Serbian costume designer Bojana Nikitović brings an immersive, timeless vision to Dune: Prophecy, crafting over 2,000 original costumes that evoke ancient elegance, mystic power and futuristic grit. Her artistry has earned international acclaim, including a prestigious Costume Designers Guild Award
In the sprawling universe of Dune, where politics, prophecy and survival are woven into every word, costume plays a powerful, if quiet, role in storytelling. For the HBO Max series Dune: Prophecy, Serbian costume designer Bojana Nikitović has elevated that role to a form of visual prophecy itself.
Set 10,000 years before the birth of Paul Atreides, the series explores the genesis of the Bene Gesserit sisterhood— a powerful, secretive order of women whose influence spans empires. In contrast to the iconic visual language of Denis Villeneuve’s Dune films, Nikitović was tasked with developing a distinct aesthetic identity. “It was challenging to avoid comparisons,” she said in a recent interview, “but the popularity of those films certainly contributed to the audience’s interest.”
Working closely with production designer Tom Meyer and executive producer Alison Schapker, Nikitović and her team created more than 2,000 unique costumes over the course of a year. Unlike many productions that adapt or rent existing wardrobe pieces, every look in Dune: Prophecy was constructed from scratch. From conceptual sketches to final fittings, the process involved departments specialising in leather, metal, laser cutting, printing, and bespoke ornamentation.
The result is breathtaking. Flowing robes, ceremonial silks, and austere uniforms draw inspiration from a wide range of historical sources: Ancient Egyptian drapery, Japanese imperial silhouettes, medieval European court attire, and monastic habits. And perhaps, unconsciously, as Nikitović admits, even echoes of Balkan folk heritage. “It’s something we simply have within us, and it probably surfaces quite intuitively,” she reflects.
The Bene Gesserit designs are particularly striking. Rich in texture and symbolism, their garments reflect the sisterhood’s mysticism and control. The character Valya Harkonnen, played by Emily Watson, wears a series of imposing, minimalistic outfits that command space and narrative significance. Meanwhile, the stunning red dress worn by Princess Ynez—complete with a corset, chain-veil and layered embellishments—visually communicates her dread of an arranged marriage.
Functionality was also paramount. “The actors were extremely happy when they tried on the costumes during fittings,” says Nikitović, adding that such moments gave her confirmation she was on the right path. Every costume supports the arc of its character. Particular attention was given to the Corrino family and key roles like Constantine and Princess Inez, whose visual evolution mirrors their personal transformation.
For Nikitović, fabric is storytelling. “For me, it’s crucial to feel the fabric under my fingers,” she explains. “The choice of material determines how the costume will ultimately look.” Some fabrics used in Dune: Prophecy were even custom-made in the workshop, which she describes as one of the most joyful aspects of the process.
That workshop, staffed by a team of 120, became an engine of imagination. “There is no ring, hairpin, or accessory that wasn’t made in our workshop,” she proudly notes. Her long-time assistant, Srđan Perić, played a key role in translating ideas into reality.
The craftsmanship hasn’t gone unnoticed. In 2025, Nikitović received the prestigious Costume Designers Guild Award for Excellence in Sci-Fi/Fantasy Television. The accolade cements her status among the world’s most imaginative costume designers, and shines a spotlight on Serbian talent at the heart of a global production.
“Costumes aren’t just visual decoration,” she concludes. “They’re a part of the narrative’s identity.” With Dune: Prophecy, Nikitović has created not just attire, but artefacts—each one a piece of a larger mythology, woven with purpose, power and poetic precision.