Ferguson’s Jessica is in stark contrast to Margot, Lady Fenring. Seydoux is pictured in a velvet, jewel-toned habit-like covering. “You really see that with Lady Fenring, though her style is much more [ladylike], more luxe. They have that one silhouette that’s very nun,” she says. “Lady Fenring’s is one of my favourite costumes of the movie for its simplicity. She looks so rich, but yet she’s still a nun. I relied on old Balenciaga for my inspiration there.”

But the real diversion is Pugh’s Princess Irulan, whom West describes as the film’s voice of reason. To that end, she wanted to eschew the grand headpieces in favour of a more subtle nod to her Bene Gesserit roots. Irulan is often seen in smaller, metallic headpieces, which West likens to armour. “She’s the moral compass. [The Bene Gesserit have] been assigned to control the future and make it go on a certain path. She sees through that and she’s playing the long game,” she says. “She’s seen beyond the manipulations of Bene Gesserit, so I kept her out of that a bit.” Still, she managed to incorporate the nun look into Pugh’s costume. “I remember when I was a little girl, how the nuns’ habits framed their face. I tried to do that with her, to keep a certain aspect of the Bene Gesserits without giving her the shape, the Virgin Mary-esque mantle,” she says. “I thought I could do that best with headdresses.”