How ‘The Masked Singer’ designer creates these wacky costumes

The calling card of “The Masked Singer” has at all times been its eye-catching costumes, which take middle stage on every episode of the top-rated collection, 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 completely 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 wished this season to be colourful and enjoyable and large and completely satisfied, to place smiles on the viewers’ faces.”

Mission achieved. “The Masked Singer” stays one in every of TV’s high attracts; its Oct. 14 episode averaged practically 11 million viewers, who watched Mark Sanchez revealed because the singer beneath Child Alien.

(Wednesday night time’s episode, airing at 8 p.m., will probably 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 try 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 wished 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 completely different parts in developing 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 vital to give you a narrative for that character. For the Giraffe [this season], I didn’t need it to be the standard giraffe. I wished it to be delicate and pastel and pleasant; I’m extremely desirous about interval costumes, so it has that concept of royal richness.

“It’s virtually like my Marie Antoinette inspiration.”

Marina Toybina
Marina ToybinaGetty Photos

Toybina says she’s conscious of the costumes being created for the worldwide variations of “The Masked Singer” (which originated in South Korea): “We at all times attempt to hold our designs distinctive … essentially 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 best way it’s been sewn and constructed and we’ve used so many stunning strategies,” she says. “I’d say, on the technical aspect, 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 aspect — and White Tiger [Season 3] and Child Alien.”

Every costume wants weekly upkeep, relying on what movie star is beneath, she says.

“It varies. There’s numerous labor from the preliminary becoming to the small print and tailoring and through that course of we be certain every costume is sturdy. There are some performances which might be heavy, the place upkeep is available in — we be certain the beading stays on or the masks are intact. If we all know it’s a [more intense] performer we select a cloth 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 following season’s costumes begins instantly after the present season ends.

“As soon as we wrap the season we go proper into the art work for the following 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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