IS IT SILK? IS IT PLASTIC?
A Study of the 'Superman' Movie Costumes 1978-1987

By Martin Lakin

Footnotes from Yvonne Blake’s original costume design sketch (dated 1976);

"Leotard in shimmering blue two way stretch fabric worn over fake muscles and harness for flying. Capes to be made in various flowing fashion for resting. Boots in glove leather or elastic with small heel. ‘S’ motif in red and gold on breast and again in all gold on back of cape. Gold metal belt with ‘S’ buckle."

   You may be tempted into thinking the short and somewhat quaint description above is all you would need to go forward and create your own gaudy piece of Kryptonian attire, but for such a seemingly simple design, there is deceptively much more to it than meets the eye.

Little is known about the true brief talented young costume designer Yvonne Blake was given when faced with the considerable task of fabricating Superman’s iconic outfit for the screen. There had been earlier live-action incarnations, but they would be disregarded, and the source material of the time would apparently be adhered to instead, the DC Comics of the late 1970s themselves.

Blake’s first costume design was submitted well in advance of casting the title role and would evolve accordingly – the first most notable deletions being the fake muscles and ‘S’ belt buckle. With the design process underway and the costume department as a whole in its infancy, there was little in the way of wardrobe available for the audition process. This accounts for the appearance of early would-be Supermen in bizarre home-made attire comprised of underoos, elastic stockings and metal belt. This garb would be used for the first instance of footage showing Christopher Reeve winning the part - utilizing his ability to make you focus on the man rather than the outfit, a blessing in this instance.

As eloquently showcased in the documentaries on the Superman: The Movie DVDs, the finer details of the costume such as the cut of the briefs, the shape of the belt and crucially, the chest motif would steadily be refined and replaced during the remainder of the casting, and the omission of the fake muscles was confirmed once Reeve’s insistence that it was ‘them or me’ favouring the gruelling workout regime that was to follow.

Later designs submitted by Blake clearly depict Marlon Brando as Jor-El wearing the chest motif on director Richard Donner’s insistence of the crest being given some relevance. For decades the symbol had simply denoted an ‘S’ standing for ‘Superman’, but that whimsy was at odds with Donner’s vision, and so the mythical emphasis was reinforced by the declaration that the ‘S’ was instead a family crest and all Kryptonian society would be bestowed with similar icons. The fact that the one connoting the ‘House of El’ looked like a diamond-encased letter ‘S’ would be a human observation and, therefore, acceptable to audiences and puritans alike.

There is some conjecture about how the final design of the motif exhibited in the film was reached. While unmistakably a beautifully interpreted version of the design seen in the comics, its intention as a futuristic crest meant the official DC Comics ‘Superman’ logo (as shown in the opening credits) would be eschewed and variations of the new design would adorn both Kal-El and Jor-El’s wardrobe. The artwork and patterns for these new interpretations were hardly uniform, however; the crest adorning the front of Superman’s costume is different than the shield outline embroidered on his cape, and both tunics worn by Jor-El have differing versions of the same rendering.

With artwork finalised, Blake’s next step would be sourcing the material. There are clearly more details available on how the Kryptonian suits were realised using the 3M material than exactly what fabrics and techniques were used to peel Kal-El’s outfit from the page. One name banded about repeatedly is ‘Bridal weight spandex’, though nobody really seems to know what that actually was. It is possible that the term was invented by the wardrobe department to adequately describe the magical quality only a Kryptonian three-piece would possess. In fact, the fabric was sourced by costumier Noel Howard, then production manager at Bermans and Nathans, based on the fact it had all the required properties, but was dissimilar to either standard Lycra or nylon. In Howard’s own words, however, it was still a hard sell as Blake, and even Christopher Reeve himself, needed convincing that this fabric was appropriately 'Super'. Once experimentation proved Howard correct, the fabric in bulk was manufactured by a single machine in Europe (allegedly Germany) and sent back to the UK to be finished in-house. Along with the ‘standard’ and ‘effects’ versions, Howard testifies there was one specially produced to remain the right colour when wet, as well as sets of degradation in colour for the ‘bad’ Superman under the influence in 'Superman III'.

Tragically, the machine used to ‘knit’ the fabric was dismantled in 2005, and to this day no other method of duplicating the same weave has been found. ‘Bridal weight spandex’ may have become extinct along with its machine, but not before it was put to similar good use in Supergirl, season one of Superboy and later, surprisingly, Stallone’s Judge Dredd, where the fabric was dyed midnight blue and employed as the Street Judge uniforms. Noel Howard went on to assist in the development of the equally iconic costume worn by Harrison Ford as Indiana Jones In ‘Raiders of the Lost Ark’ and was active in the industry for many years until his sad passing only months ago. Without him the Superman costume we know and love would have been quite different and its longevity is a lasting testimony to his talents.

Legend has it over thirty suits were compiled by Bermans and Nathans for Superman: The Movie, and they were labelled scene specific in an effort to convince the audience, among other things, that it was seamless. While there is truth in this, more emphasis was placed on the technical aspects of the costume to adapt it for use in the plethora of special effects sequences. Among these would be the addition of slits in both the suit and the capes to accommodate the flying harnesses, rendering versions in turquoise to separate it from the confines of blue screen photography, and many versions of cape for flight and/or walking. Much of this is well known and documented comprehensively on the DVD, but further proof and new information surfaces occasionally such as stills of a set of scene-specific boots with zips in the front rather than in the rear. It is also apparent much experimentation was done on finding the right combination to make the costume practical, including early adaptations with shorts as separates over the tights.

All of the costumes were labelled in type by Bermans and Nathans displaying colour numbers and actors names (often in the case of Mr. ‘Reeves’, misspelled). More often than not, scene-specific handwritten details would also be added and/or random numbers in marker pen. It is unlikely any genuine piece of Superman costume would be lacking some form of identification.

If one were to try to authenticate an item of production-used Superman wardrobe, there are many intricacies to inspect, but ultimately the fundamental basics are that there shouldn’t be any less than 21 years old and look its age. Secondly, the costumes will be less-refined than you may think. This means, as with many screen-used props and wardrobe, that the details and stitching can look, frankly, haphazard up close. There will also likely be some fading/and or soiling from use, for example make-up residue, dirt and water damage – even mothballs if stored incorrectly.

Obviously, a Superman costume made in the 1970s would not be made from modern fabrics like the rejected nylon or lycra. In fact, ‘Bridal weight spandex’ is so unique that it looks and feels like nothing you’ve ever seen or touched. The cape would not be lightweight material, and the boots would not be stiff leather, nor bear any similarity to a ‘regular’ boot. And remember – these outfits were custom to a single individual who was 6’4” tall and over 200 lbs., and should even bear his name inside like a child’s school uniform.

Once you have experienced firsthand the idiosyncrasies of a genuine production used Superman costume, fakes really do stick out markedly. As not everybody is fortunate enough to behold a real suit, the pictures that accompany this article (from the current display in the Movieum of London) should go some way to highlighting the differences. The specifics will be ironed out piece by piece below.

  The Tunic/Shorts

Let me first try to specify what the weave and texture of a real costume is comprised of. The closest metaphor I can use for the pattern is that of a ‘waffle weave’. Up close the squares are oversized and clearly defined. It is rather thick in texture and is a much heavier fabric than it seems. It is also, pointedly not blue. In reality the colour is more a steely shade of teal – there are grey hues mixed in with the blue palette. The ‘magic’ aspect of this particular fabric is that it comprises of a metallic element that photographs a variety of blue tones and retains that colour on film dependant entirely on how a scene was lit. This accounts for why the casual viewer simply interprets the outfit as ‘blue’ and ‘shiny’ as reflected in most reproductions. In fact the colours in the bodysuits were painstakingly attained with dye to achieve ‘Steel teal’ and are prone to fading leaving only the silvery tint behind. This colour discipline also applied to the red of the shorts which were deep blood scarlet and the yellow featured on the crest exhibiting a deeper mustard shade – more a golden hue than yellow. It should also be noted that the shorts, tights and chest motif are all identical fabric with NO exception.

The tunic has a central zipper in the back and, in some instances, eye-hooks for closure at the neck. The appliquéd Berman’s label should be to the right side of the collar. There are seams in the back either side of the zipper rather than on the sides – this was to avoid having an ugly seam visible down the sides whilst flying. The collar has a rounded appearance when worn, but a squared off line at rest. Two fine lines of stitching finish the brim of the collar, and two matching sets of oversized press studs should break the seam line on the shoulder. The shoulder seams are pitched at slight angles off the arch of the shoulder, and the sleeve is finished by a generous width of cuff.

The chest symbol is arguably the most crucial aspect of the costume. You will have no doubt heard the statement ‘it is sewn into, not onto’ the tunic before, with no clear explanation of what that entails.

An interesting parallel is that as a result of the nature of the fabric of the screen-used costume’s construction that just as in the comics, the shield, although the same, looks different in every scene / is drawn differently in every panel. This is a direct result of the symbol not being a patch, nor a screen print, or a rubberized badge. The black borders are absent from this design, as the symbol moves freely and is distorted by the mass or shapes beneath it – in this case Christopher Reeve’s considerable torso.

The construction is thus; a template of the design is used to cut the diamond section from the front of the shirt. The same template is used to cut the negative shapes (the yellow portions) using the guidelines, and similarly leaving a red ‘frame’ to insert the yellow shapes to form the ‘S’. The ‘flash’ on the excess of all the shapes is used to tack the shield together (an incredibly difficult process!!), while the larger stitching visible on the smaller yellow portions is due to having been stitched in from behind (as they are too small to make individual pieces from). This complete frame has an excess of border to ‘fill the gap’ in the shirt and is finished. From inside it looks unsightly – see the DVD footage for proof – but is, nonetheless, the defining factor of the Superman costumes, and the unique curve of the ‘S’ invariably the stumbling block of all fakes.

There are early versions of the shorts that are separate (looking like Speedos with attached belt), but the majority of shorts are one piece in unison with the tunic. The belt loops (of which there were four) are characterized by what looks like a thick seam in the centre. This is a result of the seam beneath to close the loop showing through the surface from the pressure of the belt, and not a deliberate (but pleasing) addition. The loops are also placed above the beltline in most versions, also to prevent the edge of the shorts protruding over the belt. The cut of the leg hole/arch is fairly narrow – they are not huge briefs. They are finished with an elasticised rim on each leg.

 The Belt

Another source of conjecture, many belts were constructed for the movies and most bear tell-tale signs. As evidenced by the DVD documentaries, the belt was made from fabric-backed patent vinyl. Some may have been painted leather, but regardless - there were no Superman belts with a dull or matt finish. Other examples of belts show that they were lined with electrical/duct tape (presumably for preservation or ease of movement), and were held together at the rear by either hooks, or elastic thread through punctured holes. In any case, genuine Superman belts do not stand the test of time well. They warp, crack and contort due the age of the vinyl/leather. Some retain their wardrobe labelling and/or handwritten notes, but many will have worn off through use. They should also be at least 2” wide to accommodate the buckle. An amusing fact about Superman’s belt buckle is that it was held on by common paper fasteners. The ‘heads’ of the fasteners were fillered into bored holes on the rear of the buckle and the legs punctured the surface to be spread behind. The oval bordered buckle/pod (sculptor unknown) used, as opposed to Blake’s original conception, was a flawless copy of the comic incarnation of the time and made from painted resin to match the belt, which again was a mustard shade of yellow.

 The Tights

Made in corresponding fabric and colour, the tights were somewhat basic in their construction with a central seam buried deep beyond the inside leg. Impressions from the rather thick waistband would be cunningly disguised under the finishing touch of the belt along with any visible impressions left by the already legendary “Either he has a big one, or he has nothing!” Alexander Salkind-certified metal codpiece.

The costumier’s label on the inside waistband was intended to match with a corresponding top of the same batch, but presumably this became muddled during production. The tights also were all full footed, and there is no evidence to suggest there were any cut off at the ankles with foot straps, so anything that does must be discounted as reproduction.

 The Boots

Arguably as complex in their assembly as the chest motif, the boots are controversial for both being the most difficult aspect of the costume to replicate accurately, and the fact that Richard Donner loathed them. Interestingly, the boots in the context of the movies were generic Kryptonian boots worn by many in the populace and visible briefly in the earthquake scenes. Superman’s just happened to be red and more than 20” long.

Another survivor of Blake’s original conception, the boxing-type boots were realised in crimson glove leather, with the comic-accurate notch below the knee and the not-so- comic-accurate thick border. Although skin tight, they were soft and floppy, as there is plenty of footage of Reeve repeatedly yanking his up as they evidently wrinkle at the ankles. Efforts to combat this were the addition of elastic rings around the neck of the boot and stitched in ‘stiffeners’ to strengthen the peaks of the \/. A central seam runs down the length of the boot until its bisection by a toe section that is reminiscent of a ballet shoe. Indeed, this rounded shape houses the foot (size 11, authenticators!) and is uninterrupted by the sole. There is no heel on a standard boot, but there is some pictorial evidence of thicker bases on some (possibly to lessen the impact of a stunt ‘landing’), while the soles themselves are usually in dreadful shape, as they were either taped up to prevent wear or not, resulting in extensive damage. On the backs of the boots were silver zips from mid-heel to the top, with an accompanying line of Velcro tape to correspond with a wide flap of excess leather to close over to seal the boot and hide the zip.

Age has also not been kind to these boots, and because of the nature of the thin leather, they become tatty and shapeless. In the plus column many have been discovered with interesting details scrawled inside for production purposes (flying/walking/waterproof, etc.), and were made in different configurations, as evidenced by Superman’s zipless boots worn while bridging the gap in the train tracks where the zip was relocated to the front.

 The Cape

Look no further than The Making of Superman II to see just a sampling of capes made for the production. Of all the pieces of Superman’s attire, the capes possibly had the most extended life, repaired and remade for the sequels and somewhat sacrilegiously hacked short to benefit Helen Slater’s waif-like frame and later to hang from John Haymes Newton’s shoulders as Superboy. The capes were also the most duplicated piece of the costume as many scenes were dependant on a cape doing a particular job so were made in differing configurations besides being adapted for effects shots. There were two basic styles – a ‘flying cape’ and a ‘walking’ one. The flying capes were traditionally wider and exhibit slits in the sides so the wires from the flying harness could pass through. The walking capes were slimmer and trimmer. The ingenious ‘cape flapping’ device was effect rather than costume so will only get an honourable mention here.

In order to capture the look popularised by the comics, it became necessary to rethink the neckline and the shoulders so the cape didn’t drape like a limp tea-towel. Therefore, the clever addition of, firstly, a long flap to tuck into the back of the tunic was employed, while some padding was added to the shoulders to boost their shape. This covered the seam line of the tunic from the inside and added a rounded shape across the top. Tension to marry the cape to the nape of the neck was achieved by passing two wide straps beneath both armpits and tethered around the back – forcing in up and forwards comfortably into position. Two sets of press studs on the inside of the cape would lock it into place by marrying up with the ones present on the shoulders of the tunic. The look was finished by having two neat fixed reverse pleats in either shoulder, while the straps were invisible on the outside. The capes were made in differing fabrics, also as a requirement of scene, but were predominantly fashioned from heavy wool gabardine in crimson red. They have a characteristic thick diagonal weave and, in most cases, were ‘finished’ with a jagged edge at the bottom. This results in fraying in most capes that have survived, or at least a substantial amount of loose threads.

Approximately eight inches down from the neckline of the cape resides the yellow ‘S’ motif. This is made from the same fabric as used in the bodysuit, and so is the matching mustard yellow. The difference is that the details are embroidered (somewhat primitively) in black cotton to echo the chest motif in outline. As this motif is in fact a patch this time, yellow flash is visible beyond the border all the way around. As this is a less-than refined addition to the costume, it is a dead giveaway for identifying a fake. I have yet to see anybody replicate this correctly, either in shape or render. Not all capes exhibit the yellow shield, as some were never seen from behind and, therefore, didn’t warrant the detail. Incidentally, a yellow shield was the only thing that Christopher Reeve kept as a souvenir from the entire production.

   The information above pertains to the three Salkind productions between 1978 and 1983. Once the Salkinds had sold the rights to the Superman motion picture property to Golan/Globus in 1986, the new owners were not only denied rights to certain special effects equipment (like the Zoptic front projection system), but also to any of the previous costumes, meaning Cannon Films Superman IV: The Quest for Peace had to start from scratch.

Although it would appear from the movie the costume was indeed made by Bermans from the same pattern and using the same methods, the Superman IV costume looks markedly more ‘bleached’ and pale in daylight scenes. Ironically, this colour blue on film more closely represents the ‘true’ colour of the costume, having been photographed virtually ‘flat’ and not bathed in the glow of Geoffrey Unsworth’s light.

As in previous installments, Superman IV's duplicates were made for effects but as the production was a far quicker and cheaper affair no effort was made to colour correct the costume against blue screen and visibly less care was taken to refine details which explains the alarming appearance of the bulky flying harness through the material and the lack of padding in the shoulders of the cape, giving it a flatter appearance.

In the years since the quartet of Superman movies ended, the fate of many of the costumes that weren’t forwarded to future productions remain unknown. The Salkinds retained the rights to Superman in the late 80s, and though Superman V was virtually in pre-production, it never materialised and, sadly, the final appearance on-screen of a Christopher Reeve costume was as a fancy dress in an episode of Superboy – the same used by John Haymes Newton to audition for the part (as seen on the first season DVD release).

The fact is, however, that some complete costumes survived in various grades of condition, but there are far, far fewer genuine pieces on exhibition, or in the market, than you may think. Many of these reside in private collections, or are in storage as a certain future lucrative investment. Indeed, rare pieces becoming available at auction historically have commanded escalating five figure sums and, as a result of Christopher Reeve’s definitive and unparalleled portrayal, the value of these pieces will only go Up, Up and Away. This hole in the market for people clamouring for a piece of this cinematic milestone is currently being plugged by certain individuals passing off replicas of wildly varying quality as the 'genuine article'. While not a new practice by any means, these copies have sporadically invaded the market, and money is still changing hands on the basis that not enough is known about these costumes to verify their authenticity. Hopefully the information presented here will go some way to rectify this. In the meantime, those fortunate enough to own a screen-used piece, or to have seen one exhibited, should feel privileged and appreciate the efforts of the individuals who contributed to the Superman costume’s lasting legacy.

My sincere thanks to Superfans Chris King for his tireless research and Jim Bowers for hosting this article.




MOVIEUM OF LONDON SUPERMAN GALLERY

Special Note: The colour of the costume leotards in the photos below is deceptively various shades of blue. As you know, the real costume fabric is much more "teal" in reality and, in most instances, only appears to be at its most blue when being photographed (using both still film/digital "film" and motion picture film stock); thus, the variations in blue seen throughout all four Superman films.

Click here to see one example of how two digital still cameras models render the blue colour differently. The blue colour in the right photo is more representative of the actual teal look in an authentic, screen-worn costume.

Please refer to the 'Tunic/shorts' section in the article above for more explanation about this blue/teal subject.

                   

                 

Article and Movieum photos are © Copyright 2008 by Martin Lakin, and are not to be reproduced or excerpted without prior written permission. All Rights Reserved. Additional photos are © Copyright 2008 by Jim Bowers and Chris King.

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