things Nolan, thus making him more interesting and believable. This is how I like to work, and why Chris is such an interesting and exciting director
to collaborate with. The same process applies to all leading characters. When my research began, I had never heard of Bane. Catwoman of course I knew
a little of, especially Michelle Pfeiffer’s costume by the great Bob Ringwood (with Mary Vogt). However, as usual, we soon abandoned that path, and
embarked on looking for real life parallels for both of them.
Catwoman: The catsuit worn by Anne Hathaway is actually a two-piece, separated by a low slung, fitted utility belt; her serrated heels double as weapons.
The suit’s outer material is
|
|
polyurethane coated Spandex with an embossed hexagonal pattern. Catwoman iconography is referenced subtly by night vision goggles (also functioning as a
jeweller’s loupe) that flip up to form ‘ears’ when not in use.
Clothes: What conversations with Christopher Nolan did you have about costumes? Presumably realism was paramount?
Hemming: ‘Considerations’ with Chris Nolan are ongoing throughout the production period and filming, but obviously more intense during
early prep. As he likes to work with set, costume designers and cinematographer while the script is still being formed, this means that
designing and writing are able to be a complete process. Production designer (Nathan Crowley) and I are in the privileged position of being able
to have almost daily access to the director. This means that as a costume designer one can really get to know what the director wants to say with
the character. It gives us more time to investigate together who the people we are designing for might be, and how they develop into their look at
the start of the story.
Often I think the idea of ensuring realism for the characters is more working out how to meld the actor/ character/ clothes together, so that
however ‘unrealistic’ or strange the character might be, their clothes look like they really are
|
