Bet­ter by De­sign

Louise de­signer suit Cos­tume Spidey’s new on Frog­ley

SFX - - Spider-Man Homecoming -

How does it feel to be handed one of the most iconic cos­tumes on the planet?

Be­cause Mar­vel have the long his­tory of the comics they have very spe­cific plans for how they want things to be. They come up with the con­cept and then they have you ex­e­cute it. It’s some­times very straight­for­ward and some­times it’s like do­ing a stair­case by Escher – it’s a thing that you can il­lus­trate but it’s im­pos­si­ble to make!

What was the hard­est part of cre­at­ing the cos­tume?

End­less ex­per­i­ment­ing to get the tex­ture right. We were print­ing on a dyed tex­tile. The dots we were print­ing looked a bit like a ping pong bat. If you got the dots too high, too raised, they would col­lapse. If they were too close to­gether or too far apart they would strobe. The dots drove me nuts for weeks and weeks! It’s all the tiny de­tails. The only way to get it to look sim­ple and per­fect is for the work to be im­pec­ca­ble. It drives peo­ple crazy – these poor women would be in the work room cry­ing, or throw­ing scis­sors!

Spidey’s got the un­der­arm web­bing he had in the first comics…

Sony al­lowed Mar­vel to take a Mar­vel ap­proach to it, which was more clas­sic. The web­bing was ac­tu­ally very tricky. The con­cept artist came over and spent a day with us, plac­ing the web­bing. It be­came a group ef­fort to get ev­ery­thing ex­actly right.

Tell us a se­cret about the cos­tume…

The black lines we didn’t do in black, be­cause the red made the black look green. It looked Christ­massy! So I did them in very, very dark grey. And there’s a lit­tle tiny shadow on them, if you look closely.

What is it about Steve Ditko’s de­sign that res­onates to this day?

I ab­so­lutely love Steve Ditko be­cause his art was so sim­ple, so in­cred­i­bly graphic. It eched it­self into the col­lec­tive con­scious­ness. It’s al­most like he in­vented a trade­mark by ac­ci­dent.

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