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THE CHRONICLES OF RIDDICK

About The Costumes
The cast was also aided significantly in their character building efforts by the lavish creations of costume designers Ellen Mirojnick and Michael Dennison, who had only 12 weeks to design every single item for their department and then have them manufactured. Despite the obvious challenges, the opportunity to define so many intergalactic races and cultures was an attractive prospect. "It's a seductive thing for a designers,” admits Mirojnick. "You don't necessarily get this opportunity all of the time. But truthfully, I didn't know what I was saying yes to.”

What Mirojnick was saying "yes” to was a production that required 75 people working in the wardrobe departments both in Los Angeles and Vancouver, with separate dying, painting and manufacturing divisions. There were up to 20 people alone charged with dressing the Necromonger soldiers, and a team of 20 "Monger-Meggers” who handstitched the Necro uniforms. It took a whole day to sew the armor on Lord Marshal's suit, and took over two months to make just one set of his gloves. Eight thousand yards of fabric were utilized to create the Necro soldiers' undersuits, with 600 complete costumes manufactured for the film. Some of these teams worked 24 hours a day to create the unique styles of the film.

The simplest challenge for Mirojnick and Dennison, curiously enough, was Riddick's costume. As he wears the same threads throughout much of the movie, it simply required more than 60 t-shirts, 25 pairs of boots (with different designs for various terrain and stunts) and 40 pair of pants. "Ellen Mirojnick thinks like a filmmaker,” notes Diesel, "so she is extremely invested in not only everyone's appearance, but how the appearance of one character will juxtapose with the appearance of another character in the same environment. We were so lucky to have both Ellen and Michael creating the look of our characters.”

In addition to the time restraints, Mirojnick and Dennison were governed by the same motto that applied to the production design team: David Twohy did not want to see anything that had been done before. Mirojnick and Dennison found unexpected inspiration in the works of legendary sculptor and fashion illustrator Erte, one of the originators of the Art Deco style…particularly his bronze statues. Explains Mirojnick, "The statues represent how through the use of fire, which is painful, one creates a beautiful, very complete and decorated form and shape.” Mirojnick married this concept to a scene in the script in which Dame Vaako burns away her flesh so that it becomes her makeup, "where the mineral content of the skin is celebrated and burned through to create a form.”

Mirojnick adapted this idea of blistered, metallic skin and created "Mockadile,” a pebbled, scaly fabric created through a complicated silk-screening process. Mockadile formed the basis of most of the costume designs for the film, whether kept simple when worn under armor or fashioned into exquisite gowns for Dame Vaako.

Mirojnick, Dennison, costume supervisor James Tyson (veteran of such films as Master and Commander, Batman Forever and Predator) and their team next tackled the formidable task of creating the look of the armor. For this, they found inspiration in the creations of Filippo Negroli (an Italian Renaissance armor designer), modified to reflect the stealth and post-modern technology of the Necromongers. Fabricated from various polyurethanes to make it easier to replicate and lighter to wear, the armor was also versatile enough in its design so that it could be modified further depending upon the wearer (the officer's rank) and the purpose (appearing in a close-up or utilized in a stunt). Another highlight of the costuming was the dazzling gown of Aereon. Made entirely of Swarovski crystals, Aereon's dress makes her seem to float across the screen, the very essence of light and a

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