Coraline has 9 outfit changes throughout the film Coraline (including a pink skirt made with stretchy, hand-dyed lycra fabric and multi-color embroidery)—more than any other character in any LAIKA film to date.

This beetle print—a test swatch made from bamboo glued onto kimono fabric in strips—is inspired by the Japanese rhinoceros beetle, or kabutomushi (kabuto means “helmet” and mushi means “bug”).

Mr. Link’s plaid suit is a nod to Northwest clothing conventions of the day, as well as weaving history, specifically the textile manufacturing companies White Stag and Pendleton, which were established in Oregon during this time period.

Finding the pattern for Sir Lionel's houndstooth suit involved collaborating with an expert weaver to meticulously establish the size, shape, and color tones of the interlocking shapes, ultimately reflecting his modern, fashion-forward sensibilities with rich blues and yellows.

Eggs’ sweater was made using a couching technique, where different weights of threads dyed various shades of green were sewn onto a stretchy mesh backing, giving it a dimensional, worn-in look.

Winnie’s dress ruffles required 37 yards of bias-cut chiffon ribbon.

The costume department test-dyed a number of fabric swatches (like these intended for Judge Hopkins) to get exactly the right color combinations for the Puritan-era zombie costumes in ParaNorman.

Coraline has 9 outfit changes throughout the film Coraline (including a pink skirt made with stretchy, hand-dyed lycra fabric and multi-color embroidery)—more than any other character in any LAIKA film to date.

This beetle print—a test swatch made from bamboo glued onto kimono fabric in strips—is inspired by the Japanese rhinoceros beetle, or kabutomushi (kabuto means “helmet” and mushi means “bug”).

Mr. Link’s plaid suit is a nod to Northwest clothing conventions of the day, as well as weaving history, specifically the textile manufacturing companies White Stag and Pendleton, which were established in Oregon during this time period.

Finding the pattern for Sir Lionel's houndstooth suit involved collaborating with an expert weaver to meticulously establish the size, shape, and color tones of the interlocking shapes, ultimately reflecting his modern, fashion-forward sensibilities with rich blues and yellows.

Eggs’ sweater was made using a couching technique, where different weights of threads dyed various shades of green were sewn onto a stretchy mesh backing, giving it a dimensional, worn-in look.

Winnie’s dress ruffles required 37 yards of bias-cut chiffon ribbon.