by Victoria Potenza, Staff Writer

I find it easy to fall into the trap of focusing solely on performers and directors when talking about film, it is a tough habit to break. I credit writer and filmmaker Alison Pierce for pushing me to think outside those parameters. I am currently a part of “Doing Women’s Global Horror Film History” in which I get to learn the art of creating video essays, while also delving into one particular woman in horror. Alison suggested a production designer and I am thrilled she did because it has really deepened my appreciation for those who contribute their eye and voice to the filmmaking process. Which means that I have also been reflecting on many of my favorite films, and filmmakers to see who is lending their talent to these roles that sometimes go unnoticed. Naturally I reflected on my writing on David Cronenberg, and came to have a deep appreciation for his sister and costume designer on many of his films, Denise Cronenberg.

Denise Cronenberg was born October 1, 1938. Denise did not set out to be a costume designer but slowly found her way to it from her work as a performer. Denise had a career as a ballet dancer working with different ballet companies in Toronto. From there she worked her way into television variety shows and did some stage shows. After retiring from performing in the 70s, she found herself drawn to making clothes. With two grandfathers who worked as tailors and a grandmother who was a talented dressmaker, it makes sense that she found inspiration in this family business. She became a successful fashion designer and then set her sights on costume design. With her brother David working as a director, it seems natural that the two decided to work together, which began an almost 30 year partnership.

Denise worked on a variety of films outside of those her brother directed including the Dawn of the Dead remake, The Incredible Hulk, and Resident Evil: Afterlife. But what is so incredible about Denise is how essential her costume design has been to David’s vision. Given the majority of his movies are body horror and focused both on and around the human body and the extensions of it, it makes sense that the costumes were an important part of the process. The costume is part of the actors performance and how they embody their character and it is clear Denise took that part of her job very seriously.

The first costume designer credit she got was the iconic 1986 remake of The Fly. Now the practical effects and body horror are such a huge aspect of the movie and truly draw you into the movie, but the costuming is a subtle yet important aspect of this film. When Veronica (Geena Davis) meets Dr. Seth Brundle (Jeff Goldblum) he is always dressed in the same suit and tie, eventually we learn that he wears the same outfit everyday because it was a trick from Einstein to reserve brain power on his work, and not on trivial things like clothes. So he is always in his nerdy professor-like look which works for the loner scientist we know Brundle to be. But we see this change as the film progresses, both his relationship with Veronica and the effects of his terrifying experiment turn him into a completely different man. So when we see him dressed in a leather jacket or various sweaters and flannels it is an essential detail. It lets us as the audience know that the scientist we first met is gone, and is something entirely new.

Two years later she gets to give us a truly iconic Cronenberg look in Dead Ringers. The blood red doctors garb that we see the Mantel brothers wearing is a stunning image that is impossible to forget. It looks far more like religious robes than that of real life gynecological surgeons. But as we spend time with the Mantel brothers it is clear that their ensemble along with their artistic surgical tools clue us in that this is not just a job and that this is not just about science and medicine. These men think of themselves as artists and this career is more of their religion and foundational beliefs. This one major change in the color of a surgeon's outfit says something so important about these twins. T

Here is also the styling of Claire (Geneviève Bujold). Claire wants to have children but because of the abnormalities she has it is impossible. She is often styled in very masculine looking outfits giving her a powerful androgenous look. This clues us in on a few things. One is that she feels further removed from her femininity and her womanhood because her body makes it impossible for her to fill that societal role as a mother. It also clues us into the fact that she is the more dominant partner in her relationship with Beverly (Jeremy Irons). Beverly is the more feminine in his relationship with Claire and has a similar dynamic with his brother Elliot who is often shown as the more assertive, masculine identity.

When she goes on to do the 1991 adaptation of William Burroughs book Naked Lunch, her design is emphasized even more since it is a movie with people playing doubles. Judy Davis plays Joan Lee and Joan Frost and while her acting is an essential part of showing how these two women are different, the differences in costuming are also needed to clue us in. Joan Lee is the troubled housewife who is often home taking drugs and fooling around with her husband's friends. Then there is Joan Frost who is more wealthy and free; engaging in an open marriage and traveling around with her husband. Denise also does an incredible job styling Peter Weller and the other actors who represent many of the real life Beatnik writers of the time.

She goes on to work on the sexually charged thriller Crash. Styling a diverse cast of characters who all get off on car crashes. Roseanna Arquette has one of the more memorable looks given the huge scars coming down her legs. The additions of the black fishnets, short leather skirt and tight lacy tops show us how deep into this world she is, Arquette cannot hide her scars or her kinks and does not want to. Remington (Holly Hunter) is slightly more subtle but she constantly wears long leather gloves that look like the interior of a car. While she often looks cold in her boxy power suits she is almost always styled in a way that makes it easy for her to get off when the opportunity arises.

There are so many of these characters that are flushed out just through the clothing she designed. Viggo Mortenson in Eastern Promises always has a clean cut but tight look, indicative of a man who has much to hide. The dress she created for Carl Jung’s wife in A Dangerous Method was an authentic chantilly lace dress that the actress said “It was also very much performative; it helped with becoming that character.” The fact that this self taught woman made a whole new career for herself that provided some of the most iconic looks of David Cronenberg’s work is incredible and something we should be praising so much more. This attention got her a Genee Award for Dead Ringers and several other nominations for things like Naked Lunch, Spider, and Eastern Promises.

Denise’s passing in 2020 was a great loss, especially now that her brother has come back to the director’s chair. Losing that steady companionship and opportunity to collaborate with a sibling is heartbreaking. Some of David’s most iconic looking films are because of Denise’s keen eye, her ability to work with actors, and her understanding of David’s vision. I cannot think of a better example of the types of creatives we should be uplifting and in the future be doing this before they have passed on.