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The final design for the visor for “Impulse,” a fan series based on Bart Allen, grandson of The … [+]
Suerphero costumes have come a long way. From rubber onesies to Batman armor, things have taken a swift turn since Ruth E. Carter’s Oscar-nominated Black Panther costumes helped changed the game, as have costume design for Wonder Woman to Birds of Prey.
Next to dazzle the screen is the costumes for the forthcoming Cinestudios fan series Impulse, which is slated to have a September release on YouTube, after it’s completed in Australia.
The film, directed Joshua Hoareau, follows Bart Allen, son of The Flash, who is a boy with super speed powers and the ability to time travel. Since Impulse made his debut in DC Comics in 1994, we’ve known him as a sprightly kid with zing—and zig zags.
Impulse’s costume designer Edurne Fernandez shares exclusive drawings, photos and stills from the forthcoming production, which tells the story of one untold superhero. Though the costumes have been built in Los Angeles and shipped to Melbourne for production (which has been put on hold because of the pandemic), Fernandez speaks from her L.A. studio about 3D printing masks, fabric hunting and Hollywood’s greatest lesson.
From Impulse to Perfectly Natural and FLOTUS, you have worked on a lot of sci-fi film sets, where do you start with this kind of costume design?
Edurne Fernandez: Doing sci-fi has always been fun for me. I see it as a mixture of styles and elements we know and recognize with things that are totally new and made up from the imagination. The key is to keep close communication with the director and, with the production designer, come up with a world that resembles as much of the original idea as possible. Research and mood boards are helpful because they are a great way of visualizing what we are trying to accomplish.
How different is it designing contemporary style in a film or TV series versus costumes for a sci-fi or fantasy superhero series?
People always say that designing contemporary style projects is easier, but I don’t necessarily agree with that. When something has a contemporary style, of course you relate to it because it is something that is happening right now or happened in the near past but costume design is much more than just going to the most popular clothing store and buying the new style of jeans and t-shirts. Costume design is more of a character creation and comes from figuring out deep down who this character is. It is almost as if you and the director were building the personality of the character and that is going to determine what they are going to wear. We sit down to analyze what aspects make each character different from the rest.
Still from Impulse
What kinds of things do you talk about?
We talk about personality, likes, dislikes, background, among other things that influence what the actor’s costume is going to be when he or she is portraying the character. We talk about the background and baggage of these characters, what makes them who they are, and this background is influenced by the situation or the time period they are living in. So designing for contemporary or sci-fi features requires deep understanding of who the person is, even if you are bringing back someone from World War II, using Barack Obama as a reference or making up a character for 50 years in the future – who they are and how they are living is going to determine what they wear and what they look like.
Technical sketches for “Impulse” by Edurne Fernandez
What was it like working on Impulse, and what did you want to achieve with the costumes?
I am so lucky I got connected with this amazing group of filmmakers and that they trusted me from the beginning with their vision. Even though we have been working long distance because they are based in Melbourne, we are in close communication. Since Impulse characters are based on the DC Comics, we had to keep a close eye on who they were, with and without the superhero costumes. Joshua Hoareau, the director, and creator of the production company Cinestudios wanted to stick as close to the original DC Comics costumes as possible
A still from “Impulse”
Where did you begin?
After doing a lot of research on this acclaimed comic, and following Josh’s intuition and expertise, I started digitally sketching each costume. Then, I started searching for the right materials to create these costumes. I sourced a great variety of fabrics and textures here in Los Angeles that fit the needs of each character. I also had to keep in mind while looking for the fabrics that because the actors are portraying superheroes, they are going to perform their own stunts, so I had to make sure the materials were not going to restrict their movements in any way and were as comfortable and practical as possible.
A sneak peek look at actor Brendan Spasovski dressed as “Impulse.”
How did you realize your designs?
With specific silhouettes and designs, we decided to build the costumes with the help of a tailor. I had to draw a series of technical sketches to help the seamstress get the correct details of the design. We are also using a 3D printer to mold and create all the accessories such as masks, visors and belt buckles. For the moment, we had to pause the work because of the pandemic. For now, the only costume that has been completed and sent to Australia is the main Impulse costume. The other three superheroes will have to wait until everything goes back to normal.
A still from “Impulse featuring Andrew Lorenzo, who plays Max Crandall/Max Mercury.
What has working in Hollywood taught you?
Hollywood has taught me that there is no small project, job or task; and that there is a place for everyone, if you have the passion and drive to do it. I’ve always been a person who doesn’t give up and works hard to achieve what she wants and, while being in Los Angeles, out of my comfort zone, I’ve come to realize that it is never easy, but it can be done.
The poster for “Impulse.”
What else?
Hollywood has also taught me that there is no small story and that every story is worth telling, if it is told right. It has also made me realize that we are in charge of giving a voice to those who don’t have one and that it is our duty to use this amazing vehicle of expression to bring these voices to the front of the line and let them speak. When I am working on a project, it is not about me, it is about the character I am designing and bringing to life, to tell their stories, their pain and their successes. Every single late night, extra hour or early call is worth it if you have the passion for it.
Check out the website of Edurne Fernandez and check out Impulse on Patreon.