Greg Hopwood

Checkout some of my costume illustrations for Netflix’s Atlas (2024). Shot in Los Angeles with LA crew!! #lafilmstrong Costume Designs By: @daniel.oh.orlandi , Assistant Costume Design by: @ivythaide #netflix #costumedesign #costumeillustration #jenniferlopez

Parker Robins: The Hood…influenced by MEPHISTO! The post-Wandavision mania around Mephisto was insane, which is why, as a fan, I audibly gasped when I read this script back in 2022. Keeping it secret was hard, but I did it for years and I’m proud of that—no Marvel security darts to the neck for me, thank you very much! Costume designer @kxng_terrance crushed these designs, and @anthonyramosofficial brought the role to life with ferocity. The nerd in me loves working on Marvel projects. #Mephisto #ironheart #WandaVision #Marvel #TheHood #costumeconceptart #CostumeDesign #AnthonyRamos #BehindTheScenes

I understand cosplaying now.

More BTS from hosting the @conceptartassociation awards alongside @krystinaarielle at @lightboxexpo thank you @nhsquared @dingbean for having me again. To my team, the whole crew and production team, as well as the seniors volunteering from Lawndale High school, thank you for such a wonderful experience.

Let’s host an award show! Thank you to the @conceptartassociation for bringing back to host alongside the stunning @krystinaarielle Grooming by @hairbycandicebirns Touchups by @bonniethelatina Costumer @misswendybird

Although we didn’t win, I’m going to hold onto this feeling forever!!!

Coven of Chaos

Our final costume of the season! First comes death. Our first task was Agatha’s transformation back to nature after her death. The theme of the season was practicality, so initially it was a cross-department collaboration. From a costume standpoint, we were going to make a middle stage of the costume practically. It was quickly scrapped for one of the very few CGI shots in the series. Once Agatha sheds her corporeal body and becomes a ghost, she needed a new look. Daniel was locked in on his vision from the start: she was to be lit from within, quite literally made from power. The costume had to practically light up as well, which meant I got to sit in on several meetings regarding the practical lighting elements and the available technology. This is crucial so I don’t render anything not possible by practical means. Knowing how LED fabric works and how bright it can get is helpful to inform the costume and how and when lighting elements can be used. Daniel wanted to play with some comic references and landed on her shawl. We had initially designed her floating in the air, we wanted to see what she would look like grounded. With that, my time on the show was finished. Between Agatha’s road-witch costume I finished the rest of my characters. It’s always such a bittersweet moment when I wrap a show. I loved my time on this one so much and honestly, for the next almost two years it hasn’t felt like it ended. The coven has lived on in many different iterations. I’ll be on a show or at an event in the most random of places and a coven member will pop out of nowhere. It seems funny to say, but this show changed my life. I grew up consuming all witch and Marvel superhero content as a young queer kid. This show was a culmination of all of my life’s greatest passions. And it keeps on giving: from screenings, to hangouts, to parties, to premieres—it has been a blessing to spend so much time with our coven. FYC in Outstanding Fantasy/Sci-Fi Costumes: Agatha All Along Costume Designer: @danielselon ACDs: @maddi_carroll @christinecasaus Costume Concept Artist: @greghops Manufacturing Foreperson: @marilyn.j.madsen Costume Supervisor: Ambre Wrigley

Agatha Roadwitch New Pose V5a-3 Final Edits Post Fitting Final 3.psd is the final working title of my file—I checked. At this point, the team is several fittings deep with Katheryn, and the costume is in the process of being manufactured and I’ve moved on to working on Wiccan! The stage where the creative exploration and intense focus on every line of the concept art has shifted to the physical garnment. What once existed only in my Photoshop file is now draped on a mannequin, and the baton has been passed. As fittings progress and the workroom develops the garment, the concept evolves through its final stage of additional details. Daniel and Marilyn and the crazy talented team in the work room came up with this beautiful pleated detail on the blouse and Daniel worked with @sergiomechoulam for a rune covered lining for Agatha’s coat, so I update the concept accordingly. For the purposes of the costume department, Agatha’s illustration is done, but I still have more work one last step; legal clearances. If you don’t know concept art can’t go directly from production to the public *laughs in corporate*. Marvel reaches out and requests a folder with all of my artwork to be run through approvals, If it survives that process, it’s time for minor edits like adding logos and naming conventions. Now it’s clear for release!!-in about two years. This artwork was completed in September 2022 and was publicly released in October 2024. It was used as a variant cover for the Marvel Comics Scarlet Witch run. Some Wiccan and Agatha concepts were turned into digital trading cards for @toppsmarvelcollect by @topps . Sometimes concept art is used to design the @originalfunko . To see every concept you can buy a copy of Marvel Television: Studios: Agatha All Along—the art of book, available now! The process of a costume illustration is a wild one, but I wouldn’t trade it for anything else. FYC in Outstanding Fantasy/Sci-Fi Costumes: Agatha All Along Costume Designer: @danielselon ACDs: @christinecasaus @maddi_carroll Costume Concept Artist: Manufacturing Foreperson: @marilyn.j.madsen Costume Supervisor: Ambre Wrigley

In the simplest terms, my job is to help convey the costume designer’s vision and provide proof of concept to the production. If the tone, body language, pose, hair, or makeup don’t align with what production envisions, the costume designs—no matter how good—risk being overlooked. As I understand the character and designer’s vision more, the abstract becomes concrete. When this happens, I’ll refresh the pose. Once Daniel set Agatha’s silhouette, and I had finished reading the scripts, I understood her much better. Knowing the silhouette and character allowed me to create a pose that showcased both. Depending on the project, I negotiate access to scripts. When production is working from the same descriptors and story details, it forms a consistent vision. Without that, concepts can feel off, and time is money, and shared references expedite approvals. Then come the details: the cameo turned into a necklace, refined lapel construction, crow-themed stitching at the waist. At this stage our Head of Workroom, Marilyn, becomes heavily involved, translating Daniel’s designs and concept art into garments. Gia Gunn said it best: “What you wanna do, is not necessarily what you’re gonna do.” If concept art is the dream, manufacturing is the reality check. Marilyn has worked over 45 years with everyone from Lucille Ball to Thor. Being present in fittings and workrooms has shown me what matters: clear details, not overlays or dramatic lighting. I often brighten and zoom concepts just for them. Over the past decade, this has deepened my understanding of construction and made me more mindful of time, budget, and practicality. Seams, darts, and pleats that can actually be manufactured streamline the process. Back views matter too—ask any workroom. From here, manufacturing drafts patterns while Daniel, Maddison, and Christine source materials as we move toward our final pass at Agatha. FYC in Outstanding Fantasy/Sci-Fi Costumes: Agatha All Along Costume Designer: @danielselon ACDs: @maddi_carroll @christinecasaus Costume Concept Artist: @greghops Manufacturing Foreperson: @marilyn.j.madsen Costume Supervisor: Ambre Wrigley

,“Give them (the costume design team) a week or two to shake off their last show and have a second to play.” Dawn Line, a brilliant supervisor once said this and it has remained so true my entire career. The first pass is crucial, but rarely the final product. In it, you can see some elements of the final design scattered here and there. For example, Agatha’s sleeve was in an early reference that Daniel loved, and once it was incorporated into a concept, he kept gravitating towards it. On the other side, you can see where we tried paying homage to Agatha’s WandaVision dress. Once Daniel saw it in the context of her walking the road, he realized it didn’t feel right. What I love about this process is seeing the thousands of different silhouettes on mood boards before the first pass dwindle down to maybe two after it. I loved nothing more than the days I got to stand huddled around a desk—like a coven around their cauldron—with Daniel, Christine, and Maddison, looking over the first pass of concepts. Hearing Daniel process his designs in real time, seeing what he likes, asking us our opinions, what he feels works and doesn’t work, and what elements he can foresee being part of the final costume. Christine pulled references from earlier mood boards to show potential variations and discuss practical build elements that would be necessarily for stunts, while Maddison eyes the options with their complicated custom embroidery over crushed velvet and discusses the checklist of necessary files, sourcing supplies, vendors, and budget it will take to accomplish—only to exhale with relief when Daniel says it’s “too ornate and fussy” for Agatha. Everyone gets the bearings and learns to start to trust their instincts and each-others. This first pass was the foundation that was built that started the entire creative process for the show. Being in that room, and to see those creative sparks fly, was pure magic. FYC in Outstanding Fantasy / Sci-Fi Costumes: Agatha All Along. Costume Design: @danielselon ACDs: @christinecasaus @maddi_carroll Costume Concept Artist: @greghops Manufacturing foreperson: @marilyn.j.madsen Costume Supervisor: Ambre Wrigley

No extensions were yanked in the making of this video. Seeing @ladygaga with @imogeneann_art in San Francisco! #mayhamball #ladygaga