How to Dress a Vampire with the 'Nosferatu' Costume Designer (The Big Picture)

Summary

All Of It Podcast Summary: "How to Dress a Vampire with the 'Nosferatu' Costume Designer"

Date Released: February 5, 2025

Host: Alison Stewart
Guest: Linda Muir, Oscar-Nominated Costume Designer for Nosferatu
Series: The Big Picture

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Introduction to the Episode and Guest

In this episode of All Of It, host Alison Stewart delves into the intricate world of costume design with Linda Muir, the Oscar-nominated designer behind the acclaimed vampire film Nosferatu. As part of the "The Big Picture" series, the conversation sheds light on the painstaking efforts and creative processes that bring cinematic characters to life.

Alison Stewart introduces Linda Muir by highlighting her extensive research into German fashions and Transylvanian history, which were pivotal in crafting the menacing look of Count Orlok. Linda's collaboration with director Robert Eggers, starting with The Witch, has been instrumental in defining her distinctive style.

"Her work on Nosferatu has earned her an Oscar nomination for best costume design, her first ever."
— Alison Stewart [00:50]

Research Process and Collaboration with Robert Eggers

Linda Muir emphasizes that the foundation of her costume design begins with an in-depth understanding of the film's setting. Upon receiving the script and Robert Eggers' meticulously curated lookbooks, Linda embarks on an extensive research journey.

"For me, it starts with reading about the clothing of whatever period the film is set at."
— Linda Muir [02:29]

She meticulously studies period-specific garments, aiming to differentiate between simply costuming and creating authentic clothing that reflects each character's persona. This includes examining the societal and cultural significance of clothing during the film’s era, which in the case of Nosferatu, is set in 1838.

Dressing 1838: Unique Fashion Elements

The year 1838 marked a transitional period in fashion, particularly for women's clothing. Linda discusses the shift from the voluminous gigot sleeves and large bodices of the early decade to the more refined silhouettes that would dominate the 1840s and 1850s.

"It's more importantly very specific leading up to 1838 for women because, earlier in the decade, the gigot sleeve and the women's bodices were really, really large. And they start to actually change."
— Linda Muir [03:50]

This transition influenced the costumes of the characters. For instance, Anna, a wealthy character, has an elaborate wardrobe with multiple outfits and intricate accessories, reflecting her status and the latest fashion trends. Conversely, Ellen's attire is more subdued, emphasizing her focus on personal relationships rather than societal status.

Character-Specific Costume Design

Linda delves into the nuanced differences in costume design between characters, particularly Ellen and Anna. Ellen's wardrobe is intentionally limited, representing her constrained circumstances and emotional journey.

"Ellen has fewer costume choices, clothing choices. She has left her home, packed a trunk, and she's now staying with the Hardings." — Linda Muir [03:50]

The choice of fabrics and colors is meticulously researched to align with the characters' backgrounds and the period’s authenticity. For example, Ellen’s nightgown is crafted from cotton, inspired by historical manuals that detailed household garment production.

"There was a really fabulous manual that I discovered... they would buy bulk fabric, cotton or linen, and then they would make six of nightgowns."
— Linda Muir [06:27]

Designing Ellen's Nightgown: Layers and Functionality

Ellen's nightgown plays a significant role in the film, both aesthetically and narratively. Linda explains how the nightgown's design varies to suit different scenes, such as waking up in bed or rushing into the rain. These variations involve layering techniques to adjust the fabric's transparency and weight, ensuring the character remains visually consistent while adapting to the scene's emotional tone.

"She certainly does."
— Linda Muir [06:23]

This attention to detail extends to the nightgown's dual functionality. For instance, in a scene where Ellen appears in a diaphanous nightgown in bed, the fabric is lightweight to capture the character's vulnerability and beauty. In contrast, when she dashes into the rain, the gown incorporates additional layers to maintain modesty and presence against the backdrop of changing light conditions.

"She rushes out into the rain... So that has three layers. That's much thicker."
— Linda Muir [08:26]

On-Set Challenges: Ripping the Bodice

A particularly challenging aspect of the costume design was the scene where Ellen's dress bodice is ripped. Linda details the strategic planning involved to execute this theatrical effect seamlessly during filming.

"We actually... the actress is not struggling in the moment to rip it. It's prepped."
— Linda Muir [09:12]

The process included creating multiple versions of the dress, allowing for quick changes between takes. The corset's existing front seam was leveraged to facilitate the ripping effect without compromising the garment's integrity. This meticulous preparation ensured that each rip appeared natural and consistent, despite the numerous takes required.

Attention to Detail: Buttons and Count Orlok’s Costume

Linda also discusses the significance of small details, such as the buttons on Count Orlok's costume. While a single button might seem minor, it contributes to the overall portrayal of the character's wealth, decay, and ancient backstory.

"Orlok's costume... the front of his dolmen, because that when we finally do see it reveals the wealth and the decay and his past."
— Linda Muir [12:19]

This meticulous attention to detail ensures that every element of the costume enhances the storytelling and provides depth to the characters.

Conclusion

The episode concludes with Alison and Linda reflecting on the collaborative nature of costume design and its critical role in bringing a film like Nosferatu to life. Linda's dedication to historical accuracy, character development, and practical functionality underscores the profound impact of costume design in filmmaking.

"There might be all of the buttons and all of the different buttons... it's about evoking more."
— Linda Muir [12:19]

Alison Stewart thanks Linda Muir for her insightful contributions, highlighting the seamless blend of creativity and research required to design costumes that not only fit the period but also enrich the narrative.

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Notable Quotes with Timestamps

• Alison Stewart [00:50]: "Her work on Nosferatu has earned her an Oscar nomination for best costume design, her first ever."
• Linda Muir [02:29]: "For me, it starts with reading about the clothing of whatever period the film is set at."
• Linda Muir [03:50]: "It's more importantly very specific leading up to 1838 for women because, earlier in the decade, the gigot sleeve and the women's bodices were really, really large. And they start to actually change."
• Linda Muir [06:27]: "There was a really fabulous manual that I discovered... they would buy bulk fabric, cotton or linen, and then they would make six of nightgowns."
• Linda Muir [09:12]: "We actually... the actress is not struggling in the moment to rip it. It's prepped."
• Linda Muir [12:19]: "Orlok's costume... the front of his dolmen, because that when we finally do see it reveals the wealth and the decay and his past."

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This comprehensive summary encapsulates the key discussions, insights, and conclusions from the episode, providing a detailed overview for those who haven’t listened to All Of It.

Transcript

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[Alison Stewart]

You are listening to all of it on wnyc. I'm Alison Stewart. We continue our series the Big Picture. That's when we speak to creatives who worked behind the camera to make the Oscar nominated films of the past year. We continue our conversations with the craftspeople behind the acclaimed vampire film Nosferatu. Costume designer Linda Muir did extensive research into the German fashions of the age and into the history of Transylvania. A particularly challenging look was dressing the menacing Count Orlok, who's, you know, wearing fur from 300 years earlier. The details of Linda's work helped tell the story. And every choice is important, from the design of corsets to the fabrication of nightgowns. Linda has since been working with Doctor, excuse me. Linda has since been working with director Robert Eggers since the Witch. Her work on Nosferatu has earned her an Oscar nomination for best costume design, her first ever. Nice to see you.

[Linda Muir]

Nice to be here.

[Alison Stewart]

So when you start a new project with Robert Eggers, what is your first step?

[Linda Muir]

Well, the first step is after reading the script, looking through the incredible lookbooks that Robert provides. Images, you know, and they have, they address atmosphere, they address locations, they address costuming. They can be portraits, they can be, you know, images that he's culled over the period where he was writing the script and he's used them as inspiration for writing the script. So they are, you know, kind of key. And then from that I start my own research process and sort of add to all of that.

[Alison Stewart]

Where does the research process start for you?

[Linda Muir]

For me, it starts with reading about the clothing of whatever period the film is set at. And, you know, so I have an extensive personal collection of books, but I also then start ordering books that are specifically for the period of the next film. And once I understand, you know, trying always to think of these as garments, as clothing, as opposed to costuming, and then trying to sort of figure out if I have an Accurate idea of what, you know, what garments meant, certain things. At that period, I can start to sort of think about how would that apply to different characters? How can I bring out the character of Ellen, for instance? How can I bring out the character of Harding or Anna, and how do they differ? And, you know, so it's, you know, you compile it and you just keep building it and building it and layering it and layering it and then consulting with Robert always.

[Alison Stewart]

And we want to let our listeners know we have some of your costumes up on Instagram oflofitwnyc. So this film takes place in 1838, and you said in an interview in focus features that 1838 was a very specific year for men and women's clothing. What was unique about that year?

[Linda Muir]

It's more importantly very specific leading up to 1838 for women because, pardon me, earlier in the decade, the gigot sleeve and the women's bodices were really, really large. And they start to actually change. They start to become smaller. The forearm starts to change a little bit. And it really is sort of setting up what the silhouette for the 1840s and 1850s become. And so in looking actual garments from the period, it was really fascinating to me to look inside the sleeves and see, oh, they didn't take all that fabric out, you know, thinking that the fabric would have been an incredibly, you know, it would have been very dear to people to buy that fabric. And so not knowing what was coming up in designs later on, they would sort of economize and do these crazy little pleats and crazy little folds inside the sleeves. So it was getting my head around, you know, what would, for instance, Anna, a character who is very wealthy. Her husband is very wealthy, so she has everything. Her children have everything. And they're little tiny replications of, you know, like, what she wears. And so she should be dressed right up to the minute, you know, so her wardrobe, she has a change for every script day and accessories, hair, ornaments, flowers, shoes, jewelry, all of that should be right up to the minute. And therefore, she sort of looks like a fashion plate, whereas Ellen clothing is far less important to her. She really just wants to be in love with Hutter, and she really just wants to be rid of Orlok. And so, you know, she has fewer costume choices, clothing choices. She has left her home, packed a trunk, and she's now staying with the Hardings. So the script also tells us that she has access to fewer clothing. You know, the colors. What are the colors? Research tells us what are the Colors of the day. And then from that, you try to choose what are the colors that that character would choose. What are the finishes in the fabrics? Are they velvet? Are they silk? Are they cotton? Are they linen?

[Luca Siqueira]

It's interesting because Ellen, who's the object of a vampire's desire, spends a lot of time in a white nightgown.

[Linda Muir]

She certainly does.

[Alison Stewart]

What was it made of?

[Linda Muir]

Her nightgown was made of cotton. And the. There was a really fabulous manual that I discovered that was written by a lady and attributed to a lady, and it was called the Workwoman's Guide to. And then it goes on basically to say to make everything that you would need in a household. And so within that manual, I discovered the fact that a household would make. They would buy bulk fabric, cotton or linen, and then they would make six of nightgowns, six men's shirts, six babies, bibs, six babies, whatever. And so we took that information and we sort of used it as a model or an idea for how we would approach certain garments for the film. So Ellen has the same silhouette nightgown, whereas Anna has two different silhouettes. Anna's nightgowns have far more fabric in them. Ellen's are a more restrained silhouette. But what we did to make Ellen's nightgown special for the film is that because of the circumstance that we see Ellen in her nightgown, first of all in bed, waking up in her room with Hutter. And that is the most diaphanous, lightest weight. See, you can see through it. You can see her skin beneath it. It reflects the beautiful makeup that Tracy did where she looks opalescent and she just looks dewy. And so then in another script instance, we see Ellen rushing out into the rain. So obviously, we want to not reveal Lily Rose too much. We want Ellen to be present and in the forefront. So that has three layers. That's much thicker.

[Alison Stewart]

Oh, interesting.

[Linda Muir]

Yes. And then we see her as a somnambulist. And so she's walking out into the night. That's very different lighting. Jarin does beautiful moonlight. And so that required a slightly different version of the same nightgown as well. So we manipulate what is a true fact, but we use certain thoughts or techniques, you know, to kind of involve and evoke more.

[Alison Stewart]

We've got a great text here that says Ellen goes crazy and rips her dress bodice. Can you talk about that costume decision? Was it planned? How does that affect the production if the bodice. If there's more than one take? Yes.

[Linda Muir]

Well, I mean, ripping blood Mud. Robert loves it all. And, you know, so we actually. The Northman, Nicole Kidman, her character of Gudrun, rips open her dress. And that was really the first with Robert, the first instance of developing an idea of how to preset the dress and then stitch it up, which is. I mean, this is a theatrical technique as well. And so that the actress. Actress is not struggling in the moment to rip it. It's precept. It was much more difficult in the case of the Northman because that was a very plain front wool dress. And so it was more difficult to obscure that with the case of Ellen. It is a striped fabric. It is a chevron pattern, so the two slanted stripes come to the center and there's a center front seam. So the actual period cut of the bodice really did help facilitate that because it has an existing centre front seam. We bound it. So we did a piped edge, which also helped, you know, in terms of her. Lily Rose being able to get her fingers into it and really tear. You know, tear it apart. We added a little. What was called a dickey, which is the lovely linen, actually, maybe it was cotton and lace, little piece that tucks inside, you know, so when you. When she rips it open, you. We've already seen the corset a lot. We've already seen her underpinnings a lot. But then an audience can go, oh, that's interesting. You know, so that. That's like a little collar that they added on. So, yes, it was absolutely planned. We go through the whole process of thinking of how many multiples. So I planned to use that dress also in the scene where Lily Rose is getting down and dirty in the mud in the beach. So we had to do multiples for that. So we also had to do multiples for the ripping. So we combine. We used the same dress, which makes perfect sense because she is, you know, has a limited wardrobe, staying at her friend's place. And then we went through and thought, okay, so the bodice and the skirt are made separately, and then they're stitched together. So we made fewer skirts, more bodices. And then every time Lily Rose ripped it open, and I think we did about 30 takes of that seam. It was restitched in the moment, and then we had another one ready to go. So we would. And, you know, to be honest, Lily needed time to come down and to preset and to kind of prepare for the next, as did everybody else on set. So, you know, we were stitching away.

[Luca Siqueira]

I interviewed Luca Siqueira for Nightmare Alley.

[Linda Muir]

Right.

[Luca Siqueira]

And he said that one detail might not seem like a lot, like a little button might not seem like a lot to you, but it's 40ft high on the set. What is that detail for? You got about a minute and a half.

[Linda Muir]

Ooh, ooh, that's such a good question. You know, I think that it may not be in the case of Nosferatu, it may not be one detail. It might be all of the buttons and all of the different buttons, you know, Orlok's costume. I think probably because he wears one costume throughout the whole film and because he's obscured for so long, you know, perhaps it is, you know, the front of his dolmen, you know, because that when we finally do see it reveals the wealth and the decay and the, you know, his past, his sort of 300 year old backstory.

[Luca Siqueira]

That's such a good. So much to talk about. Linda Muir is Oscar nominated for best costume design for Nosferatu. Thank you so much for coming to the studio. This was fascinating.

[Linda Muir]

Thank you.

[Luca Siqueira]

And that is all of it for today. I'm Alison Stewart. I appreciate you listening and I appreciate you. I will meet you back here next time.

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