
Alexandra Byrne
CostumeĀ Designer
Oscar Winner: Elizabeth: The Golden Age
Biography:
2014 300: Rise of an Empire (filming)
2012 The Avengers
2011 Thor
2008 The Garden of Eden
2007 Elizabeth: The Golden Age

2007 Sleuth
2004 The Phantom of the Opera
2004 Finding Neverland
2001 Captain Corelli's Mandolin
1998 Elizabeth
1996 Hamlet
1995 Persuasion
1993 The Buddha of Suburbia (TV mini-series)
Wizard World Interview Excerpt:
Q:Ā With Thor and with The Avengers, a lot of people
have fantasies about being super heroes. You might tie a red towel around your neck when youāre a kid and say youāre Superman, or you might cosplay as a adult. But youāre making the costumes to be real, working outfits. What was that like?
A: Well the great things is that I was working with a lot of people who are absolutely experts in that field. I hadnāt read the comic books before coming to Thor, so in a way the combination of somebody whoās a complete novice, therefore, will question things and not be burdened with the baggage of you āHe has to have this or he has to have that.āĀ Itās a good combination to work with people who are so steeped in the world, so it means thereās good dialogue and Iām not afraid to ask questions.
It can be difficult. Youāve got a guy with long blonde hair with a red cape swinging a hammer. You canāt pretend itās not a challenge, but equally, one of the great things about costume design is that you have the actor, and you have costume. I always maintain that the actor, their very being, their physicality, their proportions, how they move, bring a huge amount to the design process, quite apart from their own part as an actor. Itās, itās about making a body, a physicality work on camera. Chris Hemsworth is amazing. And the moment he steps in the room you think, āAh, heās Thor.ā And youāre working on something and youāre solving how to translate the costume to him.
The red cape was interesting. Thatās a real practicality. We did a lot of work, did a lot of prototypes. And the result in the end is, I mean again, what I love about the process is that I could not have on day one said āThe cape is going to be made of this and itāll be like this.ā You evolve and you grow with it. And the solution is it worked. It was amazingly un-high tech in its execution, but it was right. So itās all in combinations, but maybe that cape with the textures and the way it was made wouldnāt have worked if the suit hadnāt been made. Itās a combination of information and sometimes itās contradiction and a juxtaposition that adds up to the whole costume.