Costume designer Bojana Nikitović takes us behind the striking world of the Dune: Prophecy costumes. Together, we unpack the emotional storytelling behind some of the series’ most unforgettable looks—from the weight of the Bene Gesserit to the rebellious swagger of Desmond Hart and the weathered resilience of the Harkonnen. Bojana shares the detailed process behind aging new costumes, building silhouettes that speak before characters ever do, and why storytelling always takes precedence over surface beauty.
Spencer Williams: It’s so good to see you! I was thrilled to be at the Costume Designers Guild Awards—and even more thrilled to see you walk away with the award for Excellence in Sci-Fi/Fantasy Television. What was going through your mind when you were on that stage, in front of all your peers, holding that award?
Bojana Nikitović: Oh man. It was one of the most exciting moments of my life. I really didn’t expect it—I hadn’t prepared anything. I even asked my son, who speaks English much better than me because he went to high school in the States, “Should I prepare something?” And he said, “No, why would you? If it happens, just thank your crew and that’s it.”
And then suddenly, I found myself on that stage, completely overwhelmed with emotion—and totally unprepared! But it felt really good. I was so happy, not just for myself, but for the whole crew. I know how hard everyone worked. We really are a team.
One thing I noticed—and I found it very touching—was that every designer who won that night thanked their team. That shows how much we all truly value our collaborators. Costume design is always a team effort.
Spencer Williams: Right! I think people often assume it’s just one person designing all 2,000 costumes. But when you’re building entire worlds—like you are in Dune: Prophecy—it really does take an army to design an army. And you of all people know that better than anyone.
Bojana Nikitović: Yes! We had something that felt like a factory running nonstop—hundreds of costumes being produced. I’ll admit, I’m a bit of a control freak. I like to be involved in everything—maybe too much. It’s hard for me to let go. But once I’m confident something is good, I can release it.
In the last five or six years, I’ve built a team of about 20 to 30 people that I work with regularly on big projects. I trust them completely. We have textile artists, metalworkers, leather masters—and of course, my closest collaborators, my assistants. These are people I truly rely on. It’s so rewarding to hand off an idea and know that not only will they realize it, but they’ll add something of their own that makes it even better.
Spencer Williams: That really comes through in your work—it’s incredible. So let’s jump in. I’ll admit it—I’m a huge Dune fan. I love the books, the movies, the characters, the lore—I could go on and on. So I’m beyond excited to talk to you.
Dune: Prophecy is set 10,000 years before the Paul Atreides story that most audiences are familiar with. It’s still far in the future, but you’re working in a time so distant from anything we know that it almost becomes a kind of futuristic period piece. That’s a really unique challenge. How did you wrap your head around that idea? What kind of research did you do to create something that feels historical, yet still belongs to the future?
Bojana Nikitović: It’s set in the far future for us, but in the Dune timeline, it’s already a kind of historical period—especially compared to what we’ve seen in the films, which were such a success. Visually, they’re fantastic. So, for us, creating our own version of that world was definitely tricky.
I relied heavily on the books to ground myself. I’d read some of them when I was younger, but I went back and reread Sisterhood of Dune, Mentats of Dune, and Navigators of Dune because they’re closely tied to the story we’re telling. That helped a lot.
I also had a great deal of support from Alison [Schapker] and Jordan [Goldberg]. We had a lot of Zoom meetings and exchanged so many drawings. Just a few months ago, I was cleaning through my files and came across some of the early sketches—we’ve come such a long way. It really takes time, countless ideas, and constant refining to finally land on something where we say, “Yes, this. This is what works.”
Spencer Williams: It’s a lot to wrap your mind around. Let’s talk specifically about the Sisterhood—this ancient, yet forward-looking order that eventually evolves into the Bene Gesserit. It has such deep, lasting influence on the entire Dune universe. What kinds of influences and research helped guide your vision for this group? How did you approach designing for these veiled sisters we all recognize?
Bojana Nikitović: Honestly, my references came from everywhere—from medieval paintings to fashion runways to all kinds of historical and abstract headpieces that could inform their look. I started by focusing on the Sisterhood as an institution: what does their uniform look like? That meant designing costumes for the acolytes, novices, and Reverend Mothers.
But beyond that, the silhouette had to be instantly recognizable to the audience. At the same time, it needed to suit a variety of body types, look great on camera, and work with our chosen fabrics. We also needed materials that could handle the type of embossing and detailing we planned.
And then came the logistics—finding that fabric in huge quantities. Once we landed on the shape and materials, we had to source thousands of meters of the same fabric. That was a real challenge. We had one factory working nonstop just for us. I remember they were about to go on summer break, and we were like, “We have to get those last 600 meters!” Summer vacations were nearly canceled!
Spencer Williams: (laughs) No breaks—this is the Sisterhood we’re talking about!
Bojana Nikitović: Exactly! And then, for the veiled look, the collaboration with our director, Anna Foerster, was key. She wanted the veil to have a pattern, but still allow the camera to see the actresses’ eyes. So we came up with the idea to laser-cut a pattern and apply it over silk organza or georgette. It took a lot of trial and error to land on a design that felt original and right for the Sisterhood.
Once we nailed that, we moved on to the tall headdresses. We hand-pleated many of them ourselves. It was such a detailed, layered process—but by the end, we were really proud of the final result.
Spencer Williams: Mother Superior Valya and Reverend Mother Tula Harkonnen feel a bit more put together than the rest. How did you make their looks feel distinctive, but still very much within the realm of the Sisterhood? I mean, they’re all working with the same color palette, but there’s a clear level of polish—especially with Mother Superior.
Bojana Nikitović: Yes, especially for Valya—it was so important that when she arrives, there’s an instant reaction: “Ah, this is the one in charge.”
Spencer Williams: Right. That moment of, “Okay, she’s the boss.”
Bojana Nikitović: Exactly. Her cape is one of my favorite pieces. It has this beautiful print and is made from a fabric I love because of the way it moves. That, combined with the veil, the headpiece, and this large hood—it all creates this powerful silhouette. That particular costume, especially the one she wears while traveling, was made to feel more elevated and intentional. She’s on a mission. It’s not just another day within the Sisterhood—she’s there to accomplish something.
I had great support from our directors and from Alison and Jordan, who kept encouraging me to go further. I remember the first time we saw the costume, the cape was either missing or too small, and I said, “This won’t work. She needs something with real presence.” So we pushed forward and reworked it—and it was worth it.
But when you’re working on a big job like this, you never have enough time. These aren’t the kinds of costumes you can make in a day. There’s printing, hand-finishing, drying time—it all adds up. So we were constantly racing the clock.
With Olivia Williams, who plays Tula, her costume is almost identical to the other sisters. But the way she wears it? It’s incredible. It changes everything.
Spencer Williams: Totally. It’s about how you carry it. Same with Mother Superior—she walks into a room in that costume and it’s immediately clear: she’s in command.
Bojana Nikitović: I remember the first time Valya put it on—she just knew how to wear it. The way she moved, the way she walked—it was amazing.
Spencer Williams: I need one of those capes! One thing I really noticed while watching the series—and in hearing you talk—is that textiles play a huge role in your work. It’s like the fabrics themselves are telling their own story. The textures are so layered and intentional. Would you say that’s a fair assessment? That textiles really drove the design on Dune: Prophecy?
Bojana Nikitović: I’m so happy you said that, because yes—that was one of my biggest goals. On a project like this, you can’t use pre-existing fabrics that have recognizable textures. For me, the moment the audience recognizes something as “familiar,” it breaks the illusion.
So we worked on building our own textiles. I started by sketching with an illustrator, even though I wasn’t entirely sure how we’d get there. For example, with Emperor Corrino’s coat—we needed a very specific texture. I knew what I wanted it to look like, but I didn’t know how we’d achieve it.
I worked closely with my assistant, who’s incredibly skilled, and with our leather master. It was a new process for them too, but they figured it out—we ended up layering and pressing delicate fabrics over cut leather. The first time it came out, I was like, “That’s it.” Of course, it took weeks. We were gluing things onto silk, and glue usually seeps through such delicate material. We had a lot of trial and error before we got it right.
Spencer Williams: And especially with the Sisterhood, where the costumes are mostly black—if you’re not careful, you risk everyone looking like a blob on camera. I wear all black all the time, and I know the pain of losing all your detail in low light. But the textures you created really help them stand out, even in such dark environments.
Bojana Nikitović: Yes! That was so important. And we added embossing around the chest and shoulders because that’s where the camera often lingers. We needed movement—visual texture—to break up the black. We tried printing, but then by accident I saw the back of one of the test prints and thought, “This looks better than the front.” So we actually ended up using the reverse side of the print for all the Sisterhood costumes.
And the best part? All of it was done by hand, in our own workshop. Our textile artist created everything in-house. And I do think that care and craft really shows on screen.
Spencer Williams: Let’s switch gears a little bit and talk about the political sphere. You were just mentioning Emperor Corrino, played by the great Mark Strong. He governs the Imperium, and I’d say his house embodies both ceremonial regality and a distinctly military presence. What was your approach to designing not only for him, but for the Corrino lineage and that legacy as a whole?
Bojana Nikitović: It was really important to establish where we are—the world of the Emperor. He represents an entire system, a way of rule, and that had to be reflected in his look. You see it not only in the costumes but in the production design too—the grand hall, the palace—it all signals a powerful hand behind the curtain. Even if he may not be that strong hand himself, he comes from that world, that legacy.
His costume needed to reflect strength, control, and a bit of theater—because he wants to project that image. He’s the Emperor of the known universe. And then, everything around him supports that impression—his guards, his wife, their surroundings. Even his wife, visually, had to feel like a force of her own. She’s strong, composed, and very precise. We wanted them to feel like a unified front—two people on the same mission. Honestly, I sometimes felt she was making the decisions for him.
Spencer Williams: Oh, that’s a whole separate podcast episode right there!
But okay—I have to talk about one specific costume. The moment I saw the engagement dress worn by Princess Ynez in the first episode, I knew I had to speak with you. It’s breathtaking. That red gown she wears when meeting her young husband in that arranged union—it’s such a moment. How did you construct it? It’s absolutely gorgeous. I need prints of it!
Bojana Nikitović: I knew we’d talk about that dress! There were hundreds of sketches for it. So many versions. And we struggled to find the right fabric—which was critical. For me, fabric is 70% of a successful costume. You can have the best design on paper, but if the fabric isn’t right, the whole thing falls apart.
We had the silhouette, the petticoat, everything planned—but I still wasn’t happy. I knew we wanted some kind of laser-cut overlay on silk, but we couldn’t find the right combination. Finally, we got this one layer of laser-cut pieces applied over another layer of silk, and that was it. We played with how the silk was laid—adjusting direction, layering, working with how it would catch the camera light—so that the pattern would subtly appear and shift as she moved.
Then we started building the upper part. I wanted it to feel like a net—or even a spiderweb. Something beautiful, but also confining. Like a cage. Because in many ways, she is trapped. So we began layering these delicate pieces by hand. Luckily, we had an assistant who had almost the exact same measurements as the actress, so we could build it directly on her body.
And then came the veil. Originally, it was a nude-colored silk tulle with red accents—but it dulled the dress. It made the red feel faded. So we switched to a red-on-red veil to preserve the intensity of the gown. Little by little, it came together.
The headpiece took time as well—not just to get the look right, but it also had to function practically. She had to remove it during the scene and throw it, so it had to come off easily and still look beautiful and cohesive. And of course, it had to be comfortable for her to wear.
In the end, we were all really happy with it. I’m so glad the audience connected with that look.
Spencer Williams: Absolutely. And there’s such subtle storytelling in that costume. She’s entering into this arranged marriage, but she’s also hoping to become part of the Sisterhood. There’s all this weight of expectation being placed on her. To me, the gown felt like a visual representation of that—it’s regal, but also restrictive. Would you say that’s the kind of story you were trying to tell?
Bojana Nikitović: Good, good. I’m glad you felt that way—because that was exactly the idea. For me, it’s never just about the beauty of the costume. I really believe the costume should serve the character and the scene. That’s the main goal. So if we managed to do that—
Spencer Williams: Mission accomplished.
Bojana Nikitović: Exactly.
Spencer Williams: I mean, yes, of course it’s visually stunning—but you also have to consider what the character is feeling beneath all of that. Sure, it looks beautiful, but it’s also a really difficult day for her emotionally. And—spoiler alert for anyone listening—it doesn’t exactly go well, either.
Bojana Nikitović: No, it doesn’t. And I have to say, it was photographed so beautifully. That shot from behind as she enters—it really captured everything we wanted. She was also wearing 20-centimeter heels with that heavy dress! And somehow, she powered through four very long days of shooting. We were so grateful. Especially considering how important that moment was—for everyone watching, and also in comparison to the boy. Everything had to be just right.
Spencer Williams: Let’s talk about Desmond Hart. He enters the story like a rogue—he’s a bit of a rebellious outsider, but there’s also this rock star energy about him. He’s a “bad guy,” but in a cool way.
Bojana Nikitović: Yes! That’s exactly what we wanted—to make him feel like someone who didn’t belong to anyone. When he enters, the audience should be asking, “Who is this guy?” And the way they shot it—with his coat flying behind him in the wind—it really amped up that feeling.
Creating that coat was a whole process. We went through several versions and tried out different fabrics. Eventually, we found one I loved, but it had to be treated. It was waxed fabric, so we had to take the wax out to get the movement right. Our breakdown artist worked really hard on it—because once it’s prepped properly, the fabric ages beautifully. You can distress it well and give it real personality.
We also designed it to look good both open and closed. We wanted a strong silhouette no matter how he wore it. And once we had it, we even made a black version for when he becomes a Baron—which looked even better on Travis.
For me, it’s about creating characters you can recognize instantly from their silhouette. When you think of Desmond, I want you to remember that coat. That strong, sharp line. And like we were saying before—it’s not just about looking good. The costume has to work for the character.
Spencer Williams: Yes, exactly! You want to dislike him… but you kind of can’t help being fascinated. And one of my favorite aspects of the series was the breakdown work—the aging and dyeing of the costumes.
We get these flashbacks to the Harkonnen family, and we see Val when he’s younger. That family is clearly down on their luck—just barely scraping by. And while they still look amazing, you feel that struggle. I’d love to know how your team approached those scenes, especially since the Harkonnens are in a totally different world from the rest of the court. How did you make them feel distinct—but still familiar?
Bojana Nikitović: That was one of the hardest parts! From one episode to the next, we had to create entirely different worlds. And honestly, the Harkonnens were some of my favorites—because we could take them in such a different direction compared to the rest of the series.
Almost all of the costumes in this project were made from scratch. We rented almost nothing. So when you’re starting from new garments, it takes time to break them down—to make them feel lived-in and believable.
I’ve worked with the same breakdown team for over ten years, and I trust them completely. Nothing goes on screen without first being dyed or treated in some way. Not a single piece of fabric. That’s just how we work.
For the Harkonnens, we created these textured, layered looks—faux furs, heavy wools, everything aged and weathered. And the volume of costumes we had to process for background alone was huge. But when the pieces came out of the breakdown room, they were totally transformed. It was like seeing a new story come to life.
Spencer Williams: I can’t even imagine! Bojana Nikitović, this has been such a pleasure. I’m so glad we got to chat. I loved Dune: Prophecy, and I can’t wait to follow your work in the future.
Bojana Nikitović: Thank you so much. It’s been a real pleasure.
