Issue link: https://digital.copcomm.com/i/1541330
30 WINTER 2026 mess, like a lile kid running around and his mom's dress. So, it's really just like draping the fabric on there and figuring out, is this bagged? Do you want to see a hem? Do you want a rough hem? Do you want it to be hemmed like Superman's? Is it the same fabric as Superman's? It's really the exact same stuff involved with a human. The neutral position for the cape in the movie—like when the dog is running around like a crazy lile canine, and when it's standing still for a brief second—the at-rest position for the cape, it's totally the at-rest position that was on my table. Just for Krypto's cape, I think I did seven of the cape. I did five different ones in the fabric. It's kind of amazing how much input you think that they would have on the cape. You make your first cape, and then they're like, "Oh, we want to see more of his tail." And so, you reveal the tail, but then, "oh, we want to see the leg… We don't want to see too much leg." So, you're kind of making an arch. It's weird, the paern for the cape doesn't really look like a cape because of the severe curve to go around the neck of the dog. And then it's, well, we don't want it to close that far in the front. Let's make it look like it's just effortlessly coming out of the collar, which is, of course, harder to do than it sounds. And then you have a very narrow top, and then your sides are slanted just enough that you can see the legs, but that there's still a lile drape of the body. And then you have to have this curve so you see the adorable tail. I think Dominick made, like, at least five versions of that dog collar tag and right before we were sending it to be molded, they changed the "S." I think they changed that "S" a week before we started filming. JUSTICE GANG GS: I echoed sculptural elements on the jacket shoulders because you always kind of want to have a visual element that echoes something else in the outfit. Although I'm making a belt and I'm not siing at the same table with Rob [Rier] and the people working for him, I don't want to do something that's completely out of sync with what he's doing, right? You can't see it, but what I did on the side of the belts, it's black leather covering lile foam sculptures that are the scale of and mimic what's happening on the shoulder, so that, if the jacket were taken off, the belt looks as if it makes sense with the entire outfit, and coming up with, how many ridges do you have? What is the height? What's the width? Do we want them to be the same width all the way around? Or do we want them to narrow as they get around to the side? What we frequently have to do for flight suits and superhero suits is to pass the belt through, like a leather structure that's quite wide, that kind of feels like a back brace, like something that you would use to support yourself. If you're liing a lot of weight, it looks buff, but it is buff, and we have to make it slim. You don't want to add width to an actor's waist. So, there's a lot of work in what shape looks good on this person, and then what also makes sense with the other characters. Green Lantern's and Mr. Terrific's were somewhat similar. Hawk Girl's, obviously, was completely different. Dominick De Rasmo almost exclusively built the Hawk Girl belt by himself. JT: We had to find the right green, red, and yellow for those guys, morel and mustard yellow for Hawk girl. We had to do all those samples in different grades of leather, different weights of leather, different textures and coupling finish or flat finishes. We found those, we built those. Then we had to go back in and paint them. And she used a lot of this one white fabric that was a real headache, because it's a leather with the 3D ink over it, but it's not as flexible as you want it to be, and they had used it before on Suicide Squad, and it was the same kind of problem. So we had to go back in and test them out and paint them up and clean them. It's just a lot of maintenance, which is job security, because they pay by the hour. So things would come back from set, like, "oh, he sat down on this," or "this happened at lunch," or "the bomb effect went off, and now there's all this smoke in this." You have to go back and pull the smoke out without taking the paint off. And if you take the paint off, you have to repaint it so there was a lot of work. They look like simple costumes, but they were a lot of work. And because it's leather, if you sew it too close together and too tight of a stitch, you're basically perforating it. So, any kind of stress, it just rips right open. You have to be careful. TEAM SHORTS Are you team shorts or no shorts? LS: I want to say I'm team shorts. Yeah, yes, because I saw them without shorts. If you were in those fiings and you