Morgan moved away from using costumes solely for clothing and towards using costumes as a major tool to build the world of “Dune.” By prioritizing environmental logic over aesthetics, designers ensured that every piece felt purposeful rather than only decorative. The elaborate design in “Dune” proves that for a sci-fi world to be immersive, the fashion and clothing must be functional as well as intentional.
The iconic “Stillsuit” from “Dune” is a highly sophisticated, full-body, skin-tight garment designed to survive the harsh desert climate of the planet Arrakis, a wasteland of sand dunes with almost no surface water. Stillsuits were designed with the task of capturing, filtering and recycling almost all of the body’s sweat and breath into drinkable water stored in catchpockets within the suit. The costume design of the Stillsuit stands out not only because of the functionality within the story, but also because of the execution. West and Morgan avoided shiny or plastic materials, straying away from the usual look of science fiction costuming. Instead, the designers chose a porous mesh material, which looks as if it could actually wick moisture. Additionally, the costumes were not cleaned between takes, but rather were intentionally distressed to display the wear and tear of everyday life on a desert planet. By making the gear and suits look functional and lived in, the film creates an astounding sense of immersion and the importance of the Stillsuits.
Outside of the desert, the costumes continue to tell the story of a divided planet through visual design. The noble House Atreides, the family that the story follows, the wardrobe consists of clothing featuring high-collars and forest green fabrics. These looks were inspired by 19th-century European royalty, giving the characters a sense of realism and nobility. In contrast, their enemies, the Harkonnens, are dressed in dark, molded materials that are modeled after the shells of predatory insects. By using recognizable textures like wool and leather, instead of the neon spandex usually seen in space movies, the designers rooted the alien world of “Dune” in human history and made the world feel lived in, rather than manufactured.
In an interview with The Hollywood Reporter, designer West shared her thoughts on working with Morgan and what they intended to create.
“He always said he did not want to make a typical sci-fi film.” West said. “He did not want somebody who was going to create video game costumes, or space suits, or something that he did not feel was part of this very layered, complex masterpiece with mysticism threaded through it. He wanted a totally new look that no one has ever seen.”
