How Tiffany & Co. became part of Guillermo Del Toro's “Frankenstein” Netflix has gained access to unique and original pieces from the house's archives

The imprint of Frankenstein by Guillermo Del Toro is destined to last. Both from a cinematic point of view, with his reinterpretation fueled by the childhood dreams of a director and screenwriter who has always been in love with Mary Shelley’s story, and for the visual design with which he chose to create this world together with his loyal collaborators. Among them, costume designer Kate Hawley, who had already worked with the filmmaker on Crimson Peak and Pacific Rim, and who had to follow the first and most important rule set by the director for creating the costumes the characters would wear.

With the story set in the Victorian era, Del Toro did not want the film to have the typical wardrobe made up of dark clothing and outfits similar to those seen in Charles Dickens’ works. A successful result, considering the explosion of colors that characterizes his Frankenstein - his and Netflix’s - which has been available on the platform since November 7, after a preview at the Venice Film Festival and screenings in selected theaters.

Everything in the film begins with the red dress worn by Victor Frankenstein’s mother, Claire, a color that reappears in the character Oscar Isaac’s dandy outfits, in the gloves the scientist uses to bring his creature to life, in precious objects such as Elizabeth’s rosary played by Mia Goth, and, finally, in the blood that stains the white wedding dress reminiscent of The Bride of Frankenstein.

Among all, it is the British actress Goth’s character who has captured attention for the sumptuous outfits that light up the film, with costume designer Hawley taking inspiration from the image of the Countess of Castiglione, enhanced by an unprecedented collaboration that involved Tiffany & Co.

Guillermo Del Toro’s Frankenstein thus presents two stories: the first is that of the director and his greatest artistic ambition; the other is the long-standing one of the famous brand, which found new vitality by allowing The Tiffany Archives to participate in a Hollywood production. A happy meeting of intentions that saw unique pieces worn for the first time, entirely original creations, and archival jewels that will now remain embedded in the cinematic imagination.

While crinoline dresses, flowing veils and malachite prints follow one another throughout the story - with Kate Hawley focusing on studying red blood cells, X-rays and similar imagery for the creation of the costumes - Tiffany enriched the film with the presence of twenty-seven of its jewels. Ten are historical and include woven gold bracelets from the second half of the 19th century, hard stone and diamond crosses, six are archival silver pieces, another six are contemporary creations, and finally, five were designed and created specifically for Frankenstein.

Standing out among them is a 1905 green tourmaline ring by Julia Munson, designed by Louis Comfort Tiffany, designer and son of Charles Lewis Tiffany (co-founder of Tiffany & Co.), which evokes the creator’s closeness to nature and fits perfectly with Del Toro’s vision. There is also the Wade Family necklace, designed by Paulding Farnham in 1900 in a diamond garland style, which had never before been used on the big screen.

To understand the level of connection and collaboration between the production team of Frankenstein and Tiffany, on Harper's Bazaar US Kate Hawley spoke about the creation of some pieces whose purpose was to illuminate the film from the start. She explained that among the most important accessories created together was a red rosary worn by Mia Goth/Elizabeth. Made of red carnelian, Guillermo Del Toro’s favorite shade of red, the object is an expression of nature meeting religion and thus encapsulates the two souls of the film. It’s no coincidence that Elizabeth carries it with her throughout the story.

For its first collaboration with Netflix and to promote the film, Tiffany dedicated its New York store windows to its work with Frankenstein. An immersive installation at its Fifth Avenue flagship, The Landmark, was designed together with none other than Del Toro himself. The windows recall Victor Frankenstein’s laboratory architecture, reinterpreting scenes from the film to transport onlookers directly into the unique world of the visionary Mexican director. Meanwhile, in London, it was possible to visit the exhibition Frankenstein: Crafting A Tale Eternal, which included Tiffany & Co. jewels, as well as costumes, props, and rare books selected by the Peter Harrington publishing house.