Dune Part II costumes in a fashion fantasy | I'M FIREZE DIGEST (2024)

By Giulia Piceni. Cover image by Camila Heredia Oranday.

Dune Part II is a must-watch film that captures the essence of our times. It delves into themes such as ecology and the danger of nuclear weapons and incorporates several references to contemporary politics. The seamless blend of science fiction with our zeitgeist creates a captivating dystopian landscape that is hard to resist.
With costumes designed by Hollywood’s most sought-after costume designers, Jacqueline West and Bob Morgan, ancient desert traditions blend with utilitarian futuristic garments to create a unique look. The costumes have oscillating silhouettes that are reminiscent of Arabian Nights, Medieval and steampunk elements, resulting in a thoroughly modern and highly desirable look for both the audience and Frank Herbert fans who imagined the intricate worlds of the saga’s writer.

After the release of the film, TikTokers and influencers have been trying to incorporate the costumes worn by West and Morgan into their everyday wear.
But how would the Harkonnens, the Fremen, and the Bene-Gesserit dress if they were familiar with the fashion of our times?In this article, we explore our ideas, from costume design to runways, while also analysing the fashion vocabulary of each of these three social groups.

DUNE PART II COSTUMES: HARKONNEN OR THE CHILDREN OF RICK OWENS

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In Herbert’s fantasy world, the Harkonnens live on a glacial planet called Lankiveil. They rose to prominence by trading whale fur, one of their planet’s primary resources, emerging as one of the most influential houses in the Landsraad, an organisation to which all houses in the Dune universe are subject.

In contrast to the book, in the film adaptation of Dune, the Harkonnens are depicted amidst harsh, brutalist landscapes that resemble the rationalist architectures of Nazism and Fascism. Harkonnen’s gatherings seem to allude to that authoritarian dimension that was often appealed to by the totalitarian regimes of the last century, thereby providing a commentary on our contemporary world.
From a purely aesthetic perspective, the vast spaces depicted in the film seem to be an exaggerated, steampunk version of Rick Owens’ universe. Despite being portrayed as the true antagonists in the story, it’s hard for any fashion lover to deny that Harkonnens are among their favourite houses.

With fully-dilated pupils that fill the entire eye with black, teeth immersed in a liquid that seems to be a dense oil, and buzzcut heads with no hair, the Harkonnens look like a cinematic reinterpretation of the French artistic and DJ duo, Matières Fécales, who are also Rick Owens’ favourites. If a Harkonnen were to dress today, it wouldn’t be difficult to imagine them wearing some pieces from the Rick Owens FW 2024 or Luxor collection FW 2023 Menswear, which features influences from imposing Egyptian architecture, just like the desert of Arrakis.

WHY IN DUNE PART II COSTUMES CAST THE FREMEN WOULD HAVE ADORED RAF SIMONS

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Capable of riding the sandworms, the Fremen are a highly intriguing nomadic people within the universe of Dune. They are a desert-dwelling population inspired by the nomadic tribes of the northern part of the Sahara Desert, namely the Bedouins. Interestingly, there is a common trait between these two populations – they are both defined by the colour blue. The Bedouins are also known as the “blue men” due to their traditional garments dyed with indigo that can stain their skin a dark blue. Similarly, when the Fremen drink the worm’s poison, their irises turn into a deep blue colour.

In Dune, the Fremen are a group of people who are trained in guerrilla warfare from a young age. They are divided into two populations: the North and the South. The Southern Fremen are more fundamentalist and believe in the coming of a Messiah who will free them and restore their control over Arrakis, a completely barren, inhospitable planet. They believe the Messiah will bring back the green forests to Arrakis.

Due to their nomadic life, the Fremen have developed highly functional clothing that can protect them from the harsh desert environment and, above all, help them conserve water. Their outfit consists of a distilling suit that can turn urine and sweat into drinkable water. The headgear they use to shield themselves from the scorching sun is made from Spice, which is a highly sought-after commodity in the world of Dune.

The FW 2023 show by Off-White – which also marked Ibrahim Kamara’s debut at the fashion house – captures the desert-like atmosphere of Arrakis. However, I can’t help but imagine the Fremen in today’s world wearing the guerrilla-style outfits from Raf Simons’ iconic FW 2001 show. The collection Riot! Riot! Riot! perfectly embodies the dissenting nature of the Fremen, and adding a guerrilla bandana from the runway would offer adequate protection against the harsh sands of Arrakis.

BENE-GESSERIT: MARGIELA AND MCQUEEN MUSES

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In Dune, the Bene Gesserit are spiritual sirens, mysterious and fascinating yet equally dangerous and aloof, embodying what any hot girl would aspire to be. Endowed with extraordinary powers, such as physical and mental manipulation, they are considered true priestesses who not only introduced the Messiah cult among the Fremen but also pursue a secret genetic selection program. The purpose is to create the Kwisatz Haderach, a perfect being capable of manifesting in all four dimensions, including time. The mother of the main character, Paul Atreides, is a Bene Gesserit. In the second chapter of the Dune saga, she flaunts various Arabesque-inspired looks adorned with light silks and delicate odalisque chains.

A key element of Bene Gesserit’s dress code is their hooded headgear reminiscent of Alaïa garments. Additionally, the Reverend Mothers, the highest-ranking priestesses of this religious group, always veil their faces. No one can sway my belief that the Bene Gesserit would have obsessed over Margiela masks, collected Alexander McQueen’s archival pieces, and turned his FW 2009 Horn of Plenty collection into a cult.

If there is a contemporary designer who embodies that strong and unapproachable feminine ideal, bordering on the fearsome, it is Dilara Findikoglu. Originally from Istanbul and now based in London, her style is quintessentially gothic punk. Her designs portray women as warriors similar to the immortal Lee but also as dangerous witches, bridging the spiritual dimension of the Bene Gesserit.

Giulia Piceni
Undergraduate Arts Curating student at Istituto Marangoni Firenze

Camila Heredia Oranday
Undergraduate Arts Curating student at Istituto Marangoni Firenze