A deep dive into the intricate costume design of David Lowery's Mother Mary, exploring how fashion, particularly the finale gown by Iris van Herpen and the work of Bina Daigeler, visually represents a pop star's comeback, the complexities of creative relationships, and the journey of self-discovery.
In David Lowery 's highly anticipated film, Mother Mary , Anne Hathaway delivers a compelling performance as a pop star poised for a significant comeback. As she prepares to re-enter the public eye, Mother Mary seeks the expertise of her estranged friend, Sam, now a prominent fashion designer portrayed by Michaela Coel , to craft a distinctive gown for her return. This collaboration, however, extends beyond mere aesthetics; it signifies an attempt to mend the fractured relationship between the two larger-than-life personalities.
Iris van Herpen, the acclaimed Dutch designer responsible for the film's breathtaking finale gown, elaborates on the symbolic weight of the creation. She states that the dress serves as a potent visual metaphor for the complexities inherent in creative partnerships. It embodies the reciprocal influence between artists and the potential for individuals to both lose and rediscover their identities within such dynamics.
Director David Lowery, known for his visually rich storytelling in projects like Peter Pan & Wendy and The Green Knight, entrusted Bina Daigeler, a costume designer with a notable portfolio including Tár and Mulan, with the monumental task of curating the film's sartorial landscape. The project, a true spectacle of style, demanded more than just superficial embellishments; Daigeler embarked on a deeply involved process to construct the on-screen narrative through fashion.
Upon her initial introduction, Mother Mary's diminished stardom required costumes that subtly conveyed the tension of lost fame. Daigeler aimed to translate these complex emotions directly into the fabric and form of the garments. In the flashback sequences, depicting Mother Mary's earlier zenith, her costumes are characterized by flowing capes, intricately crystal-embellished bodysuits, and distinctive halo-shaped headpieces, a clear homage to religious iconography and a nod to her divine persona. The costumer drew inspiration from contemporary musical icons such as Beyoncé, whose Renaissance tour was underway, as well as Taylor Swift and Dua Lipa. However, her research also delved into the past, with a particular fascination for the iconic styling of Madonna in the 1980s.
The film features original pop songs performed by Hathaway, with contributions from Charli XCX and Jack Antonoff. Mirroring this musical originality, the costume department strived to create looks that were equally unique and memorable. The multifaceted halo headpieces designed by Daigeler for Mother Mary were central to achieving this distinctiveness. Daigeler explains that while each pop star possesses a recognizable personal style, the intention was to forge an entirely new visual identity for the character. This vision was partly informed by the avant-garde designs of luminaries like Alexander McQueen and John Galliano, with many of the costumes in the film being original creations.
The film culminates with its most significant sartorial statement: the striking red, draped-organza gown designed by Sam, which Iris van Herpen brought to life in reality. This dress transcends its function as attire, symbolizing transcendence and personal evolution. Van Herpen describes it as a vessel or spirit, representing Mother Mary's journey of self-discovery and her attempt to reclaim her identity amidst the isolating nature of fame. The meticulously crafted dress signifies a spiritual elevation for the character.
Van Herpen, who was involved from the project’s inception, describes the design process as highly intuitive, involving extensive draping and a deliberate manipulation of dyed organza and fine plissé to achieve a rich texture and nuanced play of light and shadow. The choice of color and silhouette was paramount; red, a hue imbued with spiritual significance and evocative of the body's internal lifeblood, was a collaborative decision. Daigeler expressed immense satisfaction with the final piece, noting that its brilliance highlights the wearer, allowing Mother Mary's inner self to radiate.
A particularly enjoyable aspect of the process for Daigeler was her collaboration with Michaela Coel. The actress spent several days in Daigeler's workshop, immersing herself in the creative environment. This period of shared exploration, characterized by a delightful engagement with luxurious fabrics, stones, and embroideries, was a highlight for the costume designer. The film’s fashion-forward aesthetic is sure to captivate audiences with a keen eye for style
Mother Mary Anne Hathaway Michaela Coel Iris Van Herpen Bina Daigeler Costume Design Fashion Film David Lowery
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