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Loki season 2: A deep dive into the costume design
When the second season of “Loki” kicks off, the Temporal Loom becomes a pivotal element for the Time Variance Alliance (TVA), and the Sacred Timeline faces imminent danger. Tom Hiddleston’s Loki, the god of mischief, embarks on a mission to mend the damage. He is joined by Mobius (Owen Wilson) and Ouroboros (Ke Huy Quan), also known as OB. As they navigate through various time periods, the show’s costume designer, Christine Wada, had the challenging task of expanding the Marvel costume universe while building on the outfits she created for Season 1.
Crafting the temporal core suit
One of the standout costumes this season is the temporal core suit. In the first episode, Mobius ventures into the malfunctioning Temporal Loom wearing this suit. Wada aimed for a design that felt outdated, reminiscent of the 1940s or ’50s, yet authentic and organic, as if the TVA had crafted it to withstand harsh environments. The suit needed to avoid looking like a diving suit, a bomb suit, or even a NASA space suit.
Wada found inspiration in a mid-century wetsuit, examining its fabric closely. “The ribbing groove in the suit came from there,” she explains. A happy accident occurred when she painted over the latex, creating a beautiful effect that changed colors over a few days. After finding a stabilizer, everything fell into place.
Building on this, Wada started with an inner cage, ensuring it wasn’t too heavy. The suit required volume, so she constructed the armholes with metal rings to support the sleeves, allowing actors to remove them between takes to cool off.
Designing the faceplate
The faceplate design had to align with the TVA’s established aesthetic while being practical. The actor needed to see and have peripheral vision while wearing the helmet. A rectangular design was too reminiscent of a diving or NASA helmet, so Wada settled on a triangular design. As unusual as it was, it had a practical element and “felt like a repeated pattern of the TVA.”
The suit’s pale mint color was rooted in OB’s color palette and industrial-like world. OB, a technician living in the lowest depths of the TVA as the head of the Repairs and Advances Dept., has a somewhat communist aesthetic that contrasts with the upper levels of the TVA. Wada aimed for consistency in creating anything related to the TVA, avoiding the temptation to “up her game.”
Flexing creative muscles for Loki
Wada had the opportunity to showcase her creativity for Loki. In the third episode, the main characters visit the 1893 World’s Fair in Chicago, a massive task involving over 300 extras. Photography played a crucial role in building these costumes. “A lot of the research was colorized photography, and I wanted to pick up on that because that’s how we see that era, in this colorized black and white way,” Wada says.
She carefully considered the color palette, avoiding bright contrasting colors for the main fairgoers. This allowed the main characters—Loki, Mobius, and Sylvie (Sophia Di Martino)—to blend seamlessly into the scene, particularly in the beer garden.
Reflecting Loki’s emotions
For the titular character, Wada aimed to reflect Loki’s emotions. By the end of the first episode, Loki feels humbled and has come to terms with his purpose. “It’s a royal purpose, so it was important that he had this organic element of a god and not a warrior version. There’s a nod to a king’s robe, but there’s a humble, almost monklike aspect to that costume,” Wada adds. She intentionally stripped away any armor.
Wada kept Loki’s outfit, especially his cape, practical and not enhanced through CGI. For the finale, as Loki learns to control time and ascends to the throne, his tunic was made from suede with gold flecks. His cape, designed with form and functionality in mind, was made from dyed wool with quilting down the front and embroidery. These additions added weight to the fabric, creating movement in the wind and allowing Wada to keep the design entirely in-camera.
Sylvie’s timeless silhouette
For Sylvie, Wada didn’t change her silhouette much. Sylvie decides to settle in 1982 Oklahoma, no longer following her destiny. Although this doesn’t last long, Wada explains, “I wanted her to have the movement of a coat for fight sequences, mirroring the cape effect but also someone hiding out in the world. You get the sense she is carving out a place and normal life for herself.”
The houndstooth coat Sylvie sports is rooted in the ’80s, particularly in rockabilly. “It helped her be Sylvie but gave a nod to the 1980s and also carried her through different eras in a timeless way,” notes Wada.
Final thoughts
Christine Wada’s work on Loki Season 2 is a testament to her creativity and attention to detail. From the temporal core suit to the intricate designs for Loki and Sylvie, Wada has successfully expanded the Marvel costume universe while staying true to the characters’ journeys. Her ability to blend historical references with futuristic elements creates a visually stunning and cohesive world that enhances the storytelling of Loki.
For more insights and to watch the trailer, visit Loki.
