Issue link: https://digital.copcomm.com/i/1531371
MOTIONPICTUREC O S T U M E R S .O R G 51 PHOTO: CHUCK ZLOTNICK. © 2024 MARVEL. Woolens, B. Black & Sons, Ragfinders, United Leather, Mood Fabrics, Avetco, along with every little store in the fabric district downtown. My favorite online resources are B&J Fabrics, Carr Textile, and Fabrics & Fabrics. I could list vendors for days, these are just the usual first places I like to check. It also all depends on the quantity we need, the budget, when we need it, and how quickly it can get to us that'll shuffle the priority of where to look first. What was your collaboration with the design and workroom teams like? ESPINOZA: Working with this team was a singularly rewarding experience. I can't begin to say enough nice things about Daniel Selon. He really set the tone for the entire department from the jump, everyone always treated each other with so much respect, kindness, and very clear communication. Maddie Carroll, one of the Assistant Costume Designers, routinely only saw solutions where others saw problems. Christine Casaus, the other Assistant Designer, has such a great eye and always a great attitude. It was also a huge privilege to work with Marilyn Madsen on her last project before she retired. She's a legend and an icon, and without her input and contributions, all modern superhero media would look vastly different. Honestly I could rave about every single person I worked with on this show for several sunlit days. They were all wonderful and made me excited to come to work every day. Who was your favorite character or costume to source for and why? ESPINOZA: Hands down, Lilia. Not only because I knew it would eventually be worn by the Patti LuPone, either. She had a great story, very colorful and rich design, and happened to be over 450 years old, so there was no limit to the kind of fabrics I could pull for her. The Salem Seven were also a blast. It's a unique challenge when the entire look is all black and you have to focus on textures more than color! To source material nationally/ internationally for this project, what does that entail? ESPINOZA: We did order a few things from overseas—it really depends! From what I remember, various things were ordered from the UK, Italy, China, and Japan. The real problem was allotment of enough time for shipping, since so much can go awry, especially internationally. Communication with the design team and workroom prior to ordering so that everyone is onboard with the shipping timeline which is also vital, so that no one is caught off guard if anything potentially gets delayed. Accepting that once it's in FedEx's or DHL's hands, things are completely out of your control will save you a lot of headaches and heartburn. Were there materials made from scratch on this production? ESPINOZA: The specialty team, Ainsley Buhl and Thomas Hauth, made a ton of custom jewelry and accessories! Sourcing materials for them to tinker with and then seeing what they could do with them was so cool! What did you learn about yourself as a Costumer or as a new skill from this experience? ESPINOZA: I had a heck of a time learning to cope with imposter syndrome. I often felt like three kids in a trench coat pretending to know what I was doing, but after a while, I realized I wasn't pretending at all—I was actually pretty good at a job that I loved, and I was just always mean to myself for no reason. It's a lesson I'm always learning, especially recently in light of the work slowdown. This was my last full-time job and it ended for me almost two years ago now. Having to constantly remind myself that the lack of work isn't a direct reflection of my own talents or a personal failure is something I've had to keep a real close eye on. I can't picture myself ever enjoying a different career quite as much. I have hope that I'll get to do it again soon. "I love rummaging and digging through dusty warehouses and old crates and boxes for treasure. I love thinking outside the box." —WENDY SONALI ESPINOZA