In \"After the Hunt,\" Luca Guadagnino's latest thriller, the costume choices speak volumes, with costume designer Giulia Piersanti meticulously crafting each character's look to reflect their inner world and external aspirations within the elite Yale University setting. A central dinner party scene, typical of Ivy League gatherings, becomes a canvas for these sartorial statements, where guests, adorned in blazers and engaging in spirited debates, subtly reveal their agendas through their attire. Julia Roberts's character, Alma Imhoff, a philosophy professor, exudes confidence in a sleek white suit, a deliberate choice by Piersanti to convey strength and elegance without overt femininity. Her husband, Fredrick Imhoff, played by Michael Stuhlbarg, opts for understated Japanese suits, offering a counterpoint to Alma's bold presence.
The film's exploration of character through costume extends to the supporting cast, showcasing a spectrum of styles that highlight individual personalities and their evolving relationships. Hank Gibson, an adjunct professor portrayed by Andrew Garfield, intentionally subverts Yale's traditional dress code with a relaxed Canadian tuxedo, emphasizing comfort and his detachment from the coastal elite's social norms. In contrast, Alma's protégé, Margaret “Maggie” Resnick, played by Ayo Edebiri, initially mirrors Alma's style with a buttoned-up suit, a reflection of her emulation. Piersanti notes that Maggie's initial modesty and later stylistic shifts underscore her journey within the psychosexual drama. The deliberate use of limited, recurring wardrobe pieces—blazers, button-downs, loafers, jeans—across various characters, yet styled distinctly, forms a cohesive visual language that underscores the film's themes of power and identity.
Piersanti's collaboration with Guadagnino, a partnership spanning films like \"Call Me by Your Name,\" highlights her unique approach to costume design, prioritizing character intent over traditional trends. Her research for \"After the Hunt\" involved observing real campus life and drawing inspiration from timeless icons like Carolyn Bessette and Joan Didion for Alma's wardrobe. The choice of white for Alma's signature suit was not only aesthetic but also a practical consideration for how fabrics interact with light on screen, reinforcing her mesmerising allure. The film also showcases how wardrobe decisions can denote background and ambition, as seen in Hank's \"too sexy to try\" demeanor versus Fredrick's refined Japanese suits. Piersanti's interview reveals a deep appreciation for the freedom and mix-and-match culture of American fashion, emphasizing how clothing can be a powerful tool for storytelling, allowing characters to embody different personas and narratives throughout the film.