Issue link: https://digital.copcomm.com/i/1538245
MOTIONPICTUREC O S T U M E R S .O R G 19 pieces of paerned kapa from the period on screens, so we could screenprint in-house. Just as the art department has its own graphic designer, it was necessary for us to have our own to bring these ancient methods into our modern way of working. Our kapa yardage was first dyed, textured, screened, and sometimes hand-stamped before it was sent back to the workroom to be made into a garment. Once constructed into a garment, it went back to Ivory's team for aging and breakdown. To say every garment on our show went through every hand within the department is not an understatement. Textile Artists Jesse Thaxton and John Ringhoff continued work in LA, while Ivory and Steven Porch went to Hawai'i and were joined by P.J. Kelly (Local 484). Initially, their work in Hawai'i was based at a warehouse, but they all joined us for the weeks out on the Kalapana lava fields. I met Stevie (Porch) when I was a PA on my second film; it was mighty cool, when times get rough, to be able to look up during an intense Hawaiian rainstorm, aging warriors under a pop-up tent, and see him having an absolute blast, 23 years later. During pre-production, Speciality Costumer Keyperson Deb Ambrosino and Kerry Deco developed the construction techniques for the diverse array of feathered mahioles (headdresses) designed for our chiefs and ali'i (hereditary Native Hawaiian Clockwise from far left: Hand- textured malo loincloths; woven mahiole headdresses; ʻahuʻula aliʻi (king cape) made of thousands of yards of hand-dyed feathers; dog tooth leglets.