Issue link: https://digital.copcomm.com/i/1541330
this bunch of people here, and when they come to us with a costume, it's not just Kim and me talking to the designer, we go downstairs, we get them around the table. We get ideas from everybody because they all have really good ideas." Antoinee is very proud of the "back-and- forth" and open conversation that goes on within her team. She is also proud of their ability to switch gears to make something work. "You've always got to be focused on the end product. Is it going to work? Can the actor perform in it? Is it going to hold up? Is it going to look as good on the 500th time around as the first time around? There is a group effort. It's not an individual effort." When creating costumes for theme parks, so many different things must be considered. The durability and need for longevity of the costumes usually come into play. Antoinee says, "When you do live entertainment, the durability factor is huge. It's beautiful but it has to hold up." much like they're supported here." Muto- Lile's core employees have been with them for more than 20 years. Something must be working. Collaboration and clear communication with the designer are essential to Antoinee and Kimberly. Antoinee mentions, "Your drawing is not your product. Your drawing is the start of a conversation, but it's not your product. The product is that [costume] and that costume is your product. So, you goa keep your eye on the ball, which is the costume, the product, the physical thing, and not get caught up in your drawing." Designs will always evolve, and it is important to listen to your team and trust their individual expertise. This is, again, as Antoinee points out, "Where you bring that work makes a big difference. Bringing [that work] to a union shop, you can see the people that work here are absolutely at the top of their game. There's nobody beer than Other aspects to consider are weather and whether the production is indoor or outdoor. If it takes place outside, it needs to be "durable and lightweight, so it isn't so hot." Using leather in these situations can be perilous, so they have developed a way to add a coating to stonewashed denim that makes it look like leather but has more movement. It is because of these considerations that collaboration with the designer and creative thinking are a must. With the slowdown of the industry in Los Angeles, costumes for theme parks have become Muto-Lile's bread and buer. Antoinee believes the reason they are still alive in today's environment is because of their willingness to pivot and think outside the box for jobs. "The reason I think we've survived this long is the variety of stuff we do. We've never [put our focus] in one area, ever. We've done costumes for everything: a lot of music stuff, we've done live theater, we've done museums. The only thing we don't 42 WINTER 2026