Issue link: https://digital.copcomm.com/i/1545089
these looks with the understanding that they'd be in maybe an episode, but they're going to be seen across many episodes. I feel like those are really the ones where Dayna was always asking us, 'where's the Vegas? It has to have some element of Vegas.' And prior to going into that fiing, there were two things that I was really, really looking at, one of which was I generated this whole list of archetypes you might find in Vegas: It's hucksters; lounge singers; showgirls; drunks; drug addicts; and people there on vacation with their family. I just had this list of everybody I could possibly think of that might show up in Vegas. I had it on a note, a manila tag, and I had a pin to my clothes at all times so that I could reference it. When somebody would come in, I could look at them and be like, 'Okay, if you went to Vegas, who would you be?' And then you would mash it together with anything else. You can't just be a card dealer. You have to be like a card dealer who could't find a card dealer's vest, and so they found something that was equivalent to a card dealer's vest in a women's apron or whatever. How do we get at the shapes without the pieces? And the other thing that I was really thinking about when I was doing those fiings was, there's this costuming book called Costume and Conflict, which is a photo book, looking at the way that the Herero tribe of Namibia has interpreted military uniforms when military uniforms are not available. I was using that as an inspiration. If you do not have the ability to standardize a uniform, how else can you approximate a uniform if you do not have the ability to get every single person who works in your casino a matching pair of boots. How do you get a similar boot for everybody, right? And, like, how do you kind of piece together things when you are in conflict or you are post conflict. Kendall: There was the apocalyptic New Vegas that was at Melody Ranch, and then we had the contemporary one in a location in North Hollywood. It actually got a lot of media aention because it was very visible. You could see it driving on the freeway, off the street. They were distinctly different. The interiors of New Vegas were somewhere else. Those costumes were my favorite. Beryl, Patrick, Felicia, Christopher, Dayna, Annie—they did such an amazing job. Every single costume, every single background, is an absolute work of art. There's so much character. And they were my favorite to be with on set because I noticed a different detail every time. We all kind of had different names for them. In the fiing room process, they had acquired some stock but then some of it was custom, and they all got aged. It was all hands on deck for those scenes, because they were real vintage costumes. With all this aging, sometimes we'd have to keep an eye on any given hole, and that was actually a comment. It was sort of an inside joke. We'd ask, 'Is that supposed to be there? Is that a new hole?' Castro: I expected some of the stuff from the game, but the Freesiders, the background, I saw when they were doing fiings but to walk on set and, obviously production design, the whole set of Freesiders and seeing the background fill the space. That was amazing to see how creative we are, even when we take a catcher's mask and make that part of a hat for a Freesider. People would think it's junk, it's not junk. You can create something with it. I think that that's what I'm proud of how it came together. Especially, you see it more so at the last episode of Season 2. It's a lot of work, and it took a lot of people; there's not a single person who gets in front of camera without having a fiing. The people who we had helping us out, the Costumers that we had helping us out are amazing Tailors doing the alterations or making stuff, and the Agers/Dyers, it looks great. Fallout is available to stream exclusively on Amazon Prime Video. Sarsaparilla Kids Brachman: I feel like fitting children is always something that you have to be very cautious about. When I'm fitting children, I like to try and make the parents as involved as possible, just because they can really help you, and because we're always on a time crunch. When I'm fitting anybody, I try to do a lot of communicating with the person that I'm fitting, adults or children. As much as possible, I try to involve the parents and say, 'Hey, Mom, can you help him with these pants? Hey, Dad, these are the shoes we're gonna try.' I try to do a double layer of communication, and I like to bring the parent in the fitting room with the child because they can help things move faster. The other thing, especially on this project that we were encountering, were children who had never worn anything like this before because modern kids wear clothes with a lot of stretch. We had kids who had never put on anything but crocs and so we had a kid say, 'Hey, Mom, this shoe is touching the top of my foot.' And the mom responds, 'Yeah, it's a boot. It's supposed to touch the top of your foot.' But they had never worn anything but a pair of crocs or a pair of really stretchy tennis shoes. It's just another layer of what might be the first time a child is ever working in film, and it might also be the first time a child is ever doing a lot of things, right? So, we were just trying to be really cautious and conscious of that. I try to style the clothing to whoever it is that the person is, whatever sort of vibe you're getting from the actor, the background actor who comes in. Especially on this project, there was room for a dress over overalls and things to combine together and trying to be conscious of, especially with kids their long days. What can they realistically manage for multiple days that's not going to drive them and their parents and the Set Costumers crazy? MOTIONPICTUREC O S T U M E R S .O R G 31