Issue link: https://digital.copcomm.com/i/1545089
were quite a few times where we got to copy those pieces to make the multiples, which was really fun. You know, some beautiful pieces that were a fun challenge to duplicate. We got to make a really beautiful dress for Ella Purnell (Lucy) that made many, many multiples, so that was really fun. And a real beautiful, lile jewel piece that we got to make multiples of that. It's definitely a '50s-inspired kind of silhouee with a fied draped bodice and a wide, very full skirt, beautifully embroidered and really beautiful colors in it. That was a project that I walked into the shop the first day, the first day of working. It was already a gleam in the eye, and it had already started to be worked on, and it carried all the way through, prey much to the end. What brought you to this project? Youland: It was a giant Christmas present. It was everything that I could ask for which was really weird because I went to a speed-round interview (Local 705 CM members and CDG designers) and Dayna, the Costume Designer, was there and I'm not sure whether or not she had the show yet but I remember saying to her at that speed-round [interview] that doing sci-fi, fantasy, and period work were my favorite things and it just worked out. [Dayna and I] did not have a relationship prior to that, that speed-round thing was amazing, and I hope that there are more of them in the future because this town is a word-of-mouth town. Relationships are everything—a lot of the Supervisors are starting to retire and you're geing a lot of new designers coming in that are maybe stylists or something that haven't been in this crowd, so they don't know seasoned Agers or Dyers, so having the speed- round interviews was fantastic. Flashback Fever A large arc in Season 2's story is Lucy and The Ghoul's journey and eventual arrival to Freeside, formerly Fremont Street, north of the strip in Las Vegas. Throughout the season, we see The Ghoul's former life as Cooper Howard before the nuclear fallout and the glitz of Las Vegas in flashbacks and its current state of derelict buildings and roaming Freesiders trying to find Lady Luck in this gambling town. Glendening: I especially enjoyed fiing 1950's characters for Vegas flashback scenes and certain citizens of the wasteland. The suiting and dresses are beautifully craed, and there can be subtle storytelling elements in the different fabrics and textures. It really is a treat to work in the era. The era includes so many unique and beautiful bags, shoes, ties, and hats. Finding perfect combinations of accessories to tell a color story can be a delightful challenge. So much of fiing background is quickly recognizing the potential characters an actor can portray and balancing that goal with what pieces and color palees you have available to pull it off. When everything comes together and the actor transforms into a believable traveling salesman, or bar patron, or protestor, for a brief moment you feel like you've travelled back in time and captured something real to create your art. There's no feeling like it. And then you've got to try and do it again just as well one hundred times over. Quon: I had fun working on the casino scenes because it was all glitzy and glamorous. I like doing period things. You have a lot more pieces, more accessories, you have foundations, it's just more interesting. We don't do hats on modern day anymore. The looks were so much more put together and beautiful back in those days. Brachman: I feel like the characters, the group, that definitely pushed us all to our creative zenith was probably the wasteland Vegas folks. We were creating Dye process on base layer of Legionary costume 30 SUMMER 2026