Issue link: https://digital.copcomm.com/i/1541330
MOTIONPICTUREC O S T U M E R S .O R G 25 JT: As the Head Ager/Dyer, everything passes through your hands, either before it's built, and then as it's being built, and then aer it's built, because you have to put life into the costume aer it comes off the cuing table and stitchers to put it together. You have to fit it on the actor, but you have to find the right colors beforehand. With Superman, he's an icon. He's red, blue, yellow. And there were a lot of discussions about making our Superman different from the last ones because they were very dark and very different materials; and James had certain visions about what he wanted to make this Superman be and a lot of it was reflected in the color. Also, being a Costume and Set Designer in my background, I've always done research and I have books I study. And (Top) Distressed finished suit by Ager/Dyer Jack Taggart; (bottom) iconic blue, yellow and red textured samples; (right); David Corenswet in full Superman costume. you watch films because they relate to what you're doing. If you get a Marvel project, you kind of have to watch every Marvel movie that ever happened before it and know who these people are. But also, when you're aging and dyeing, you do a lot of breakdown. There's lasers or alien goo and you have to costume those people. So, I would have to go online and look up, what does that world look like? What does the clothing look like aer it's been roing for four months or 20 years? So, you do a lot of research online and a lot of visual books. The other thing I really particularly like, and they always pay aention to, are buildings that are distressed or falling apart. Like if you go to Detroit, there's so much research there on what things look like as they age and are abandoned. And so much of © 2025 WARNER BROS. ENTERTAINMENT