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| The clothes that defined a universe. The superb STAR WARS COSTUMES: THE ORIGINAL TRILOGY. Images: TITAN BOOKS/LUCASFILM. |
STAR
WARS COSTUMES: THE ORIGINAL TRILOGY
Written
by Brandon Alinger
Forewords
by John Mollo, Nilo Rodis-Jamero and Aggie Rodgers
Published
in the UK by TITAN BOOKS
Reviewed by Scott
Weller
Back in 2005,
Prequel Costume Designer Trisha Biggar compiled one of the most lavish coffee table books yet on the huge range of incredible costumes created for the STAR WARS saga: Dressing a Galaxy,
yet its section devoted to the Original Trilogy was by no means as detailed and
complete as it could have been-with plenty of potential possibilities for a
separate, future title of its own. Such a project has been a long time coming,
but now die-hard prop collector/film-buff Brandon Alinger, surely the envy of STAR
WARS fans and rivals everywhere, has put together (with support and encouragement
from LUCASFILM’s J.W. Rinzer) the ultimate book charting the many varied,
beautiful, functional and stylish costumes present within A NEW HOPE to RETURN
OF THE JEDI, as STAR WARS COSTUMES: THE ORIGINAL TRILOGY, published by
franchise stalwarts TITAN BOOKS, arrives just in time to fill some very big
Christmas stockings this holiday season.
▶ Star Wars Costumes: The Original Trilogy - Book Trailer - YouTube
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| A 1976 Mark Hamill poses for an image now specially adapted for the new book. |
Truly the most
meticulously researched look at the largest archive of costumes taken out of
storage since their original filming, their presentation in this 200 page plus
tome comes via stunning, newly shot photography showcasing them at their
very best quality possible outside of physically looking at them at
exhibitions, additionally providing us with a unique and rare window into the
world of costume creation and production for a series of films that set the
standard for so much that would follow in its wake in the sci-fi and fantasy
genres. And for inspired and inspiring Cosplayers it’s surely a dream come true
to finally be able to create/reproduce work to similar standards!
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| A specially shot image of the surviving Chewbacca costume, presumably from RETURN OF THE JEDI. |
STAR WARS COSTUMES
also gives us the lowdown on, and celebrates, the work of the many people and
companies involved behind the scenes, and reveals more about the little details
that would make the big picture seem that little bit bigger- items created and captured
on celluloid that we may have missed previously, despite umpteen viewings, now ripe
for exploration, alongside some known and not so well known anecdotes on how
and why certain things were made (like how Lando’s JEDI guard helmet was amusingly
inspired from a pair of baseball gloves!). There are a few unavoidable blanks
in the origins here and there that, which, with the long passing of time, will likely never
be truly solved, but this book is nonetheless full to the brim with behind the scenes info to be relished.
So, one film at a
time, here’s AFICIONADO’s guide to the books highlights…
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| John Mollo's original 1976 design for the Jawas of Tatooine... |
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| ... and as photographed for the STAR WARS COSTUMES book. |
STAR WARS EPISODE
IV: A NEW HOPE (1977) aka STAR WARS
Not wanting to get
caught in the trap that so many sci-fi films, then and now, fall into when it comes to
futuristic wardrobes: over the top designs that soon look dated or feel more in
the style of the era they were originally made, STAR WARS creator George
Lucas wanted a wardrobe for his new space fantasy adventure that didn’t stand
out yet had to be futuristic, whilst also
feeling recognisable and accepting to the audience. No mean feat, requiring
someone with extraordinary insight into the world of costuming and practical
realization.
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| Early Ralph McQuarrie costume concepts for Han Solo and Chewbacca from 1975. |
Used to a more
earthbound military history in film-making, John Mollo’s attention to detail
and believability made him the perfect choice in bringing life to the Rebels and Imperials waging intergalactic civil war in the original first film, of which he’d later win a well deserved
OSCAR- the only time a sci-fi film has won such a distinction for Costume
Design from the Academy of Motion Picture
Arts and Sciences. And for STAR WARS COSTUMES, he gives his most detailed
behind the scenes contributions yet regarding their genesis and
making: from oft-experimenting with fabrics- sometimes a case of using only what
was available to them on a tiny budget, the vital importance of conceptual designer
Ralph McQuarrie at the films early stage of pre-production, the many conversations
and experimentation ideas Mollo conceived with George Lucas (including some
never before seen art pieces), and numerous trips to the prestigious London Bermans and Nathans costume
makers/hirer's to create concept- working pieces that could then be later built
and tailored for use imagineering the film’s diverse characters and creatures.
All of this gives us a unique flavour of the original film’s making- a
creatively intense experience of the kind that would later be similarly felt by Mollo’s successors
during RETURN OF THE JEDI.
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| The evolving faces and costumes for C-3PO. |
Mollo also gives
Alinger access to sections of his costume notes/production diary (including
EMPIRE), alongside dips into of their time interviews with key production
personnel (presumably Charles Lippincott’s original BTS interviews, parts of
which were also used in J.W. Rinzler’s THE MAKING OF STAR WARS, back in 2007).
Alinger, a massive STAR WARS original prop collector known for buying up many
rare treasures from the likes of Alan Tomkins and the late Stuart Freeborn, has
also surely brought his own items for inclusion, not just costumes but precious
art and reference polaroids.
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| On the Death Star hangar set, Dave Prowse is costumed as Darth Vader by Wardrobe Supervisor Ron Beck. |
Further on,
there’s important sections on how the various departments would often interact
and join forces, especially on the droid and creature costumes, and key boxes
on other top contributors: sculptor Brian Muir and his creation of the mask for
the distinctive, bulky first Vader costume (with additional sections for the
cosmetic changes later made to the Dark Lord by other talents for EMPIRE and
JEDI), the late Liz Moore’s remarkable work in creating the numerous face and plating’s
of C-3PO (with a selection of evolving "faces" specially assembled), and Stuart Freeborn’s innovative work in creating the mask for
Chewbacca the Wookiee, an evolution on his previous engineering of the ape
creatures for Stanley Kubrick’s 2001: A SPACE ODYSSEY. Plus a wide variety of pattern changing Rebel pilots helmets and the challenges of the early Stormtroopers (still the
best of the three films, in my opinion) that were tough to make yet ultimately proved flimsy
and breakable over the duration of their filming time.
It’s a shame that
so few of the original costumes for the first film survive to hold court at
LUCASFILM- some have disintegrated beyond use, whilst others would disappear
years ago, before the company began a proper archiving/inventory of its materials (from
1980 onwards). Other costumes built specially for the film by Bermans and Nathans, then returned back to them afterwards in a prior arrangement, have since been lost or acquired by rival collectors. With LUCASFILM wanting to keep the book strictly within their own official remit, I'm assuming Alinger was probably unable to contact some of these very well known "outside" fans and ask for their additional help/contributions. Fortunately, there’s enough good use of
rare imagery, conceptual art and other items to supplement what is available, and
fill in most of the missing history pieces.
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| Ralph McQuarrie's early design for the "Superstormtrooper". |
EPISODE V: THE
EMPIRE STRIKES BACK
With STAR WARS a
bona fide world hit, a sequel was swiftly inevitable. At first, the producers
thought they could re-use existing costumes and save money, but, thankfully for
everyone, THE EMPIRE STRIKES BACK became bigger, bolder and more expansive in
its costume requirements and variety than anything seen previously, solidifying the
fact that this was not going to be a quick and dirty cash-in to the impressive
adventure that came before. More challenges would come for the returned John
Mollo, but this was ultimately to be his final work for the series, an overall
experience that didn’t prove to be quite as an enjoyable now that George Lucas
was no longer director and instead an Executive Producer. The pressure of
delivering a first sequel that could live up to audience’s expectations was
firmly grasping everyone’s mindset, especially the intelligent, thoughtful and
more slow in deliberation new director in Irvin Kershner. Mollo’s relationship
with Kershner ultimately proved less efficient and slower-moving than it had
been with Lucas, as, alongside producer Gary Kurtz, every costume detail/iteration
was pondered to the last possible minute. But the ultimate results more than
paid off for any stresses incurred over the long seven month shooting schedule.
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| John Mollo and Irvin Kershner inspect a Snowtrooper costume in its near final stages. |
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| The vast costume wardrobe for THE EMPIRE STRIKES BACK at Elstree Studios, 1979. |
Unlike EPISODE IV,
the photo records and majority of costumes from EPISODE V onwards would
thankfully be retained and catalogued by LUCASFILM. The new environs of the ice
planet Hoth would see some superb designs and final creations, including
Samurai-style Imperial Snowtroopers, and rough and ready Rebel opponents. Then
there’d be the key emergence of shadowy predator Boba Fett, whose detailed
origins from “Superstormtrooper” concept to eventual bounty hunter are finally,
exhaustively revealed, alongside a wealth of new studio photography,
particularly showing us the many variations of helmet used both in EMPIRE and the
second sequel– this is the book that finally presents the
exhaustive history of the character’s costume creation.
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| Anthony Daniels suits up again for C-3PO, in an easier to wear costume. |
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| On set polaroid costume test for Mark Hamill as Luke Skywalker- April 1979. |
In the film’s
final third, the cloud city of Bespin and its costumed populace would need to
convey the Art Deco sense that Lucas specifically wanted, whilst the creation
of tiny Minch Yoda sets a future precedent, its wearing of clothes following in the
tradition of Ben Kenobi, but, by the time of the Prequels making,
ultimately becoming synonymous with all of the Jedi Order.
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| John Mollo's 1978 costume concept art for Leia's Hoth wardrobe. |
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| The final realisation, as specially photographed for the book. |
Behind the scenes,
EMPIRE is also the film where “greeblies” - a term used by Lucas for STAR WARS
to describe pieces of junk used to add costume and character effect- would come
into their own!
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| John Mollo's superb costume rendering for Darth Vader from THE EMPIRE STRIKES BACK. |
EPISODE VI: RETURN
OF THE JEDI
By 1982, past the tense
filming and almost crippling schedule overrun costs of EMPIRE, Lucas would
decide to do as much of RETURN OF THE JEDI’s pre-production as possible in the
US. Enter resident ILM talent Nilo Rodis-Jamero as the film’s new costume
designer, under recommendation from new director Richard Marquand to Lucas,
alongside practical realization via the equally dedicated and enthused Aggie-Guerard
Rodgers, both of whom would, where possible, wisely keep to the original continuity
for the previous films created by Mollo in between concocting a diverse new
range of stunning pieces that would forever cement the final film into fans and
cinemagoers imaginations.
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| Howard Kazanjian, Richard Marquand and George Lucas go through Nilo Rodis-Jamero's expansive costume portfolio for RETURN OF THE JEDI in late 1981. |
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| Watched by Aggie-Guerard Rodgers, Mark Hamill and Lucas discuss Luke's darker new look in 1981. |
Speaking of their
time on JEDI with affection and detail, backed up with key interviews from wardrobe
assistants (who’d be on set daily to assist in the practical wear of the
costumes by the actors), cutters, specialist plastics manufacturers and jewelry
makers, innovation and collaboration would be the key words for their time on
the movie, which would ultimately need more costumes devised and created than
ever before- the emphasis on durability and comfort in order to face even more wear and
tear in studios and on location, especially with the film’s many new action
sequences and increased use of stunt actors.
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| Leia's Bounty Hunter disguise in Jabba's Palace. |
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| Lucas supervises the costume test for Carrie Fisher's wearing of Leia's Rebel Commando outfit. |
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| She may have hated every minute wearing it, but there's no denying that Carrie looks terrific in her Slave Girl costume! |
JEDI was a
ground-breaker in so many ways, especially generating a further strong union between
costume design and the newly formed ILM creature shop then building the
many animatronic heads and body parts to which the costumes would be applied
with, and which had to be specially constructed for easy access in wearing. This same kind of close communication would also apply to what was being built in
the UK with the love ‘em or hate ‘em Ewoks, and the way they developed in
practical form via Stuart Freeborn. Such intense lengthy periods of costume use
would go on to generate unique problems needing unique solutions, like finding ways of keeping all the alien costumes clean and hygienic- no mean feat, especially for our teddy bear heroes in the
ever-changing weather of the Californian Redwoods during April/May 1982!
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| Darth Vader- updated. |
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| Boba Fett goes green for Jedi. |
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| Costume reference polaroid for Michael Carter as Bib Fortuna- January 1982. |
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| At Elstree, the many created Ewok heads are kept in special bags to keep them clean. |
The end of an era,
until our classic heroes return with EPISODE VII, its JEDI’s costumes that standout the most within the book. Colour depth and detail on the newly
photographed clothes is especially superb. Highlights include Princess Leia’s
Boushh disguise, with its intriguing layerings, Jabba the Hutt’s major domo
alien, Bib Fortuna, select key aliens from Jabba’s Palace and the Skiff battle,
and the popular biker scouts of Endor. Going back to the Princess, there’s more
on the creation of her infamous “Slave Bikini” (including an interview with its
original co-creator/sculptor Richard Miller). It’s also nice to see the deleted sandstorm scene costumes getting an
airing, too.
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| The revised blue-shirted Han Solo costume for JEDI that Harrison Ford ultimately gave a thumbs-down to! |
Rounding off the
book, more rare goodies include a set of ultimately unused, adapted TESB Hoth
Rebel trooper costumes for Endor scene filming, an intriguing test photo of an early,
more primitive looking Ewok from Stuart Freeborn, and some costume
ideas for Han Solo (including a specially created and fabricated new brown waistcoat) that Harrison Ford didn’t want to wear! And, last but not least, and because you surely demanded it, that charismatic caped wonder Prune Face finally gets his time in the limelight!
AFICIONADO RATING:
A prestige collection and celebration, and an essential purchase. 8.5 out of 10
Please note: Certain archive images presented in this feature are not in the book.
With thanks to TITAN BOOKS for all their assistance with the compiling of this feature.
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