On the whimmiest of whims, I scored a last-minute ticket to this sweet one-week-only Netflix Frankenstein: Crafting a Tale Eternal exhibit featuring costumes, props and first-edition copies of Mary Shelley’s legendary Gothic tome.

As with anything related to Guillermo del Toro’s work, the exhibit was a visual buffet that told the behind-the-scenes story of the film. And I imagine much of it is featured in the official Frankenstein visual art book, but seeing it IRL was still such a treat, and it came with a free tote bag!

I won’t ramble on too much because I just want you to behold these majestic ass costumes and the recreation of Victor’s lab, where he lost himself in the mania of creation.

Elizabeth’s dresses were stunning to the point of distraction in the film, so it comes as no surprise that in person, the flowy, textured fabrics and small details woven into the sleeves and bodices (bodici?) and her feathery ear-warmers were insanely gorgeous.

Even the ombre spray of blood on her wedding dress was a vibe. Longtime GDT collaborator and award-winning costume designer Kate Hawley is an absolute master of her craft. I wish I could’ve heard more from her in those short video pieces that played throughout the exhibit.

Also, I don’t have proof of this, but I just know that Guillermo personally asked to place that mirror there to perfectly reflect the dress.

This sculpture of the Creature was half the size of my body and the recreation of the pores and small pock mark on the lower cheek and slightly hollowed undereye—the artistry!

I caught a literal chill standing near the costumes from the ship scene. Look at the icy fuzz on their peacoats and the specks of stepped-on ice on their shoes. Of all of the costumes, I coveted theirs the most. They looked equally comfortable and cozy, plus I love a beret moment, and there are these textured totes that you can hide a nice whiskey flask and raw sushi-grade fish for snacking purposes.

This character design was absolutely SICK (positive). In person, it was giving cut scene from the flawless Hannibal series, which I’m sure featured a fileted man on a table at some point. But aside from the bodywork, it’s the on-body and surrounding details that take this piece to the next level. The door-handle/candelabra- looking weights and the bottles of medicine and parts under the table and the utensil-adjacent hooks holding the Creature’s back meat open.

Here we have the Creature still under construction. You have the burning angel sculpture with its mouth agape and Medusa-inspired hairdo and the circular centerpiece window where Victor did his best thinking.

 The circle-of-life motif was the most prevalent in this section of the exhibit, from the windows to the floor. And all of those surgical instruments strewn about. Shudder.

If you put this medical kit in Chicago’s International Museum of Surgical Science, I’d easily believe it came from the 1800s. The worn, discolored velvety lining was so dusty, I could be easily convinced it was found in someone’s meemaw’s attic.

And speaking of the circle of life, check out this regal funeral attire. The blood red veil and the white plumes on the hat. The photos don’t do it justice. This section was textural heaven. Look at the flow of Victor’s tie/kerchief. A moment!

The hard 85-degree angle cock of that top hat — Christoph Waltz has worn some great costumes over the years. Victor’s Dolemite suit and hat combo and the circle motif in Elizabeth’s emerald dress with sheet sleeves and garters. I was swooning so hard. And that brings me to the piece de resistance. The harbinger herself!

Appropriately, the Burning Angel section was in a small enclave toward the end of the exhibit, accompanied by Alexandre Desplat’s score to set the mood. 

At this point, I have the goofiest smile on my face, thinking I had come to the end and was entirely satiated, only to find that there was a listening room playing a mini-doc about the making of the score. Guillermo, you’re too good to us.

I watched the doc twice, then collected my tote and spent the next hour in LA traffic, reliving this exhibit and thanking the heavens for Guillermo del Toro’s art, a true bright spot amid all the gloom.