Issue link: https://digital.copcomm.com/i/1538245
28 FALL 2025 resulting in stiff, unevenly colored capes, or we would take the time to double the feathers for a soer, more fluid drape, with a richer concentration of color. We chose the laer, sending the feathers out to various union shops to meet the required volume. For a 'ahu'ula ali'i, we needed between 100 and 150 yards of feathers, which, when doubled, amounted to 200-300 yards. For the prince and king's capes, we required as much as 1,200 yards. The Specialty Costumers constructing the mahioles (feathered helmets) underwent a similar process, sometimes tripling the feathers to achieve a fuller effect. Making the capes was somewhat straightforward once we figured out the feathers and the shapes that we wanted. I created paerns for the cape bases, and we cut and stitched them en masse. Principals got special paerns based on size and rank. The more important or high-ranking the character, the larger the cape, and by extension, the more feathers they got. ACD Marina Reti would dra each capes unique motifs on flat plate sketches, I would transfer those designs to the bases, meticulously marking stitch lines and other directions for the Stitchers to sew. The capes then needed to be trimmed to sharpen those motif shapes. The Native Hawaiians would have used sharpened rocks and shells, but of course, we used scissors. Over the course of the project, we operated across four distinct workrooms: initial prep in Los Angeles, prep and filming in Hawai'i, prep and filming in New Zealand, and the final additional photography, also in New Zealand. Our crew size varied significantly by location—New Zealand had the largest team, nearly three times the size of our Los Angeles crew and about four times that of our Hawaiian team. Fortunately, many crew members traveled from Los Angeles to Hawai'i, which helped maintain consistency across locations. Our time in Los Angeles was largely exploratory. At that stage, the only confirmed casting was Jason Momoa; so much of our work was theoretical. We knew we'd need garments for background warriors, fishermen, and villagers, but without finalized casting, we couldn't produce principal costumes. Instead, the LA team focused on creating prototypes and refining techniques, particularly for the capes and mahiole (feathered helmets). We produced numerous 'ahu 'ula (capes) and malos (loincloths) for background performers, but the hero garments—those worn by the main cast—had to wait until we arrived in Hawai'i and had confirmed actors and measurements. Working in Hawai'i was a