(CNN) – For many, Christmas is a time typically associated with “ugly” reindeer sweaters or snowman ties. And that's particularly the case on the big screen: From Nora Krank's eye-catching mistletoe-embroidered vest in “Christmas with the Kranks” to Mark Darcy's Rudolph turtleneck in “Bridget Jones's Diary,” there's a consensus that, between all the paper crowns, Santa hats and contrasting colors, bad fashion thrives during the holiday season.
But it doesn't necessarily have to be that way, and one Christmas classic in particular is proof: Oscar-nominated costume designer Rita Ryack's work on The Grinch, the 2000 live-action adaptation of “How He Stole the Grinch Christmas,” by Dr. Seuss, reminded viewers that dressing up doesn't have to be boring, and that Christmas can—and should—be stylish. The ultra-glamorous vision of Christmas attire in this film was a far cry from what was offered elsewhere; is a maximalist take on the humble Seussian origin story, following the redemption arc of the Grinch, an irascible green antihero (played by Jim Carrey) who took Christmas away from the Whos of Whoville.
In terms of fashion, in this film we saw the then child star Taylor Momsen as little Cindy Lou Who, in an impressive wardrobe full of dresses with puffed sleeves and Peter Pan collars, coats and pajamas.
Another memorable look was the plaid corset dress paired with a surreal teacup-shaped headdress worn by Molly Shannon (playing Betty Lou Who). “It made the fashion world,” Ryack said of the couture cup-and-saucer style. He remembers visiting a Versace boutique in Las Vegas shortly after the film's premiere and seeing mannequins dressed in their own teacup hats. “I was very flattered by that.”
Most notable, however, were the theatrical costumes of Martha May Whovier, the Grinch's lustful love interest, played by Christine Baranski, which recently found a new audience online.
Today, Gen Z “Grinch” fashion enthusiasts have created YouTube tutorials detailing how to make Martha May costumes at home, while several Etsy sellers advertise made-to-order replicas. Screenshots of Baranski on set in a Hollywood-style robe adorned with light blue and white ostrich feathers resurface on social media sites like clockwork every December. “Whoville's fashion icon,” wrote one fan on X. “No one did it like her.”
The renewed interest is even a surprise to Ryack. “Yesterday I discovered that Martha May is iconic,” he said by phone from his home in Los Angeles. “It's crazy.”
While both the original 1957 children's book and the 1966 animated television special kept the Who fashions simple (nightgowns, tights, jackets and bow ties in a stylized palette and Seussian flourishes), in the live-action adaptation, Ryack They gave him free rein to make his designs fantastic.
“I had grown up with Dr. Seuss, his style was very energetic, optimistic and upbeat,” Ryack said. “The problem was figuring out how to capture his drawings in 3D.”
Her solution was texture: tufted, fleece, pom-pom, bouclé, corduroy, crochet, chenille, camisole and chartreuse. “We made a lot of sweaters, all mohair and all furry,” she said. “We tried to take real shapes from the book and turn them into intarsia sweaters.” The base layer of each of Ryack's costumes was a padded jumpsuit, which sculpted nearly every Who in Whoville into a distinctive pear shape.
Except Martha May, whose silhouettes were inspired by styles from the 1950s. “Because (the movie) was about family,” she said. “And it was when I grew up that I had an attachment to certain visual things.”
One image in particular was a throwback to Queen Elizabeth II's coronation (the late British monarch even attended the film's London premiere, although she was likely unaware of the fashion inspiration she had provided). “I'm excited about the dresses and Princess Margaret,” Ryack said. “I loved the tight bodice, the flowing skirt and those corset tops. I thought they were so feminine and beautiful.”
Big skirts and hourglass silhouettes inspired one look in particular: Martha May's Christmas ceremony dress. The embellished crimson velvet bodice had a sweetheart neckline, finished with a trimmed edge of the same forest green tulle that made up the voluminous skirt. “I was crazy about tulle,” Ryack said.
Another inspiration for Martha May's signature style was 1950s actress and comedian Lucille Ball. “I thought a little bit about Lucille,” Ryack said. “Martha's clothes also have a bit of a musical comedy spirit.
However, if you blink, you might miss the reference to Lucille Ball. In one scene, as Martha May recounts her first memories with the Grinch, she sits on her couch dressed as a “hostess,” a pants-and-dress combination popularized by Ball in the 1951 comedy “I Love Lucy.” (“He didn't get much screen time,” Ryack laments. “But he's pretty impressive.”) On the show, Ball was known to wear a long robe over skinny pants while hosting dinner parties. The “hostess” pants even became a plot point during one episode when Ball tries to give a pair to his landlady, Ethel. “I saw them last month in Harper's Bazaar,” Ball said. She stumbles upon the quip: “Well, they certainly are strange.”
Martha May's version was made of blue duchess satin, with a portrait collar to emphasize her pearl necklace. Around Baranski's waist was a giant taffeta bow. “It's an exaggerated detail, which is what I understand by comedy. “Small exaggerations and strong silhouettes.”
There was nothing, Ryack said, that Baranski wasn't willing to use. “I don't think all actresses can pull it off. But Christine was very willing. “He knows how to make a costume.”
Including Mrs. Claus's daring costume, a red and white fur-trimmed minidress worn while Martha May suggestively shoots Christmas lights out of a cannon. If Ryack could own any piece of the film, this would be it. “I like the Santa Claus costume,” he said. “It's fun and very sexy. (Baranski) is very aggressive, moving and shooting those decorations.”
Now, as the world revisits Whoville and Ryack's costumes once again as we count down to the Christmas holidays, would anything change? “I want to change everything,” he said. “Well, I don't want to change Martha. But I would love to come back and do some of that again.”
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