The stars of Dune love (and hate) their iconic still life clothes

dune Many things have been brought to popular culture: giant sandworms, anti-fear continuous prayers, “spice” as a metaphor for drugs, and stills. One of Frank Herbert’s particular attention to detail in his notes and in his 1965 novel was Stillsuit, a clothing designed to retain and reclaim the wearer’s body moisture. Stillsuits let Herbert tell a story about survival in the most dangerous environment in his book-a ruthless global desert that also makes people excited. (The most important thing is that you can poop in static clothes instead of taking it off when nature calls.)

For Denis Villeneuve’s stunning screen adaptation, costume designers Jacqueline West and Bob Morgan crafted them for them. Unlike most of the wardrobes in the movie-House Atreides’ dark wool suits, or Harkonnen’s insect-style clothing-are still an important part of the legend and are described in detail in the novel and Herbert’s notes. According to Morgan, this piece is still the “core costume” of the movie. It must look good on all actors and be conceivable enough to be practical so that performers won’t hate wearing it when making productions in the real-world desert of Jordan.

West and Morgan got rid of the former calmly: the stills look great on the screen. They told Polygon that the latter had some mixed results.

“You know, I’ve heard different actors say different things,” Morgan said with a smile. “I heard an interview with Josh Brolin and Javier Baden. [Bardem] Say’Gosh, I’m very comfortable. I love it. I like to wear it. Josh Brolin said to him,’I don’t know which one you got! ‘”

Image: Warner Bros./HBO Max

According to West, the creation duneStillsuits is an incredibly complex process that began with a long conversation with the prototypes of conceptual artist Keith Christensen and sculptor Jose Fernandez. The artist team collaborated on all aspects of the final suit, including 125 prototypes.

“It’s not like trying on a contemporary movie. Meryl Streep arrives and talks about the clothes and what they might be. Isn’t that uncomfortable?” Morgan said. “It must be suitable for everyone at Timothée [Chalamet] For Rebecca [Ferguson] To Jason Momoa. So the size range is-you can think of it as a sliding ratio, and every shape and size must look good, comfortable and do special effects.

“When Timothy put it on for the first time, he said,’Oh my God, this is great!’ He fell to the floor like a spider-because his movements are very smooth and very agile. Rebecca The same is true. She has to fight, and she immediately kicks and spins. It helps us. We learn with them.”

Both West and Morgan emphasized their duneThe wardrobe of the future is inspired by the past—not only aesthetically, but also in the way humans adapt to life in the desert in roughly the same way as before. The designers studied how people dress in the deserts of Morocco and Jordan. They studied the culture and clothing of the Bedouin and found that the way to stay cool is a matter of life and death-given that the earth’s climate is constantly changing, this may be related to more and more people.

“This is such a prophetic work, dune. West said. “With all The temperature of this summer, with Forest fire ——You can imagine that the still clothes are put into production. “

Sand Dunes: Part One Currently in theaters and HBO Max.