Mother Mary: How Fashion Reflects Identity and Rekindles Relationships in David Lowery's New Film Explore the intricate costume design of David Lowery's Mother Mary, where Anne Hathaway's pop star character's journey of comeback and reconciliation is visually narrated through transformative fashion, featuring creations by Iris van Herpen and Bina Daigeler. In David Lowery’s Mother Mary, Anne Hathaway embodies a pop star on the precipice of a significant comeback. As she prepares for her eagerly awaited return to the public eye, the singer seeks out her estranged friend, Sam, portrayed by Michaela Coel, who has since ascended to the status of a prominent fashion designer. Sam is tasked with creating a special dress for Mother Mary, a garment that signifies more than just a stage costume. It represents a deeper aspiration: to mend the fractured relationship between the two larger-than-life personalities. Iris van Herpen, the acclaimed Dutch designer behind the film’s show-stopping finale gown, elaborates on the symbolic weight of the costume. She states that the film delves into the intricate dynamics of creative partnerships, and the dress serves as a powerful visual metaphor for this complexity. It illustrates how one artist’s vision can profoundly influence another’s, and how identity can be both lost and rediscovered within such influential relationships. Director David Lowery, known for his work on projects like Peter Pan & Wendy and The Green Knight, enlisted Bina Daigeler, a costume designer with credits on Tár and the 2020 rendition of Mulan, to lead the film’s costume department. For Daigeler, taking on Mother Mary was an endeavor that extended far beyond merely adorning Hathaway with sequins and Taylor Swift-inspired bodysuits; it involved a deeply intricate journey of character and narrative translation through fashion. Upon her initial introduction in the film, Mother Mary’s star has dimmed. Daigeler’s task was to craft fashion-forward ensembles that effectively communicated the palpable tension of her diminished fame. She explains that her primary objective was to find sartorial avenues to express the character’s emotions and translate them into tangible costumes. During flashback sequences, the audience witnesses Mother Mary in her ascendancy, adorned in flowing capes, crystal-embellished bodysuits, and her signature halo-shaped headpieces, a clear nod to religious iconography. The inspiration for these early looks was drawn from a pantheon of contemporary pop icons. Daigeler reveals a fascination with Beyoncé’s Renaissance tour, alongside the stylistic influences of Taylor Swift and Dua Lipa. Furthermore, the team delved into the archives of pop music history, finding particular resonance in the iconic styles of Madonna in the 1980s. Hathaway herself delivers original pop performances on the soundtrack, a testament to the collaborative efforts of Charli XCX and Jack Antonoff. Similarly, the costume department prioritized the creation of visually distinct and original looks for Mother Mary. This drive for originality is exemplified by the multitude of halo headpieces designed by Daigeler. Daigeler emphasizes the importance of cultivating a unique visual identity for each pop star, and for Mother Mary, they aimed to forge something entirely their own. "Each pop star has such a signature habit of dressing, but we really wanted to create our own," Daigeler asserts. Their creative wellspring included the groundbreaking designs of Alexander McQueen and John Galliano, and indeed, a significant portion of the film’s wardrobe was meticulously crafted by the costume team themselves. The film culminates in a pivotal moment marked by its defining dress. When Mother Mary ultimately appears in the striking red, draped-organza frock designed by Sam (the real-life creation of Iris van Herpen), it signifies far more than a mere fashion statement. Van Herpen articulates that the dress embodies transcendence and the potential for personal evolution. She explains, "Mother Mary is lost in her own fame and identity, but she’s trying to find herself again. When she puts on the dress, she goes into this spiritual elevation." Lowery had van Herpen’s singular vision in mind from the project’s inception, and the design process spanned several months. "The dress is not really a dress in its physical form—it’s like a vessel or spirit," van Herpen explains. Her creative methodology involved a highly intuitive draping process. The organza was dyed a vibrant red, and a delicate plissé technique was employed to impart texture and depth through the play of light and shadow. The choice of hue and silhouette was critical. "Red is something we all felt strongly about, it’s a spiritual color, but also represents the inside of your body, and the color of blood," she elaborates. Daigeler expresses immense satisfaction with the final outcome. "It’s an absolutely stunning piece, but it still lets the person inside shine a lot. You wanted something that shows Mother Mary from the inside out." Equally rewarding for Daigeler was her collaborative experience with Michaela Coel. "Michaela and I spent quite a lot of time together," Daigeler shares. "She came to my workroom and spent a couple of days there, and I loved that process, because we had just so much fun with all of the glamour—the fabrics, stones, embroideries." This sentiment suggests that fashion aficionados in the audience will likely share in the delight. The article concludes with a promise of further glimpses into the captivating costumes of Mother Mary