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In this exclusive interview, we sit down with Evren Catlin, the talented costume designer behind Space Cadet, to uncover the creative process that brought Emma Roberts’ vibrant character, Rex, to life. Known for her unique ability to blend storytelling with design, Evren shares how Rex’s Florida party-girl-tomboy style was crafted to reflect her passion for space and her DIY spirit. From bold, custom jumpsuits for astronauts-in-training to upcycled accessories full of personality, Evren takes us on a journey through the art of costume design.
We delve into her collaboration with Emma Roberts, her resourceful approach honed through indie films, and the exciting challenges of creating costumes for fantastical worlds. With insights into the teamwork across departments and a glimpse into upcoming projects, this conversation offers a fascinating look at the magic behind the wardrobe. Whether you’re an aspiring costume designer or a fan of Space Cadet, Evren provides a masterclass in merging fashion, function, and storytelling.
How did you approach the costume design for Emma Roberts’ character in “Space Cadet” to reflect her unique personality and passion for space?
Florida party girl Tomboy Rex embodies a blend of femininity and masculinity in her style. She has created many DIY pieces, including her airbrushed tops. Her wardrobe features a unique mix of vintage items and self-made creations that hold personal meaning for her.
What was it like collaborating with Emma Roberts on her character’s wardrobe in “Space Cadet”?
Collaborating with Emma Roberts on her character’s wardrobe in “Space Cadet” was a lot of fun. We both agreed the wardrobe needed to be a bit over the top. The creative process was exciting. We wanted her outfits to be visually striking and true to her character’s personality. From bold colors and unique accessories to futuristic elements, every detail was planned out. Emma’s enthusiasm and style made the collaboration seamless and enjoyable. Together, we created a wardrobe that really brought her character to life in a memorable way.
Were there any particular pieces in the “Space Cadet” wardrobe that you were especially proud of or excited about?
I designed a unique and special jumpsuit for our Ascans (astronauts in training) to wear during their training. It had to be ready within weeks. We had it locally fabricated in New York City. The goal was to create a comfortable, unisex outfit that also looks cool, it even has a detachable side pocket.
What are some key considerations you keep in mind when designing costumes for a film set in a unique or fantastical world like “Space Cadet”?
When designing costumes for a film set in a unique or fantastical world like “Space Cadet,” several things come to mind:
Character Understanding: I focus on deeply understanding the character. This involves collaborating closely with the director and actors to grasp the character’s personality, background, and role in the story. Knowing these details helps that the costume reflects the character’s identity.
Custom Pieces: For a fantastical setting, custom pieces are often necessary. This could involve designing unique pieces, creating special accessories, or using unconventional materials. Custom pieces allow for a level of detail and originality that off-the-rack items can’t provide.
Functionality and Comfort: While aesthetics are crucial, the costumes also need to be functional and comfortable for the actors. This includes ensuring ease of movement, especially for action scenes.
Can you talk about the collaborative process between the costume department and other departments, such as set design and special effects, on “Space Cadet”
Even though we were short on time only, working with set design and special effects on “Space Cadet” was essential . We made sure the costumes fit perfectly with the sets and effects. It was all about teamwork to create an amazing world.
How did your experience on indie films like “Obvious Child” prepare you for working on a larger project like “Space Cadet”?
Working on indie films like “Obvious Child” taught me to be resourceful and creative with limited time and budget. In indie films, you often have fewer resources, so you have to get innovative and very creative. This experience was invaluable for “Space Cadet,” even with a bigger budget, because it helped me make the most of available resources and find creative solutions quickly. It also reinforced the importance of collaboration and flexibility, which are crucial on any project, regardless of budget.
How do you ensure that your costumes enhance the storytelling and help actors fully embody their characters?
To make sure my costumes mix in well with the storytelling and help actors embody their characters, I start by understanding each character’s personality and background. I work closely with the director and actors to choose colors and styles that match their journey. I also focus on comfort and movement, so actors feel confident and authentic in their roles.
What advice would you give to aspiring costume designers who want to work in film?
My advice to aspiring costume designers who want to work in film is to never give up. It’s a long journey, and hard work truly pays off. Focus on building your skills, gaining experience through internships or small projects, and always be open to learning. Network with others in the industry, and don’t be afraid to showcase your creativity. Persistence and dedication will help you achieve your goals in this competitive field.
Can you share any memorable moments or experiences from your time working on “Space Cadet”?
In general we had to get really creative, especially with Rex (Emma) and Nadine,( Poppy) who love to upcycle and bedazzle everything in their closet. We piled on accessories and made airbrushed tops with fun graphics like a seashell bra design. We even explored slang words and phrases Floridians use. Phrases like “BRUH” and “I TELL YOU WHAT” were included. With Poppy being super pregnant, it was a bit of a challenge to avoid looking too ridiculous, but in the end, we embraced the over-the-top approach and loved it.
What are some of your future aspirations or projects you are excited about in your career as a costume designer?
Oh lots of exciting stuff. Last week, I wrapped up a very colorful commercial for the NY Lottery, collaborating with the incredibly talented music video director Christian Breslauer.
And I’m about to start work on a feature film directed by Bella Thorne, which will be filmed in Malta. I’m eager to explore more projects that push creative boundaries and allow me to work with innovative artists. This upcoming feature is particularly exciting. It is a challenging opportunity to bring a unique vision in the costumes to life.
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Thank you for reading, learn more about Evren Catlin’s work here!
