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Colleen Atwood designed the costumes for Beetlejuice Beetlejuice, building a visual link to the 1988 film without simply repeating it. The sequel’s looks distinguish its characters through contrast: Beetlejuice’s familiar striped suit is deliberately aged, Lydia’s gothic clothes envelop her, Astrid’s layers lean into grunge, and Delia retains an exuberant artistic style. Atwood did not design the original film’s costumes; those were by Aggie Guerard Rodgers, according to Vogue’s September 4, 2024 interview with Atwood.
How the sequel connects to the 1988 film
Atwood and director Tim Burton aimed for a new world that would still feel recognizable. “We wanted to keep it simple, graphic, and clean,” Atwood told Vogue. The approach carries forward the original’s glam-goth dresses and striped suiting, but updates them with contemporary silhouettes and 1980s references rather than treating the sequel as a period recreation.
Atwood said she made “75%” of the wardrobe she described in the interview, supplementing it with vintage pieces. That is her reported figure, not an independently counted share of every costume in the film. She also used a couple of jackets by London designer Elena Dawson; the interview does not assign those jackets to a particular character.
Beetlejuice: a familiar suit made to look worn
The black-and-white stripes remain the character’s clearest visual signature, but Atwood recut the suit for a sharper silhouette and aged it to suggest decades of wear. The Los Angeles Times reported in December 2024 that the custom suit is Italian silk satin, distressed to look moldy and mildewed. Atwood described the in-story premise this way: “He’s been wearing it for 35 years, so it’s a bit more aged in a moldy, mildewy way.” A fake tummy was added to suggest middle age.
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The suit is only one of Beetlejuice’s looks. He also wears a burgundy rented wedding tuxedo with a ruffled shirt—one of Michael Keaton’s favorites, Atwood told Vogue—as well as a matador outfit and an afterlife customs-officer uniform. The changes let the character shift roles while the striped suit anchors his look.
Lydia: gothic clothes as a kind of armor
Lydia’s wardrobe keeps her gothic sensibility but reflects her as an adult. Atwood revisited the associations of voluminous tulle, and reworked a vintage black dress for Lydia’s first look. The Los Angeles Times described the design idea through Atwood’s phrase that Lydia’s clothes envelop her “as armor against the world.”
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For the reluctant wedding, Lydia wears tightly pleated red silk tulle and French lace in a Victoriana-goth silhouette. Atwood also explained the material’s visual effect: “I wanted it to have that feeling of glowing a little bit. I like tulle because light can pass through if it’s lit,” she told the Los Angeles Times. The translucent quality makes this look distinct from the more solid, worn textures elsewhere in the film.
Astrid: grunge layers and distance from Lydia
Astrid’s clothes give her a visual separation from her mother’s strange world. Atwood built the wardrobe around anger and melancholy, with grunge styling that reflects Astrid’s interests in old movies and music. Shredded striped knits, denim, boots, and floral dresses make her look feel assembled in layers rather than composed as a dramatic gothic statement.
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The specific pieces reported by Vogue include a grungy floral dress and a daisy-print dress from Atwood’s stock. The Los Angeles Times describes a bespoke sunflower frock paired with a denim jacket and a plaid shirt tied at the waist. Together, those details establish a wardrobe that is more casual and deliberately mismatched than Lydia’s enveloping silhouettes.
Delia and Delores: artistic excess versus dark, shifting surfaces
Delia’s artistic groove
Delia stays closer to an exuberant 1980s sensibility than the other characters. Atwood’s reasoning, as reported by Vogue, is that Delia has stayed in her artistic groove. Her clothes therefore continue her established taste rather than adopting the sequel’s contemporary silhouettes in the same way as other characters.
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Delores’s black bridal look
Delores, the vengeful bride played by Monica Bellucci, is dressed in black. Atwood combined crin, crepeline, and patent leather so the outfit would catch light differently as Delores moved, according to the Los Angeles Times. Where Delia’s look expresses ongoing artistic exuberance, Delores’s materials make movement and changing reflections part of the effect.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.The afterlife’s costumes: office suits and variety-show color
For the Afterlife Call Center employees, known as the Shrinkers, Atwood imagined a distinctly 1970s office look: “I think his crew should look like Century 21 Real Estate guys from the ’70s,” she told the Los Angeles Times. She used gold-colored upholstery fabric for their structured suits. The newspaper reported that the material cost $3 a yard at the time of its December 2024 story; that is a production anecdote, not a current fabric price.
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For the Soul Train sequence, Vogue reports that Atwood drew on the colors and shapes of 1970s variety shows. These group looks widen the film’s visual world beyond the main characters, using recognizable period references for a comic afterlife setting.
Quick Recap
What the costume choices have in common
- Continuity with a current update: recognizable stripes and gothic shapes return, while recutting, contemporary silhouettes, and character-specific styling keep them from becoming simple replicas.
- Different visual weight: Beetlejuice’s tailored stripes, Lydia’s enveloping tulle, Astrid’s casual grunge layers, and Delia’s artistic exuberance make the characters legible through silhouette and texture.
- Materials used for a specific screen effect: aged satin supports Beetlejuice’s long-worn suit; Lydia’s tulle lets light pass through; and Delores’s layered black materials catch light as she moves.
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