For any reputable costume designer blessed with a fertile imagination and a keen eye for fashion, providing the Twenty third-century outfits for characters within the “Star Trek” universe is really a dream job.
For the second season of “Star Trek: Strange Latest Worlds,” which launched on June 15 and streams exclusively on Paramount+, Bernadette Croft (“Star Trek: Discovery”) and her Toronto-based costuming team have been churning out futuristic wardrobes for not only the officers and crew of the USS Enterprise but in addition a spread of alien races scattered across the galaxy.
Croft was the top costume designer on the premiere season of “Strange Latest Worlds” in 2022 after working with Gersha Phillips on “Star Trek: Discovery” Season 3. One among her standout achievements last yr was the eighth episode, “The Elysian Kingdom,” a campy, light-hearted fantasy by which the crew becomes trapped in a fairy tale by a sentient nebula.
This episode had been submitted for consideration for a 2023 Emmy Award for Outstanding Fantasy/Sci-Fi Costumes but was sadly (and wrongly, if you happen to ask me) edged out of a nomination nod during Wednesday’s (July 12) official announcement ceremony.
We spoke with Croft regarding the technique of creating these special “Star Trek: Strange Latest Worlds” outfits for Episode 8, extracting nuances from the characters’ personalities to form each costume, working with modern 3D printing, which outfits were her favorites and hints for upcoming fashion statements in Season 2.
Space.com: Once you first read the script for director Amanda Row’s fun episode, what did you discuss regarding the costume designs and her vision for this fantasy chapter?
Bernadette Croft: Interestingly, Amanda got here from the art department and originally worked constructing beautiful sets for TV and film, and now she’s a director. So she comes with a really special type of talent and experience by way of the visual representation of the script. I used to be very lucky how collaborative she was and the way I could delve into the script. I’m a fantasy kid and I loved movies like “Labyrinth” and “The Princess Bride.” So I could dip into my very own nostalgia and reminisce about how essential imagination is as a child.
I first wanted the daughter, Rukiya, and her father, Dr. M’Benga, to have elements of African culture and lean into Babs’ [Olusanmokun] Nigerian heritage. I wanted that African inspiration to be prevalent, and I researched past and present Nigerian royalty and included things within the costume just like the coral necklace, which is a logo of wealth and power. They needed to be really colourful and a feast for the fashionable eye. The script transported me immediately to this fantasy story in space. It’s energetic and charming but there’s this undertone of a parent’s pain of letting go.
Space.com: Where else did you draw inspiration from in creating the vivid number of costumes?
Croft: David Lynch’s “Dune” is so iconic. It revolutionized costuming. I also checked out medieval history and traditionally what does a fairy princess or a knight seem like. It was one among those episodes where we could have these eclectic tastes and glean certain elements from all of most of these sources and produce all of it together. And the actors had a lot fun with it. There’s a whole lot of trust and respect with the forged and different departments in bringing such an iconic show to life.
Space.com: Are you able to dissect how Hemmer’s (Bruce Horak) incredible sorcerer costume was created?
Croft: Bruce gave us a lot energy within the fittings. And he loves textures and the way in which things make him feel, and it was such an incredible collaboration. That mantle is molded leather on his shoulders with different chainwork. We 3D-printed a skull and sun motif and used layers of various fabrics within the robe. We had this grey shiny-silvery “moon dust” that we applied to the hems and made it look just a little rough around the perimeters. That Caster costume was one among my favorites. I loved it. Bruce desired to keep it!
Space.com: Anson Mount appeared to have a blast in his pompous chamberlain outfit. How did that lavish wardrobe and his transformation from stern starship captain to conniving idiot come about?
Croft: For his portrayal of Captain Pike, he leads with this stoic authority that you might have to take heed to, and he’s respected and knows his stuff. His weaselly character in “Elysian Kingdom” was completely the alternative. The green color type of referenced that green wrap jacket that he sometimes wears in season one. The broach he wears is just his Starfleet command emblem turned the other way up. His cape was wonderful. In a number of the outtakes he’d swing it around, so it’s great to see how a dressing up can enhance an actor’s performance and really allow them to get into it.
Space.com: Ethan Peck gave the look of he became absorbed in his dark wizard costume you and your team created. What was the method for conjuring up Spock’s outfit?
Croft: I wanted to provide him an imposing silhouette with strong, sharp shoulders. The robe hung off his body, and we used different textures of wool, brocade, and leather. They were all darker tones but with some metallic qualities. We wanted him to seem like he’s been trudging through a swamp, so the underside of his robe was muddy and dusty. There was a weird creepy element to him, too. The wig was this wild rock star wig, and Ethan thought that was really fun.
It was such a cool costume, and it was hot, and Ethan did a terrific job. My favorite element of Pollux’s costume was his pendant. It was two dragons with this oil-slicked crystal. One among our costumers 3D-imaged that, and we got it 3D-printed.
Space.com: Christina Chong’s Lt. Noonien-Singh is at all times so guarded, and seeing her manifest this silly girlish princess was hilarious. Are you able to tell us your thoughts on the design of her magical gown?
Croft: Her normal character on the show is that this militaristic, take-no-prisoners security officer. On this episode, she plays a whimsical fluffy princess. It was so cool to see Chrissy’s range, and she will switch effortlessly with it. It’s lovely to see actors exhibit that range. I believe I should have drawn that costume after I was just a little girl, pondering, That is my ultimate princess gown. The actual skirt was about seven feet across, and with all that sequined fabric, it was quite heavy.
Chrissy can be an ex-dancer, so she could really hold that costume together and would enter the room with all that magic. She needed to get wearing a tent on set and couldn’t even fit through doorways. By the top of the day, the skirts would pick up all these sticks and debris, and we would wonder what she’d been walking through. It was one among my favorite costumes needless to say.
Space.com: What are you able to tease about Season 2’s sci-fi costumes to return?
Croft: We now have some really fun episodes in Season 2. You’ve got got comedy, romance, horror. We have got a thriller. The crossover episode with “Lower Decks” was a lot silly fun. I used to be lucky enough to bring to life the “Lower Decks” uniform that Tawny Newsome and Jack Quaid’s characters wear from that show. We took special care in ensuring Mariner and Boimler’s uniforms made sense in our “Strange Latest Worlds” universe, but in addition made sure that the “Lower Decks” team headed by Mike McMahan was cool with it, and so they gave us their seal of approval. It was a treat to see them bring their characters to life on set and so they’ve got such great chemistry.