the visuals are character driven<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n
\t\t<\/p>\n
LG (continue):<\/strong> A lot of the time they need to be lined with different materials so they don\u2019t create friction or interfere with the wires or the mechanism. You think differently about the way you cut your costume or have wider sleeves because the arms are going to go up and down. You adapt to the movement and the environment. <\/span><\/p>\n \u00a0<\/p>\n For example, talking about the Hagrid ride, not that you see it or anyone would know because the costume looks identical to the one in the film. <\/span>But that costume is completely weatherproof because Hagrid is in the outside elements. He is in the hut, which is covered, but the hut is open to the elements. In Orlando, we have to protect it from humidity, heat, and rain. Despite the fact that you don\u2019t realize it, that costume is completely different and treated as a totally different element. We do not use silk on this garment.<\/span><\/p>\n costume view of Simon Merchant<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n DB: You\u2019ve designed many collections. Do you have a costume or masterwork that you resonate with?<\/p>\n \u00a0<\/p>\n LG: As a designer, I evolve all the time. At one time I would have one favorite or one thing that inspires me, then I do another job and like that one instead. There have been influential designs in my path, however. The designs I did for the Hulk were influential in my work because we won an award for it. Then, the work we did for Skull Island was the same. Then, we jumped to Volcano Bay and got awards for it, too. It\u2019s a progression.\u00a0<\/span><\/p>\n \u00a0<\/p>\n There are designs I love more because I\u2019ve matured and put more effort into them. Now Universal, or other clients like Warner Brothers, are not scared of trusting us and pushing our creative envelope. They let us do things we didn\u2019t have the liberty to do at the beginning. It\u2019s more satisfying. Do I have a favorite costume? No. They all have a reason to be. They all have a raison d\u2019\u00eatre, as we say in French. They have a purpose in the story they\u2019re telling and a fashion statement to make, whether it\u2019s bringing a period element into something more modern or linking a fashion element into a theme park.<\/span><\/p>\n costume view of Mad-Eye Moody<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n DB: Do you see your costumes and designs living outside their designated collections?<\/p>\n \u00a0<\/p>\n LG: Some of them are. Some of our elements or graphics are taken into merchandising. For me, this is the most rewarding thing. It\u2019s like an evolution of my costumes and designs into another step. It\u2019s never just about the costume. It\u2019s wearable storytelling. The fact that our pieces or accessories or a print influence merchandising and they use it to do something else, I\u2019m proud of it. It allows visitors to have a bit of the world we create. <\/span><\/p>\n \u00a0<\/p>\n It\u2019s not cosplay anymore. It\u2019s fashion from one of our universes. <\/span>We are currently exploring a full merchandising collection where guests can wear the world they live in. I\u2019m fashion forward and fashion thinking. There are great technologies in fabrics now. Some are expensive to develop, but there are more techniques we can use. <\/span><\/p>\n Frankenstein\u2019s haute couture costume at Dark Universe<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n LG (continues):<\/strong> I\u2019m keen to get inspired, go to shows, and see new products we could use. I\u2019m interested in shapes and comfort because if we design a staff uniform, my main objective is comfort. Of course I try to do something beautiful, but it\u2019s got to be stretched, comfortable, with gussets when needed or elasticated bands on the waistband you don\u2019t see at the back. I keep grabbing ideas from shows, exhibits, or magazines.\u00a0<\/span><\/p>\n \u00a0<\/p>\n A lot of it is from my gut. I like to be different and grow all the time. I like to change things. I like to offer something slightly different all the time. It\u2019s fresh, new, and interesting. It\u2019s not d\u00e9j\u00e0 vu. It\u2019s about offering something new all the time in the products we do. Talking about evolution and being in an immersive environment, we design so that fashion becomes atmosphere. This is a very important vision we have.<\/span><\/p>\n view of the Wolf Man costume at Dark Universe<\/p>\n \t<\/p>\n elements like printed linings add to worldbuilding of the costumes<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n \t\t<\/p>\n \u00a0<\/p>\n project info:<\/p>\n \u00a0<\/p>\n theme park: Universal Orlando\u2019s Epic Universe<\/span><\/p>\n studio: LOLO<\/span><\/a> | <\/span>@lolocreativedesign<\/span><\/a><\/p>\n founder: Laurent Guinci | <\/span>@laurentguinci<\/span><\/a><\/p>\n The post LOLO on designing haute couture costumes for universal orlando\u2019s epic universe theme park<\/a> appeared first on designboom | architecture & design magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" LOLO\u2019s detailed costumes in Universal Orlando\u2019s Epic Universe \u00a0 LOLO designs haute couture costumes for the park employees and topical settings inside the Universal Orlando\u2019s Epic Universe theme park in Florida, US. From June 2025, … <\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[142],"tags":[],"yoast_head":"\n