Unmasking the Magic: Insights from Costume Designer Hannah Kittell on Crafting the Enigmatic Attire for 'Molli and Max in the Future'
Stepping into the vibrant universe of Molli and Max in the Future, renowned costume designer Hannah Kittell shares an exclusive, behind-the-scenes journey, revealing the intricate details and creative process behind the characters' costumes. In this compelling exploration, we delve into the dichotomy between Molli and Max's aesthetics, quirky space cult ensembles, and how Kittell deftly crafted each look to evoke a retro-future vibe while maintaining a contemporary edge, all within a limited budget and team.
"Molli and Max in the Future" is now streaming, and to learn more about this exciting film, let's chat with costume designer Hannah Kittell.
Spencer Williams: Welcome, Hannah. Let's discuss Molli and Max in the Future. This was quite an entertaining movie. As I started watching, I wasn't really sure what to expect. Can you tell us what the film is about?
Hannah Kittell: It's a lot! Our director, Michael Lukk Litwak, calls it a "space rom-com with robots."
Spencer Williams: That sounds about right! So, Molli and Max in the Future is set in an intriguing, campy, aspirational, and slightly terrifying universe. How did you approach creating the costumes for this film, and what was your research and prep process?
Hannah Kittell: Making this movie was quite unconventional. With limited financial resources and a small, creative team, we spent a lot of time preparing to have a clear vision for our aesthetic. We had many discussions with Michael, our director, who had been working on this concept for years, and he even had a lookbook created. Although he might have originally planned to handle the production and costume design himself, I'm glad he didn't have to. Working as a team produced fantastic results!
Spencer Williams: Seems like quite a few hats were passed around! Moving on, I noticed that the film is full of references, including pop culture nods. How did you incorporate those visual jokes into your costume designs while maintaining a cohesive universe and futuristic setting?
Hannah Kittell: The script is packed with references, so I based the design heavily on that, aiming to include as many visual jokes as possible while crafting the world and envisioning a future setting. With our limited budget, I knew I didn't have a lot of screen time to fully flesh out the future. So, I relied on recognizable references to immerse the audience and enjoy the humor. I researched films like Barbarella and Blade Runner, as well as 1940s screwball comedies and NASCAR racing. I then drew inspiration from these sources without making the references overly obvious.
Spencer Williams: You did a fantastic job, especially considering the challenging circumstances. Moving on to one of the film's quirkiest scenes - the space tennis scenes! Those costumes definitely had a Tron inspired vibe. Could you tell us about creating those?
Hannah Kittell: The Tron suits were influenced by the iconic movie, but I didn't want to directly copy them. Instead, we made intentional changes to distinguish our designs. We tested various materials, experimenting with paint, flocked decals, and reflective tape before settling on using flat blue for a more camera-friendly glow effect. The graphics on Max's suit were based on circuit boards and vintage electronic patterns, while Molli's featured crop circle designs, reflecting her character's "witchy" side.
Spencer Williams: It's impressive what you were able to achieve with a team of one and a very small budget. As you mentioned, you were the only costume designer on this project. What was your secret for pulling it off?
Hannah Kittell: With limited resources and no assistant costume designer, budget, or even a production assistant, I relied on my experience in the indie world where the impossible is often asked of us. It was a combination of disassociation, delusion, and pure determination. I drew inspiration from classic films like Rocky Horror Picture Show and Pink Flamingos, which had limited budgets yet became iconic. I focused on smart solutions and giving us the most bang for our buck. Plus, the extremely supportive crew made bringing my baby to the set much easier.
Hannah Kittell: Working in this industry often means facing a lack of resources and childcare, something that can be a major issue. By bringing my baby to set with me every day, I aimed to challenge the stigma around parenting in the industry and emphasize the need for family-friendly workplaces. Although it cost me some jobs, it was a litmus test for toxic work environments. Both films I worked on during that time, Molli and Max in the Future and another feature, were supportive of having my daughter on set. It's my personal mission to raise awareness about this issue and make the industry more accommodating for parents.
Spencer Williams: Thank you for your honesty and insight. Now, let's talk about designing the costumes for Molli and Max. Molli is the heart of this film, and her character evolves to join a space cult and become a level seven space witch - quite rare for a human. Can you tell us about your ideas for her costumes?
Hannah Kittell: Although Molli and Max inhabit the same world, their aesthetic personas are strikingly different, almost polar opposites. Molli's wardrobe is characterized by warm tones like orange, coral, and pink, while Max embodies cooler hues such as blue, gray, and cool green. To evoke Molli's retro-futuristic setting, I drew inspiration from films like Barbarella and 1960s space-age aesthetics, creating a bubbly, rounded, and soft look for her costumes. Her signature jacket, crafted from an SCA (Society for Creative Anachronism) LARPing jacket, exemplifies this aesthetic, as it incorporates a historical fencing jacket with a futuristic flair.
Spencer Williams: I appreciate your dedication to detail. Now, let's talk about Max's costumes. Max is a driven character with significant personal growth, and he part-fish person. What were your ideas for Max's wardrobe?
Hannah Kittell: Initially, Max's persona was more intense, but we softened it as we observed the characters' interactions and aimed for a more cohesive look as they grew closer throughout the movie. Inspired by a combination of Barbarella and NASCAR racing, Max's initial design involved peasant clothing with a space twist, reflecting his oceanic origin. His look was characterized by mechanic jumpsuits with quilting, buckles, and utility belts, creating a "space bumpkin" aesthetic. As Max transitioned to urban life, his style became more modern and metropolitan.
Spencer Williams: Lastly, I'd like to discuss Max's Glorp racing jacket. It instantly caught my eye and felt very familiar, yet still futuristic. Can you tell us about designing this jacket?
Hannah Kittell: The Glorp racing jacket was an exciting concept that emerged while reading the script and observing Max's evolution. I envisioned him as a pro athlete who prioritized image over physical prowess, much like NASCAR drivers. To emphasize this, I drew inspiration from the outrageously capitalist NASCAR jackets, which function as status symbols. I found a dashing leather jacket in blue and black since Max's color is blue and dug up assets for all the fake companies like Cheese Corp, Glorp, Diet Glorp, and Glorp Jr. I then printed and digitally printed the logos on fabric or used embroidery for smaller designs. To top it off, I created a bandana with a repeat pattern similar to Fendi's to add more jerkiness to the outfit.
Spencer Williams: This was genuinely fascinating. It's so refreshing to see a film with such a unique approach to costumes. Thank you so much for sharing your insights, Hannah. Is there anything else you'd like to add?
Hannah Kittell: I am incredibly grateful to have worked on this project. As someone who has been in the indie circuit for years, I often encounter films where costumes take a backseat due to budget constraints. It was a dream to be able to create a world and characters for Molli and Max in the Future, combining futuristic elements with everyday fashion while maintaining a cohesive and exciting aesthetic. I'd love to work on more fun, campy films with a sci-fi or fantasy futuristic twist. My dream is for someone to costume my designs and even cosplay them at conventions!
Spencer Williams: Absolutely! If I attend Comic Con, I'll be sure to consider some space cult costume ideas. Thank you, Hannah, for sharing your experiences and passion for this project.
Join us in exploring the captivating universe of Molli and Max in the Future as we learn more about its remarkable costumes, creative process, and the dedicated team that brought it to life. Don't miss out on this fantastic film, now streaming near you!
The captivating film "Molli and Max in the Future" is now streaming, inviting viewers to delve into the intricate details behind the characters' costumes. In an exclusive interview, costume designer Hannah Kittell shares her experience crafting the quirky space cult ensembles, pop culture references, and unique designs for this entertaining movie.
Curious about the successful fusion of retro-future vibe, contemporary edge, and a limited budget, let's explore how Hannah Kittell approached the costume design for this compelling space rom-com with robots.
