Issue link: https://digital.copcomm.com/i/1545089
Brachman: Rita [Lee Burton] was the main Shopper going and doing a lot of things, like trying to find vintage stuff, anything that felt like it had a Vegas-y element to it, because we knew that it had to be really made super ray. We were really trying to use as much purchases as possible, and at least for that sequence, not as many rentals. In addition to the stuff that we had from Season 1, because we knew we could use that basically as base pieces that were totally fine to then just destroy and put accessories and weird bits and all sorts of stuff on top of it. And we did talk to quite a few of the costume houses and got permission from them to basically purchase and distress a lot of their raiest showgirl pieces. So, a lot of those did come from costume houses, and we got express permission to turn them into like, character pieces. Especially because Fallout is this weird genre mashup. It's a historical project, it's like set in the '50s, and it's a sci-fi project, and it's basically like a Western project, right? So, it's like three genres that have all been kind of merged into one. And so we, and because it does a lot of time jumps, were kind of hopping around from clean '50s to ray '50s to weird, futuristic, pseudo military, to modules where we would move out the dirty, move in the clean. Move out the clean again, move back in the dirty. It was a lot of rotating modules of clothes that we put together in different ways. What was enjoyable about working as a Fitter on this show? Glendening: It was an incredible experience working under Dayna's guidance to make sure even the most video game-like characters portrayed a sense of authenticity for the retro- futuristic period. She was dedicated to pull out the most artistic form of our art from us and encouraged us to take calculated risks. Every post-apocalyptic piece of armor, trinket, or remnant, needed to have intention and serve a purpose to help create the world and tell the story. It was truly an honor to have Dayna's trust to bring so many characters to life for this show. The lore from the late '90s is nearly 30 years old, so Fallout itself is its own kind of period. Although it's fiction, like any other period show, there are parameters to follow when shopping and fiing to stay true to the time and the source material. On top of that, there are factual 1950's parameters to follow, and Dayna Pink's dedication to authenticity and passion for the era meant we were simultaneously working on a post- apocalyptic science fiction dystopia show, and a glamorous period drama. Brachman: This show is full of lile details. We really were trying to be very detail-oriented in all our characters. As a person who has played the games, both me and Patrick tried to sneak in lile Easter eggs that we thought game people might pick up on. Keeping an eye out for like, the lile details that are like, 'we get you, wink.' Workroom Fallout had a large workroom team, composed of several Pattern Makers, Stitchers, Tailors, Agers, Dyers, and Specialty Costumers, along with signatory workrooms that were hired to do additional work not done by the Fallout workrooms. Tÿra Youland and Sharon McGunigle both lend hands onto this huge undertaking among many talented Custom Made Costumers. What was your role on the production? Tÿra Youland: I was the Head Dyer and I had to work directly with a lot of different departments—with Ivory [Stanton] and Rob [Sinclair] in the aging department. I was doing some aging through dye work with them, or I would need to make something a certain base color so that they could paint over it in a way that the final piece really popped. The color coordination with those guys was important. Jackie Martinez and Emma Lawrence, our Shoppers, were geing me supplies that I would need, materials that I was going to be working with, so it was really important for me to convey to them what I could do with certain materials. They would send me pictures 28 SUMMER 2026 (Above): Lucy hero finale dress; (opposite) Cooper Howard/The Ghoul (Walton Goggins) and Barb Howard (Frances Turner) in the pre-Fallout time period. PHOTOS: LORENZO SISTI/PRIME