Cloaks, Capes and Caftans

THE MOVIE: “Bram Stoker’s Dracula”

THE SETUP: Dracula, the original lovelorn vampire (Gary Oldman, pictured), leaves his creaky castle in Transylvania to hunt down Mina (Wynona Ryder), the reincarnation of his lost amour, in Victorian London.

THE COSTUME DESIGNER: Eiko Ishioka, a Tokyo-based artist who created costumes and sets for “M. Butterfly” on Broadway and for the “Rip Van Winkle” episode of television’s “Faerie Tale Theatre.”

THE LOOK: Encrusted with myriad cultural and fine art flourishes, the costumes are more imaginative and elaborate than those of any previous incarnation of the Dracula clan. The costume budget is said to be more than $1 million and it shows.

The stunning embroidery on Mina’s dresses and Dracula’s coats is that of haute couture runways; unfortunately, many of the costumes’ boldest colors are lost to dim lighting effects.

The designer is inspired by Asian splendor, as in the title character’s red satin cloak with 20-foot train and embroidered dragon motif. And by artist Gustav Klimt, as in Dracula’s metallic patchwork caftan.

GOOD HAIR DAY: Not to be ignored is Dracula’s twisted do, a sort of double French roll that makes Ivana Trump’s coil look dull. Wig master Stuart Artingstall, hair and makeup designer Michelle Burke, head hairstylist Mary Bloom and Ishioka collaborated on the look.

SCENE STEALER: While many of the costumes are captivating, the wedding dress worn by Mina’s best friend, Lucy (Sadie Frost), is radiant. Based on images from 17th-Century Flemish paintings, it’s composed of an embroidered white organza tunic with a large ruff (lace neckpiece) over a satin dress with a large bustle and train.

QUOTED: “They’re well conceptualized and they make a statement when they need to, but they also happen to be extremely well-made clothes,” says associate costume designer Richard Shissler.

THE RESEARCH: Besides poring over hundreds of books on art, costume and Victorian history, the designers consulted the Los Angeles County Museum of Art’s costume and textile department for advice on constructing 19th-Century clothing.

THE SOURCES: All the principals’ clothing was custom-made at costume houses in New York and Los Angeles. Dracula’s top hat came from Pieroni in Rome. The Diligent Dwarves in Los Angeles made the suit of armor.