The model and her husband, Dylan Sprouse, held the Sprouse House Halloween Party in North Hollywood on October 31. Barbara Palvin evoked Oogie Boogie from The Nightmare Before Christmas, while Sprouse chose another of the film’s familiar characters, Jack Skellington. Their looks worked as a pair: they came from the same story but spoke in different visual languages.
The event took place at the Fab Factory in collaboration with Raising Cane’s. Palvin had already discussed the preparations with People in mid October. She said they had begun planning the party months beforehand. The interview, published on October 19, records the background to the event; later photographs and fashion reports reveal the costumes.
Two characters, two silhouettes
According to ELLE, bright green defined Palvin’s look. The painted face and upper body, a burlap effect headpiece, the zigzag lines of the dress and green boots reinforced one another. The costume did more than borrow a film character’s name: colour and shape together made the reference recognisable.
Sprouse’s black pinstripe suit and oversized bow tie followed a different structure. The contrast between the outfits offers a useful lesson for paired costumes: a sense of belonging together does not require matching pieces. Here, the shared story connected the playful green look with the tailored black and white suit.
One shared story can connect two very different silhouettes.
The descriptions of the details are based on press reports. Available sources do not establish the exact fabrics or the costume makers, so the burlap effect should not be presented as confirmed burlap. That distinction matters even in costume: a visual effect often comes from the way a texture evokes something else.
From runway to event
Palvin also walked in the Victoria’s Secret show in Los Angeles on October 18. An earlier article covered that runway appearance. In a backstage People interview, she was already discussing plans for a family event and her role in organising it. The two appearances placed different demands on the model: one belonged to a fashion house’s show, the other to a character costume at an occasion she organised.
For Hungarian readers, the story is also interesting because Palvin appeared as the host of her own event alongside her international modelling work. The public party and its photographs show how fashion imagery, costume and entertainment can meet on a single evening.
The idea can be useful when planning a costume at home: first choose a recognisable character trait, then align the colour, shoes and headwear with it. There is no need to copy an entire film wardrobe; one consistently developed detail can speak more clearly.
A practical advantage is that accessories and the main colour can preserve the character even separately. A well chosen headpiece or pair of boots may remain recognisable when the rest of the outfit is simpler.
