Issue link: https://digital.copcomm.com/i/1529398
28 WINTER 2025 had two weeks, three weeks at the most on a costume. I'm sometimes working on three costumes at one time and sometimes I don't know what one detail is going to be or if it's going to have top stitching. What was cool with Shawna is that she let us figure stuff out, even if we're working all the way up until the last minute to get it done. Q: What were the costume builds that came up on this show that you worked on? Luis: When I came in, Shawna said, "I really need help fleshing out Sabine." They had some concepts put together, stitching samples and things, but when I got there, I got to really flesh out what Sabine's [Mandalorian] look was going to be and what she was going to wear when she was off on planet Peridea when she was lost. Her cape was inspired by Clint Eastwood. I got to help with the process of dyeing samples for the fabric. I mainly did Sabine's Mando look, and I collaborated with Shawna and Rob Ritter on the orange moto look. In previous seasons, I've done a lot of the spats and boot covers. I got to do Sabine's motorcycle boots and we collaborated with her motorcycle belt. Her motorcycle pants were a later rendition, because they had different concepts and other patternmakers work on them. Many of us collaborated on Ezra's "lost" look: Georgi Ridgway, Sam Sneed, Jesse Thaxton, Devin Anders, and Marcus [Napuri]—we all worked on Ezra's "lost" look. We got to pick out fabrics, color swatches, leather, and I draped all of the soft goods and created the patterns. For Ezra's belt, I found this really groovy women's belt in the warehouse that crisscrossed in a really cool way and I was like, "this would be really cool in leather" and Shawna would bring me a whole stack of leather and say, "how about this?!" I'd made his belt from that stack and Georgi, the Stitcher came in with all these different braids and different woven trims and so we added that to the collar and the hem of Ezra's "lost" look. Shawna didn't like it from the outside, so we reversed it and flipped it inside out. She's like "I wanted to make it look like it's inside out." MARCUS: The first big project Shawna gave me was Sabine Wren. We had an issue with the 3D print that had come, the helmet. It wasn't at all what she wanted and the sizing was wrong and the proportions were wrong. I said, "Hey Shawna, give me a shot, I can make it" and she gave me that chance and I told her how I wanted to do it. I wanted to sculpt it in clay. I've done tons of helmets this way already for cosplay and she had seen those and she loved them all, so she said, "go for it." My process is to first sculpt in clay. I used sculpting for pretty much all the big projects I had for Ahsoka. Sabine was a big one because I did her helmet, her armor, chest armor, gauntlets, shin guards, hand guards, and her foot guards. I also sculpted Ahsoka's guards that she has on her arms, her forearms. It's painted by Tony Acosta. Tony painted a lot of it. The thing that Shawna really liked was the way I created things because it was how they were created in the original Star Wars movies. They were sculpted, then molded and cast, and all made by hand. She really liked that and wanted to bring that feel back because a lot of what we were doing was heading toward 3D modeling Ezra Bridger and Sabine Wren