How ‘The Masked Singer’ designer creates these wacky costumes
The calling card of “The Masked Singer” has all the time been its eye-catching costumes, which take heart stage on every episode of the top-rated sequence, now its fourth season on Fox.
However this season’s over-the-top creations — Giraffe, Snow Owl, Child Alien, Mushroom et al. — had been designed with TV’s present local weather in thoughts, says Marina Toybina, the present’s award-winning costume designer who’s been with “The Masked Singer” since its January 2019 premiere.
“Each season we attempt to do one thing totally different, however this season was particular due to so many various variables and obstacles with each present in manufacturing,” says Toybina, alluding to the pandemic. “We actually needed this season to be colourful and enjoyable and large and completely satisfied, to place smiles on the viewers’ faces.”
Mission completed. “The Masked Singer” stays one in every of TV’s high attracts; its Oct. 14 episode averaged almost 11 million viewers, who watched Mark Sanchez revealed because the singer beneath Child Alien.
(Wednesday evening’s episode, airing at 8 p.m., can be pushed to subsequent week if there’s a Sport 7 of the World Collection.)
“We’re making an attempt to step out of the field this season within the methods we’re constructing our masks and costumes,” says Toybina. “Child Alien was the primary time we ever did a puppet. We thought, ‘What can we do this’s so extravagant and fascinating to observe?’
“The Snow Owl was our first twin costume,” she says. “We didn’t need it to be conventional — we needed to reveal two characters in there — and the 2 owls got here into play, and from there it was incorporating extra ornate particulars into the visuals. So we determined to place them in a Faberge egg, and from there the costume grew.”
Toybina says that she’s influenced by totally different components in arising with every season’s costumes.
“I attempt to push my very own artistic envelope in utilizing assets from movie, theater or the little issues I’m impressed by,” she says. “Each time I consider a brand new character it’s essential to give you a narrative for that character. For the Giraffe [this season], I didn’t need it to be the everyday giraffe. I needed it to be comfortable and pastel and pleasant; I’m extremely all in favour of interval costumes, so it has that concept of royal richness.
“It’s nearly like my Marie Antoinette inspiration.”
Toybina says she’s conscious of the costumes being created for the worldwide variations of “The Masked Singer” (which originated in South Korea): “We all the time attempt to hold our designs distinctive … probably the most random ideas typically come into my head. Generally we get to see who’s a season forward of us and what they’re experimenting with — however I attempt to keep minimal so far as resourcing different concepts.”
“Each single costume has by no means been a repeat from the way in which it’s been sewn and constructed and we’ve used so many stunning strategies,” she says. “I might say, on the technical facet, Girl Bug [from Season 2] was one in every of my favorites. I used to be actually into the couture vibe in its building. And the Swan [Season 3], which was extra of a style method from the costuming facet — and White Tiger [Season 3] and Child Alien.”
Every costume wants weekly upkeep, relying on what superstar is beneath, she says.
“It varies. There’s a number of labor from the preliminary becoming to the small print and tailoring and through that course of we make certain every costume is sturdy. There are some performances which can be heavy, the place upkeep is available in — we make certain the beading stays on or the masks are intact. If we all know it’s a [more intense] performer we select a material and particulars to keep away from loopy put on and tear or a malfunction — and we’ve had neither, knock on wooden.”
And, Toybina says, work on the subsequent season’s costumes begins instantly after the present season ends.
“As soon as we wrap the season we go proper into the paintings for the subsequent season,” she says. “Every construct takes from two to 6 weeks. Most individuals suppose it takes us six months to construct every costume — I’d be fortunate if we had two-and-a-half months!”
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