The creator of Serbian costumes Bojana Nikitović does not know who referred her to work on “Dune: Prophecy”. “I don’t know who suggested my name, and I never discovered it, but I am really grateful for anyone,” she said. Aside from the vague origins, the decision proved to be fruitful, because the work of Nikitović allowed the characters inspired by Frank Herbert with distinction, which made the show Un nomination aux Emmy in fantastic costumes / exceptional science fiction sciences for his first episode, “The Hidden Hand”.
Streaming on HBO Max, “Dune: Prophecy” takes place 10,000 years before the birth of Paul Atreides and the events of the films of Denis Villeneuve. He follows two sisters harkonnen as they build their school of fraternity in the powerful sect of truths known as Bene Gesserit. In the “dune” manner, the series jumps between several planets, introducing characters from different houses and cultures for an immersive universe. In the first episode, the story visits Sisterhood’s school on Wallach IX, an imperial marriage on Salusa Secundus and other various places. Nikitović’s work was to dress people who populate these planets in a way that reflected their parameters and faithful to the “dunes” canon.
The Sisterhood school is essential to the series, and in the first ten minutes of “The Hidden Hand”, the episode jumps thirty years in time – from the moment Valida Harkonnen (Jessica Barden) was a student at school until when she is the matriarch of the Order (Emily Watson). The subsequent calendar immediately presents a greater variety of clothing among fraternity. “We wanted to show that all the fraternity has flourished,” said Nikitović, “we changed the type of wiker of 30 years ago. We have put different tones of gray for novices, acolytes and reverendous mothers. ”
The episode then went to Salusa Secundus, presenting the Corino and rich houses on the eve of a political marriage. Although the two houses are rich, Nikitović calls their “old money” statutes against “new money”. Respectively, the traditionally rich bullfight is put on in dark and conservative outfit, while the rich are more flamboyant, dressed in fluid blush color dresses, aimed at displaying their recent rich.
The character who undergoes the most costume changes on Salusa Secundus is Princess Ynez Corino (Sarah-Sofie Boussnina), the emperor’s daughter (Mark Strong) and the bride in the above marriage. The first episode shows that Ynez dressed for combat training, an evening and, the most memorable, his wedding. “It is so important not only to make them look beautiful and correct for the scene, but also to make them feel good in a costume they wore,” thinks about Nikitović. The workout was thus made of more elastic silk, which allowed Boussnina and its co-stars to move sports while seeming authentic to the universe.
Ynez’s wedding dress is the most distinctive costume of the episode. Presenting an elegance rarely associated with “Dune”, the dress is a bright bright red. Canonically, it is the dress that Ynez’s mother (Jodhi May) wore when she married the emperor – a marriage that was just as orchestrated as the one Ynez launched with the heir of the rich. The costume thus becomes a family inheritance, an outgoing grace and cunning.
Nikitović sought to create something “elegant and powerful” with Ynez’s dress. Wanting to use the nuance of red that would capture the best and reflect the light, Nikitović and his team ended up creating a specialized fabric, which they cut in the laser and glued to the basic silk to adhere to the figure of the actor while bursting the colors. The character of the dress was not limited to its astonishing color, however. Despite its elegance, the lace in a dress of dress around Ynez’s shoulders, the veil and the accompanied golden veil imitate cages. Nikitović explains that the dress had to appear as “something in which it is confined. It was important to show that she was forced to go to this commitment. ”
Finally, the episode also presents one of the most capricious characters of “Dune Prophecy”: Desmond Hart (Travis Fimmel). A soldier who returns to Salusa Secundus a few hours before the marriage, he wears a long coat on a tanned militarist costume, the one who completes Fimmel’s dirty-blonde beard while alluding to the sandy war landscape which he has just escaped on Arrakis. Nikitović was inspired by old westerns to dress Hart, wanting to present him as a mysterious camouflaged cowboy emerging from the desert. No one in the episode dresses like Hart; Its costume clearly establishes its singularity, which reveals its complete colors later in the series.
