The ice crystal decor and Yeti-tinis, the all-white party looks, Wednesday Addams’ gloriously goth black ruffled Alaia party dress and that dance to “Goo Goo Muck” by The Cramps…

“Woe What a Night” was essentially the most stylish episode of streaming television in a yr filled with them, as shows like “Wednesday,” “The White Lotus,” “Euphoria,” and “Stranger Things” made costume designers the influencers of 2022. Their work sent online searches skyrocketing for Portia outfits, House of Sunny sweater vests, Prada lace-ups, face crystals and more, and set trends in any respect levels of the market.

4 time Oscar-winning costume legend Colleen Atwood, who’s behind all of Tim Burton’s movies, designed “Wednesday,” which made history as Netflix’s second most-watched English language show, being viewed by an estimated 150 million households, in response to the streamer.

It’s already making its mark on fashion, too, with the hashtag #wednesdayoutfits racking up 2.3 million views on TikTok, as users post their very own hacks of Jenna Ortega’s black prom dress, curate black-and-white “Wednesday”-inspired hauls from Shein, engage in Enid Sinclair cosplay and more.

Since its premiere the show has generated $180.5 million in media impact value, in response to Launchmetrics. The highest-mentioned brand alongside the show has been Prada, which gained the highlight because Wednesday wears Prada Monolith lace-ups as her school shoes, garnering $1.4 million in media impact value. Being featured within the viral dance scene garnered Alaia $1.1 million in media impact value.

“Well, possibly they’ll give me a reduction,” said Atwood, who bought the Alaia dress on the brand’s Recent Bond Street boutique in London, laughing as she heard the figures.

A costume designer for 4 many years, Atwood created Hannibal Lecter’s mask, “Ed Wood’s” angora sweater, “Edward Scissorhands’” Gothic black leather suit, Roxie Hart’s “Chicago” dance dresses and lots of more iconic film looks. But that is the primary time she’s designed for a streaming show.

“It’s a distinct sort of audience participation and since those other projects, rather a lot has happened. Social media wasn’t such an epic thing that it’s today. The accessibility is a lot greater and the power to speak and get enthusiastic about a glance. It’s also international, so it’s very exciting.”

In 2010, Atwood designed a capsule collection with HSN pegged to “Snow White and The Huntsman” and next yr, she’ll have one with Goal linked to the upcoming Rob Marshall-directed live motion version of “The Little Mermaid.”

But thus far nobody has approached her about doing anything around “Wednesday,” which hasn’t yet been renewed for a second season.

“A capsule collection around ‘Wednesday’ might be a gold mine,” Atwood said. “Have a look at all the various characters, you might have Weems for grown-up women, and Wednesday and Enid and all the opposite girls,” she said, adding that she’d be game to design it and to proceed with the show for one more season. “I got a few very nice letters from people and one among them said thanks a lot for doing ‘Wednesday’ because my 13-year-old daughter now is absolutely sorry she cut her school uniform as much as her crotch,” Atwood said of her more modest tackle teenage style.

The second season of “The White Lotus” was a rating for Dolce & Gabbana, beloved by the character Tanya McQuoid, and in a genius cross-promotion, worn by actress Jennifer Coolidge on the show’s premiere, together garnering $800,000 in media impact value, in response to Launchmetrics. Tanya’s pink Valentino bag, featured in multiple scenes within the show, garnered the brand $335,000 in media impact value.

It’s not only big brands which have benefited from streaming series, nevertheless. Season Two of “The White Lotus” also put knitwear by indie London label House of Sunny within the highlight as a part of Portia’s chaotic, Gen-Z wardrobe, which has been hotly debated on social media — and amongst fashion editors.

“No outfits have sparked this much contentious discussion amongst Vogue’s fashion news team this yr,” Sarah Spellings wrote in a post titled, “Are Portia’s Outfits on ‘The White Lotus’ Good or Bad?”

The misfires are the purpose, costume designer Alex Bovaird told The Recent York Times, explaining that for Portia (played by Haley Lu Richardson), she looked to social media influencers for inspiration.

A part of the resonance of many streaming shows is that they hold a mirror as much as the social media landscape of fashion creativity.

“People will send me street-style shots, or…in the event that they see scantily clad teens, they’ll tell me it’s my fault,” said “Euphoria” costume designer Heidi Bivens. “But, truthfully, that stuff was already happening. I just tapped into it. After which I had a platform to place it on television, where often plenty of the time, especially on networks, there was more of a industrial look.”

Mesh tops, strappy dresses and lace-up-the-leg sandals are only a number of fashion trends spawned by the HBO hit series, which generated its own #EuphoriaHigh TikTok challenge when Season Two premiered last January.

“There’s this great opportunity for studios and producers to begin to see costume designers as larger creative partners and never just individuals who put cool clothes on people,” said Bivens.

Costume design has helped elevate streaming talent, too.

A part of the real-world fashion success of “Euphoria” stars Hunter Schafer, Angus Cloud and Sydney Sweeney landing campaigns for Prada, Polo by Ralph Lauren fragrance, Miu Miu and more is due to Bivens’ character-building ability using her own designs, vintage and current pieces from brands like House of CB, Akna, Prada and Coperni.

Bivens’ looks reverberated on the runways, too, with Paris-based brand Coperni drawing direct inspiration from the show for its high school-themed fall 2022 collection, all the way down to the coed lockers as a part of the production.

“They represent a recent guard — and to think that an American show could have that sort of larger world impact is exciting. The language of fashion can travel,” said Bivens, a former staffer at WWD.

Season Three of “Emily in Paris,” which premieres Wednesday, can be poised to be a fashion hit, constructing on the influence of the primary two seasons with much more daring colours and patterns, berets, bare midriffs and power shoulders.  

Looks by Valentino, Balmain, Louis Vuitton, Christian Lacroix, Kevin Germanier, Skorpios, Essential Antwerp and more are among the many 40,000 clothing and accessory pieces costume designer Marylin Fitoussi sourced for the HBO Max show.

“[Brands] must be treating [costume designers] like influencers. What they haven’t understood is that while they usually are not necessarily constructing all the things from scratch, they’re curating and bringing designs to the small and large screen that makes them stylists extraordinaire,” said Stacy Jones, founder of popular culture brand partnership agency Hollywood Branded.

Launchmetrics’ chief executive officer Michael Jais goes one step further: “The longer term is brands creating their very own TV shows.”