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Skulls, Whips And Leather Jackets
There can't be more iconic imagery than that, and it proved a challenge to the talented team assembled to create the props and costumes for "Indiana Jones and the Kingdom of the Crystal Skull.” From Indiana Jones' whip and fedora to Mutt's biker jacket, they had a complex task of creating a new and yet still familiar world.

Costume designer Mary Zophres, co-costume designer and collaborator Jenny Eagen and costume designer for Harrison Ford, Bernie Pollack, had a challenging balancing act of hewing closely to the look of the first three films while adding new touches. The era provided no shortage of inspiration in the creation of new characters. Producer Frank Marshall explains, "Each of our new characters has been inspired by the ‘50s, and Mary seemed to have a terrific time creating the look of these characters.”

Zophres pored through old Life magazines, 1950's college yearbooks, vintage Russian military handbooks, photos of Mayan ruins and history books to get inspiration for the design of "Kingdom of the Crystal Skull. "I got every yearbook I could get my hands on from the Northeast, and from Yale in particular,” she says.

For Zophres, who received a BAFTA nomination for her costumes on Spielberg's 1960s-era film "Catch Me If You Can,” the thrill of designing costumes for the film was partially derived from the enthusiasm of the director. "His body of work means a great deal to me, so when I make him excited and enthusiastic, it's very rewarding. When you make Steven smile it makes your day.”

Zophres had her work cut out for her. She had to develop a signature look for femme fatale Irina Spalko, and to do it, Zophres took inspiration from 1930s screen siren Marlene Dietrich. "She had a lot of charisma with a certain amount of edginess and toughness, which I thought would be appropriate for Spalko,” Zophres explains. She and her team found a stock of genuine Russian military uniforms to dress Spalko's nefarious crew. "I almost had a heart attack when we found them, but they were only in size 40 and 42, so we found fabric, dyed it to match and then made the rest of the sizes for all the other Russian soldiers,” she says. "But we found the real thing. You open up the jackets and there's a real Soviet stamp inside of them.”

For the return of Marion Ravenwood, Zophres drew inspiration from a previous era, incorporating the look of 1930s adventurers like Amelia Earhart. "Marion's a little bit of a tomboy,” Zophres explains, "but extremely courageous, beautiful and feminine at the same time.”

For Mutt, Zophres helped actor Shia LaBeouf express the character through a rebel "uniform” of leather jackets and motorcycle boots. "Mutt was inspired by Marlon Brando in ‘The Wild One,'” says Zophres. She and co-costume designer Jenny Eagen found authentic vintage motorcycle jackets and had LaBeouf try them all on until they found the one they liked best – then they recreated it to have the multiple versions they would need as the on-screen adventure progresses. "We had to make about 30 of those motorcycle jackets, because Shia does a lot of stunts and his costume got worn and dirty,” Zophres says.

The far-flung inspiration for the movie's characters continued with Mac, played by Ray Winstone. "Mac has one of my favorite costumes in the movie,” Zophres says. "There's this picture I have of Ernest Hemingway, and he's got his foot kicked up in the air with these great high boots on. I found a pair of these high boots with this really interesting sole, so Mac wears his pants tucked in and he's rocking those boots through the whole movie.”

As if Zophres' hands weren't full enough, she and Egan also had to create costumes for the scores of extras that populate the film, including more than 200 in the sequences set in Peru – for which Zophres had to send a buyer to the

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