Costumes in cinema are not merely a visual complement but a tool used to shape character and enhance visual storytelling. What is worn on screen helps convince the viewer and draw them into the story, not only through performance or dialogue but also through the fine details that reflect emotions and the temporal and social context.

In this context, Mansooj held an exclusive conversation with costume designer Helen Al-Khalil, who was behind the costumes of the Saudi series “Shaari’ Al-A’sha.” Here, costumes became a precise visual tool to convey the psychological and social shifts Saudi society went through before and after the Sahwa (religious awakening).

Helen says:

In the early episodes of the series, the designs appeared in bright colors and free feminine lines to reflect the relative openness of the lifestyle at the time. As events escalated, these elements gradually changed. Colors became more muted, and the fabrics took on a heavier character, visually expressing the shrinking space of freedom and the increase of social constraints.

Helen points out that the change was not only superficial but extended to the depth of each character:

“Some characters gradually changed their style of dress. This change was a reflection of an inner state and social pressure. I followed the character’s development and translated it visually at each stage.”

To step back a little, Helen’s preparation for the costumes was built on meticulous research into archival photos, historical and social references, and even private albums. Every detail—from the fabric’s texture to the arrangement of buttons—was calculated and studied to present an authentic image belonging to the era in which the events take place.

Like “Shaari’ Al-A’sha,” the use of color as a dramatic tool also stood out in Egyptian drama, particularly in the final episode of the series “Lam Shamsiyah.” In the courtroom scene, costumes served the plot more than the dialogues did. Characters who were in the right wore a black jacket and white blouse, as if branded in front of people—accused until proven innocent.

Meanwhile, characters who played the deceiver wore the white jacket and black blouse, a look suggesting purity while their insides were tainted. This deliberate use of color delivered a visual message that summed up the moral conflict without direct explanation.

These experiences are not unique. Returning to the global context, we see how the relationship between cinema and fashion has always been one of mutual influence. After World War II, Hollywood dominated the film industry while Paris rebuilt its cultural identity through fashion.

French fashion houses focused on designing costumes for American screen stars, paving the way for brands like Chanel and Dior to enter the global consciousness and become icons of elegance. Later, the United States recognized the power of this industry and supported American designers like Ralph Lauren and Calvin Klein, giving rise to a distinctive American visual identity displayed on screen and consumed in real life.

We witnessed the same effect in works such as the series “Hareem Al-Sultan,” where costumes went beyond decoration to serve the historical plot and highlight the class and personal hierarchy within the palace. Costumes in the series became a cultural phenomenon, inspiring fashion markets. What appears on screen does not remain confined to it but flows into the street, the stores, people’s wardrobes, and their everyday tastes. It revived traditional designs that began to appear again in social occasions. This is why costumes in cinema and television cannot be seen as a mere secondary detail. When employed with visual and cultural awareness, costumes become a means to deepen storytelling, reinforce identity, and open new economic and cultural horizons.

Saudi Arabia today is taking serious steps in this direction, most notably the “AlUla Creates” initiative, which appointed global designer and creative director Nicola Formichetti as a consultant for a training program aimed at preparing Saudi female designers to work in cinematic costume design. Designers Alia and Abeer Aref and designer Arwa Al-Amari also took part in this important experience. In addition, the Film Commission organized several specialized courses and programs in costume design, aiming to equip Saudi talent and enable them to master this vital field that combines visual creativity with dramatic understanding.

These efforts deserve expansion and need more investment and synergy between designers and content creators, and between art education and drama production. Supporting specialized education and providing professional training opportunities linked to cinema are steps capable of putting Saudi costume design in a leading global position—as a tool that expresses our culture and contributes to building a fully integrated creative economy.

This article is supported by the King Abdulaziz Center for World Culture (Ithra) and the Cultural Development Fund as part of the #Ithra_Arabic_Content_Initiative.