One of the things I love most about horror is the degree to which it can realize its visual splendor. A horror film’s artistic expression lives and dies at the hands of its creative heads, and the only limit in bringing its surreal, otherworldly hellscapes and threatening villains to life lies with the budget and the MPAA. Our fear wouldn’t be as visceral without the talents of special effects artists, production designers, and the costume department. If your eyes don’t believe what they’re seeing is real, if even for a moment, how else would they pop out of their sockets?

In the same way, the queer community – an unyielding well of creativity and self-expression – wouldn’t be the same without its roots in the arts. That well is often tapped through fashion and the outward appearance we present to the world. Miuccia Prada once said, “Fashion is instant language,” which couldn’t be more correct in filmmaking. Upon meeting a new character, their wardrobe instantly tells us a lot about them, which is vital within a 90-minute runtime. On the flip side, it’s always scarier when everyday people are getting got. While many iconic villains lean heavily into slimy or sexy aesthetics, the main cast of your typical horror movie isn’t getting gutted in haute couture.

There are exceptions to this rule, wherein your faves are setting trends as they run for their lives, and, of course, said villains are regularly serving us grisly glamour as they slice and dice. So in honor of Pride month, the queer community and the fashion industry that is so heavily intertwined with identity and expression, let us strut down some of horror’s most infamous runways. Screw NYC and Milan; we’re heading into the shadows to explore the inner minds of serial killers and the depths of outer space for this fashion freakshow.

“In order to be irreplaceable, one must always be different.” – Coco Chanel

The Cell (2000)

Visionary director Tarsem Singh and his frequent collaborator, the late Oscar-winning costume designer Eiko Ishioka, materialize a nightmarish fantasy realm in this gory psychological thriller. Following a classicly early-aughts plot, cutting-edge technology enables social worker Catherine Deane (Jennifer Lopez) to enter the disturbingly picturesque mind of a serial killer to decode where his latest victim is being held – all while draped in gorgeous Gaultier-inspired designs. Themes of subservience, domination, and religious motifs are seen in the costuming and set design as Catherine loses herself in the killer’s demented world. Singh’s penchant for chains, endlessly flowing drapery, and a signature pop of red are scattered throughout. It’s a shame Rihanna’s single “S&M” came eleven years too late for some music video cross-promotion.

Hellraiser (1987 & 2022)

Delving deeper into the BDSM designer vault, Clive Barker’s novella adaptation includes many exciting chains and whips. Future Oscar-winning costume designer Joanna Johnston brought his twisted tale of the eternally tortured Cenobites to life – the story of each extra-dimensional demon’s kink being expressly told through their individual lewks. The 2022 reboot traded in PVC leather for pure fleshy goodness, desecrating Hell’s catwalk by splaying skin and muscle over their bodies like a nefarious Project Runway challenge. The phrase, “What’s your pleasure?” has never produced such a meaty response.

Saw (2004)

The beartrap headdress that started it all. Cary Elwes sawing off his own foot usually comes to mind when people think of James Wan’s breakout film, but the tetanus-encrusted deathtrap covering Shawnee Smith’s head is what first shocks us in the torture porn hit. Her downtrodden, heroin-chic character Amanda, eyes wide and dripping in mascara, shockingly manages to escape the contraption wired around her jaw and goes on to play a pivotal role throughout the franchise.

The Return of the Living Dead (1985)

Everybody loves Trash! This comedic punk rock middle finger to the über serious Night of the Living Dead is all fun and games, even after everyone starts getting their brains gnawed on. Starting off as a self-referential spinoff, no character embodies the film’s anarchic vibes more than Trash, played by genre actress Linnea Quigley, who sports a fire-engine red pompadour with a Bowie-via-the-local-mall outfit. Perhaps in a knowing wink to the sexed-up characters Quigley was famous for, Trash just wants to be ripped apart by a group of men. And reader, she certainly gets her wish.

“I’ll stop wearing black when they make a darker color.” – Wednesday Addams

The Craft (1996)

Witchy Los Angeles goths just hit different. The classic horror mashup of Heathers and Clueless is prime 90s teen fashion perfection, and our favorite coven’s style will leave you entranced. Costuming is key in creating a distinct before and after, and the film does an excellent job of evolving the girls’ wardrobe and attitudes once they harness their underworldly powers. The underdog hath left the bog when fan-favorite Nancy (Fairuza Balk) leads the pack in her mod leather witchy eleganza.

Scream’s Sweaters (1996)

Gale Weathers generally takes center stage when fashions of the Scream franchise are discussed, but in the original, it’s the sweaters that ground its characters and create relatability. Drew Barrymore, her wig, and that infamous beige sweater; Tatum’s lime green turtleneck that almost shows some skin; Stu and his chunky blood-soaked knit. When worn by iconic characters in a legendary movie, even the most casual outfits can stand the test of time. A special shoutout goes to Scream VI’s pumpkin lewk worn by newbie Anika – the ONLY time a bucket hat has worked.

Jennifer Tilly as Tiffany Valentine (1998 – present)

The Chucky franchise’s second, more photogenic face is fashion icon Jennifer Tilly/Tiffany Valentine. Tilly and her murderous doll counterpart are quite literally one and the same at this point, and it’s been a delight to watch as her gothic trailer park pinup aesthetic has evolved into a more refined lewk emblematic of Tilly’s real-life persona. It’s all 1950s diamonds and Dior by the time we see her in the later films and TV series, and her costuming is once again a testament to the way fashion weaves a transformative tale. In fact, given her glamorous 25+ year influence on the genre, it should come as no surprise to learn that she’s co-chair of the Golden Breastplate Award committee. 

Bride of Frankenstein (1935)

Lighting strikes twice when it comes to Mary Shelley’s monstrous works of fiction, and the OG deadly bride on this list had audiences clutching their pearls during James Whale’s game-changing sequel. Despite not rising up until the film’s final moments, Elsa Lanchester cemented herself in horror history as the Monster’s unwilling beau. A vision in white, her floor-length gown and matching hair coils represent the birth of new life in the face of miscalculated evil, and the breakout sequel began a monstrous trend of its own at Universal.

Ready or Not (2019)

Samara Weaving delivers an appropriately modern take on the bride-in-crisis archetype by taking matters into her own hands and sticking it to her cultist in-laws like so many wish they could. Borrowing heavily from fan-favorite You’re Next, Weaving is put through the bloody ringer on her wedding day, and her lacey bodice becomes collateral damage. Burnt, bloodied, and tattered, it all builds to one hell of a final shot that perfectly encapsulates what a singular (and newly single) badass she’s become.

“You can have anything you want in life if you dress for it.” -Edith Head

The Love Witch (2016)

Auteur Anna Biller does it all in her charming feminist tribute to 1960s cinema. In total control over her film’s artistic vision, Biller examines female sexuality and the fear its power has over men through an unapologetically feminine lens of beauty and design. Inspired by retired fashion label Gunne Sax, which specialized in blending the empire waists of Renaissance culture with 19th-century Victorian patterns, she hand-crafted many of its costumes. As a result, it’s a joy to watch the hopelessly romantic witch Elaine look for love in all the wrong ways, whether she’s wearing a go-go dress, a baby pink sun hat, or one of Countess Luann de Lesseps’ statement necklaces. 

Last Night in Soho (2021)

Another deep dive into far-out 1960s fashion, Edgar Wright’s impeccably stylish murder mystery transcends time and space. Its leads Sandy (Anya Taylor Joy) and Eloise (Thomasin McKenzie) couldn’t be more different, and that dichotomy is explicitly seen through their clothing. Yet, as visions of Sandy in all her Brigitte Bardot and Twiggy glory continue to act as a muse for Eloise’s blooming talent as a designer, we learn the grass is not always greener. Beauty can be empowering, but it can also be one’s downfall. 

In Fabric (2019)

Peter Strickland’s bizarre film about an insidious red dress that ultimately destroys whoever wears it is an underrated gem. Blending comedy with surreal and witchy horror, it examines our relationship with clothing and the people who sell it to us. The natural flow of the wrap dress, a signature creation of Diane von Furstenberg, allows this killer garment to ambush people of all shapes and sizes. Bonus points for the Suspiria-like coven of department store clerks, who add an extra dose of WTF. 

Blood and Black Lace (1965)

Mario Bava’s early-giallo classic, in which a killer murders a gaggle of models one by one, was critically panned during its release. However, it has since become a favorite of many famous filmmakers, and with a luxurious title like that, who can blame them? The killer’s face is obscured by a stocking (fun fact: Atonement used a Chanel stocking over the camera lens to give the film a dreamier look), as he slays our Italian bombshells in a way that intersects violence with fashion in previously unseen ways. It may favor style over substance, but its tableau is bloody stunning.

The Neon Demon (2016)

Perhaps the most quintessentially in-vogue film on this list, Nicholas Winding Refn’s slow burn about Jesse (Elle Fanning), a naive model new to Los Angeles, is like watching fashion week on acid. Designers like Armani, Giles, and Saint Laurent supplied pieces for the production, and their dangerous beauty is necessary to bring this “adult fairy tale” to life. We can examine what it means to be beautiful and the succubus-like nature of narcissism and jealousy while the camera carefully frames the scene like a glitzy, new-age baroque painting. And if its lethargic pace makes you feel antsy, a wild final act will make it all worth the wait.

The Hunger (1983)

Costume designer Milena Canonero, who is responsible for the wardrobe iconography in many of Wes Anderson’s films, showcases the elitism of well-to-do vampires Miriam and John Blaylock (Catherine Deneuve and David Bowie) in Tony Scott’s debut film. This overtly erotic thriller proves nothing is off limits for the upper echelon, and outfits that mix classic Saint Laurent and Hollywood glam with broad 1980s shoulder pads and a touch of Egyptian flair make it all the more unattainable. The film was so polarizing that it inspired Ryan Murphy’s equally polarizing American Horror Story: Hotel, which gave us Gaga and gore — thank you, Tony.

Queen of the Damned (2002)

A sequel to Anne Rice’s Interview with the Vampire, this film left critics and audiences wanting more. Still, it gave us the late, great singer Aaliyah’s outstanding performance as the vampire Queen Akasha in her final acting role. She contorts her body like a snake draped in an Egyptian-inspired headpiece and chest of jewels, and the performance certainly made its mark on pop culture. Her co-star, the often shirtless Stuart Townsend as the vampire Lestat, made audiences equally salivate in his Alexander McQueen-inspired low-rise leather pants. Have mercy!

Bram Stoker’s Dracula (1992)

It wouldn’t be a list on fashion in horror if I mentioned Francis Ford Coppola’s vampire epic, which won Eiko Ishioka an Oscar for her work in costume design. Coppola is quoted as saying he considered the actors the “jewels” of the film, so he wanted the wardrobe to represent his gems accordingly. Ishioka’s designs are defiant and otherworldly, depicting the changes Dracula and the women in his life undergo during its dark odyssey. Two standouts include Dracula’s red armor, which resembles living muscle tissue, and the wedding dress of his short-lived bride Lucy, a miraculous confection of white lace that looks like Vera Wang and Rodarte had a field day creating a wild collaboration in the 19th century.

Death Becomes Her (1992)

Meryl Streep and Goldie Hawn are silver screen legends, but personally, the true fashion-forward standout of this dark comedy is the ageless Isabella Rosellini as Lisle Von Rhuman. Her mysterious character bestows the gift of immortality upon the iconic duo and does it all while looking like ancient royalty. Her slicked-back bob and bejeweled breastplate are regal AF, and you would not want to cross her while she’s donning her oversized quilted shawl collar shaman lewk. If the film is about aging women taking back their power, Rosellini proves she’s the HBIC.

“What ‘normal’ people would perceive as ugly, I can usually see something of beauty in it.” – Alexander McQueen

The Lure (2015)

Polish director Agnieszka Smoczynska serves up a European glam rock mermaid musical like no other – really, there’s nothing else like it in existence. A murderous take on The Little Mermaid, the film follows mer-sisters Silver (Marta Mazurek) and Golden (Michalina Olszańska) as they perform their titular show at a nightclub and navigate life and love on land. It is flamboyant excess, and it is easy to be lured in by the extravagant musical numbers and grotesque special effects.

Under the Skin (2014)

An atypical film for both this list and in general, Jonathan Glazer’s dreary tale follows an alien being that looks like Scarlett Johansson as it makes a journey of self-discovery in a Scottish seaside town. Very slice-of-life, it often uses non-actors and is entirely unassuming aside from Johansson’s famous face and the visually abstract scenes of human harvesting dispersed throughout. However, in the film’s final moments, we bare witness to the alien’s true form – a shimmery matte black humanoid with no distinct features. The sorrowful longing bubbling underneath the surface finally boils over, and themes of beauty and how our grasp on it drives our assimilation into society become clear.

Silent Hill (2006)

If you’re a fan of video games, you almost certainly know about Pyramid Head. As the judge, jury, and executioner of the foggy demonic town of Silent Hill, PH exemplifies androgynous couture. A metallic pyramid helm sits atop a chiseled torso that melts into a floor-length skirt stitched together of flesh. Don’t fuck with Pyramid Head.

Pink Flamingoes (1972)

Drag performer Divine made his mark on culture in John Waters’ divisive outsider comedy, where his character Babs worked to maintain her self-proclaimed title as “the filthiest person alive.” Holding a handgun cocked and ready to fire in a blood-red mermaid dress, Divine clawed his way into the minds of anyone who came across the film or its iconic poster. Fashion influences public perception, and this divine fit filled our minds with a morbid curiosity about the drag legend.

“I wanna dress you up in silk taffeta.” – Lady Gaga

Doctor Sleep (2019)

Rebecca Ferguson gives a haunting performance as the psychic vampire villainess, Rose the Hat, in the sequel to Stephen King’s The Shining. Her charisma and beauty seem effortless, exuding quiet confidence in pseudo-bohemian lewks with a single braid she wears much better than your average Jedi. Rose the Hat also kidnaps and murders children for their life essence to retain her youthful glow, so there’s that.

Crimson Peak (2015)

“Gowns. Gorgeous gothic gowns.” That should be the only thing you’re muttering to yourself throughout Guillermo del Toro’s Victorian love story. Costume designer Kate Hawley draws a line in the sand between good vs. evil and employs a particular light and dark aesthetic for the film’s leads. Mia Wasikowska, as Edith, wanders through her haunted new home adorned with puffy sleeves resembling a butterfly or moth, and Jessica Chastain slinks about the shadows in corsets and tightly fitted dresses, snatched for the gods and ready to pounce.  

The Skin I Live In (2011)

Pedro Almodóvar’s unconventional and eccentric story about a surgeon (Antonio Banderas) who holds a woman (Elena Anaya) captive and grafts an unbreakable synthetic skin onto her body is magnificently minimalist in its fashion. The sterilized athleisure look the mysterious woman wears is very vapid “LA intellectual,” and the subdued nature of the costuming only adds to the film’s list of questions.

Trick ‘r Treat (2007)

You didn’t think I’d leave out Sam, the Pumpkin Prince of All Hallow’s Eve, did you? Sam is everything – his name is a shortened form of the Gaelic festival marking Halloween itself, he wears a cute-as-heck pumpkin lewk, and he brandishes a razor-sharp lollipop as a murder weapon for all those who don’t maintain tradition. Every time he dispatches another victim, you can’t help but giggle and scream, “Slay!”

Beetlejuice (1988)

Tim Burton’s supernatural goth classic will soon have a sequel after over 30 years, but its avant-garde fashion has always remained fresh in our brains. From Lydia Deetz (Winona Ryder) and her strange and unusual red wedding dress to her mother, Delia (Catherine O’Hara), who makes outrageous style choices work to her advantage, every frame is dripping in Hot Topic meets Betsey Johnson decadence. A particularly inspired look comes when Delia wears what looks like a black nitrile glove on her head as a fastener. Mother snapped with that one.

Jason X (2001)

The final film on our list levitates us beyond Earth’s atmosphere into the dark recesses of space and, somehow, right back into the clutches of Jason Vorhees. As previously mentioned, slasher fashion tends to lean basic as hell, but apparently, someone resurrected an early 2000s lookbook in 2455, and it works! Most agree that style at the turn of the millennium was tacky and tryhard futurism, but when you bring it into actual space, somehow it becomes campy couture. Halter tops, mesh, and subdued blues and silvers litter the screen, and sexed-up Power Rangers fighting mecha Jason in an airlock has never looked better.

“Whoever said that money can’t buy happiness simply didn’t know where to go shopping.” – Bo Derek

And there you have it! Horror’s greatest runways have been decided. The language of fashion and a film’s wardrobe speaks for itself – whether resonating with deeper themes, illustrating character arcs, or solely there make you jealous. The heroes and villains discussed here are unrivaled, but no one’s stopping you from using them to inspire your self-expression through patterns and fabric. And as always, if you have any questions or complaints, take them up with the Miranda Priestly of Horror Press