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Monday, September 16, 2024
“Alien: Romulus” Costume Designer Carlos Rosario's Retro Vision & Vintage Style Blends - Part One
The Credits: The only film so far to take this summer’s box office juggernaut Deadpool & Wolverine off the #1 spot for a spell was Fede Álvarez’s sci-fi horror Alien: Romulus, which brought back one of the most frightful monsters in cinematic history—the lobster-like face-strangling Xenomorphs!
I LOVE it when a director and a designer form a longstanding partnership like Fede Álvarez and Carlos Rosario. The pair, which had already worked together on Shogun, Don’t Breathe, and Don’t Breathe 2, have been in collaboration for over 10 years and have risen to success alongside one another in the industry. The payoff of a bond like this are clear in Alien: Romulus—the costume design in the film works perfectly to support the directorial vision. I love how Rosario describes the aesthetic of the film as not just having an eighties style, but as if it was filmed in the eighties themselves. That may seem a little confusing at first, but Rosario says after ten years of working with Álvarez he has a clear understanding of the result he’s looking for. I also enjoyed the section about real-world inspiration; because the characters in the film come from an oppressed mining colony, Rosario looked to 80s military uniforms, ski suits, and rain gear. Pulling from images we’re already familiar with is a great way to create visual shorthand in a costume.
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I LOVE it when a director and a designer form a longstanding partnership like Fede Álvarez and Carlos Rosario. The pair, which had already worked together on Shogun, Don’t Breathe, and Don’t Breathe 2, have been in collaboration for over 10 years and have risen to success alongside one another in the industry. The payoff of a bond like this are clear in Alien: Romulus—the costume design in the film works perfectly to support the directorial vision. I love how Rosario describes the aesthetic of the film as not just having an eighties style, but as if it was filmed in the eighties themselves. That may seem a little confusing at first, but Rosario says after ten years of working with Álvarez he has a clear understanding of the result he’s looking for. I also enjoyed the section about real-world inspiration; because the characters in the film come from an oppressed mining colony, Rosario looked to 80s military uniforms, ski suits, and rain gear. Pulling from images we’re already familiar with is a great way to create visual shorthand in a costume.
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