As a seasoned Marvel enthusiast who has been following the saga since the early days of Iron Man, I must say that the second season of “Loki” has truly outdone itself in terms of costumes and visual effects. The Temporal Core Suit, designed by the brilliant Christine Wada, is a testament to her creativity and attention to detail.
In the continuation of “Loki’s” second season, the Temporal Loom plays a crucial role within the Time Variance Alliance, posing a threat to the integrity of the Sacred Timeline.
In “Loki” series, played by Tom Hiddleston, the trickster deity Loki endeavors to make amends for past wrongs. Mobius (Owen Wilson) and Ouroboros (Ke Huy Quan), more famously known as OB, lend a hand in his quest. As they swiftly move through various time frames, it fell upon the show’s costume designer, Christine Wada, to enhance the outfits she had previously designed for Season 1 and broaden the Marvel costume realm.
A significant piece of attire was the Temporal Core Suit. In the initial episode, Mobius dons this suit while exploring the faulty Temporal Loom. Wada aimed to make it seem old-fashioned, as if it originated from the 1940s or ’50s. The design also had to appear genuine and natural, suggesting that the TVA constructed the suit for enduring extreme conditions. However, it should not resemble a diving suit, a bomb suit, or even a NASA space suit in any way.
She discovered a wetsuit dating back to mid-century, inspected its material: “It appears the patterned ridge on the suit originated from this spot.”
An unexpected delight emerged while she covered the latex with paint: it transformed into a stunning visual result! After a few days had passed, we returned to find it had changed hues. Consequently, we discovered a substance to preserve its color, and fortunately, all went smoothly according to Wada.
Further along, she continued constructing, first focusing on a lightweight internal frame. Given the spaciousness required, she fashioned the shoulder openings using metal hoops to reinforce the detachable sleeves, allowing the performers to take them off during breaks for refreshment.
In terms of designing the faceplate, she had to take into account both the existing style of TVA and some practical aspects such as allowing visibility for the actor while wearing the helmet and ensuring they could see peripherally. She initially attempted a rectangular design, but it was reminiscent of diving or NASA helmets. Instead, Wada settled on a triangular design, which, though peculiar, seemed to align with a recurring pattern in the TVA and served a functional purpose.
The suit’s light green hue was influenced by Wada aligning it with OB’s color scheme and industrially-inspired environment. As the chief of the Repairs and Advances Department residing in the TVA’s deepest levels, he embodies a communist vibe, yet his presence contrasted beautifully with the upper echelons of the TVA. According to Wada, it had a slightly communist feel, but its striking contrast made it all the more impressive. In designing items related to the TVA, her aim was to maintain consistency rather than striving for extravagance.
But she did get a chance to flex her creative muscles for Loki.
As a movie buff reminiscing about an intriguing production, I can’t help but reflect on the third episode, where our principal characters embarked on a journey to the 1893 World’s Fair in Chicago – a challenge that tested the mettle of our dedicated director, Wada. The task was monumental, with over 300 supporting actors involved. For me, one of the most captivating aspects of this episode was witnessing how Wada skillfully utilized photography to bring her intricately designed costumes to life.
“She mentions that a significant portion of the research involved colored photographs, which resonates with her since that’s how we often visualize that period – in a black-and-white color scheme.”
Reflecting on her plan, she carefully considered the harmony of colors. Wada intentionally limited the use of vivid, striking colors, particularly for the primary attendees, to ensure our main characters Loki, Mobius, and Sylvie (Sophia Di Martino) wouldn’t stand out excessively. As she points out, this choice was evident in the beer garden scene where they harmoniously blended in.
In the title role of the show, Wada aimed to portray Loki’s feelings authentically. By the finale of the initial episode, it’s evident that Loki finds himself feeling humbled and accepting of his mission.
“Wada explains that the character’s role is significant and required a divine rather than warrior-like portrayal. To achieve this, the costume includes a hint of regal elegance, yet maintains a modest, almost monkish vibe. He emphasizes that any armor was intentionally removed to convey this humble, godly image.”
Wada preferred that his attire, specifically his cape, remained functional and unaltered by computer-generated imagery (CG). For the grand finale, when Loki mastered time manipulation and ascended to the throne, his tunic was crafted from suede with golden specks. The cape was carefully designed for both form and function, made from dyed wool with quilted front panels and embroidery. These embellishments gave the fabric some weight, allowing it to billow in the wind effectively. This way, Wada could ensure that the cape remained entirely in frame without requiring any visual effects enhancement.
When it came to Sylvie, Wada found that her outline remained fairly consistent. In 1982, Sylvie chose to establish herself in Oklahoma, opting to deviate from her predetermined path instead.
Wada elaborates that he desired a moveable coat for action scenes, which echoed the cape’s effect while also suggesting a character in disguise living among us. This gives an impression that she is creating a niche for herself and leading a relatively ordinary life.
The houndstooth coat she wears has strong roots in the ’80s, specifically rockabilly style: “It allowed her to be Sylvie while acknowledging the 1980s, and it also managed to maintain a timeless appeal across various eras,” explains Wada.
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2024-08-11 21:47