![]() Their working relationship is so close that they’ll sometimes come to the table with remarkably similar ideas. Alice gets Burtonized.Ītwood has designed costumes for nearly every film Tim Burton has made in the last twenty years. In each iteration, Alice’s dress gains a detail-black trim, contrasting colors, a stripe-that recalls a certain auteur’s visual language. Next, when she suddenly grows out of this garment and ends up gigantic and naked at the royal court, the Red Queen orders, “Clothe this enormous girl!” At this point, Alice is given an assymmetrical black, white, red gown. Then, when she shrinks again, the Mad Hatter fashions a teeny dress for her to change into inside a teapot. First, she improvises a halter and quadruple-wrapped ribbon belt to hoist up her underskirt. This leaves Alice puzzling over what to wear throughout the film. ![]() “We made a decision that as Alice shrunk and grew, her dress would not,” says Atwood. (“It’s an iconic thing, not a bad thing,” says Atwood.) But when Alice goes down the rabbit hole and lands in a transformative new world, her clothes do too. Alice begins the film in 19th century blue party dress, which cleverly references the animated puff-sleeve creation she’s been stuck in since 1951. Costume designer Colleen Atwood, who’s won two Oscars (Chicago, Memoirs of a Geisha) and received her ninth Oscar nomination for Alice, says this line “set up Alice’s character as slightly more modern, more of a human being.” Her costumes follow suit.
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