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www.postmagazine.com 18 POST JULY 2018 SUMMER MOVIES WARDROBE AND COSTUMES In addition to the Parr family and the Deavor sib- lings, Evelyn (Catherine Keener) and Winston (Bob Odenkirk), the film also features Bob's best friend Frozone, aka Lucius Best (Samuel L. Jackson), five second-rate supers, Edna "E" Mode (voiced by Brad Bird), the government man Rick Dicker (Jonathan Banks), Underminer (John Ratzenberger), an ambassador (Isabella Rossellini), Violet's classmate Tony Rydinger (Michael Bird) and a variety of back- ground characters. They all needed costumes. Character artist Deanna Marsigliese started with classic mid-century designs, using Simplicity printed sewing patterns for inspiration. "Because it isn't a specific time period, Brad was OK with us referencing current fashion even if it wasn't right for a character in the '50s," Imagire says. "It was OK to have Bob in a T-shirt. And be- cause a 1950s shape wasn't Violet's style, we went more toward cuffed jeans, sneakers and sweaters. Since no time has passed between the two films, we made Dash's T-shirts in the same red, orange, yellow color scheme as the last film. But we saved money by making one T-shirt model in different colors and patterns." Tailoring lead Fran Kalal then made those designs possible in the 3D computer graphics world. "Costumes in the digital world have challenges," she says. "They have to change shape in seconds. And, they have to be fabulous." The costumes for the superheroes in the first film were shaded as fabric on their bodies. In this film, new technology allowed the artists to stitch togeth- er new costumes that fit over the bodies. "The original suits from 14 years ago stretched a lot," says Imagire. "So Fran [Kalal] made new suits from patterns. The fabric and the textures don't stretch as much." Audiences might not notice the change in the characters, which is, of course, the intention, but 14 years has made a difference. "We used the technology available to us now to create the looks that were always intended back then," says character art director Matt Nolte. In doing so, the crew was able to help Brad Bird tell another blockbuster story. "The methodology is different, but the goal is the same," Bird says. "We still have to worry about the audience understanding the charac- ters; creating the mood; using color, music and sound; making it clear on the page to the actors so they know when they're going from A to B; communicating with collaborators. That's all the same, and hopefully each movie makes you less stupid. But, I always feel mystified by the pro- cess. The more I understand, the more magical and impossible it seems." The family's house has a mid-century modern look. Pixar employed new techniques to create the latest release. Considerable work went into creating cityscapes.