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Lisa Jogoo: The female lead has to transition from a naive young Wizard of Oz Dorothy type of girl into the Hunger Games' Katniss Everdeen. The ideal candidate would be able to portray both these extremes emotionally as well as aesthetically. To tell the story, her wardrobe had to evolve through three different stages: http://theskybeneathourfeet.tumblr.com/post/144144116817/lisa-jogoo-the-female-lead-has-to-transition-from

1. Summer dress when she is still at home
The concept was for deciding how short, long, revealing, etc. it should be and what type of feeling it communicates. I really didn't want to make her a sex object like most female costume design always ends up looking. This is more of a hot summer practical nice dress of a small town farm teenage girl. Toronto-based artist Jacqueline Li handled the conceptual development of this, emphasizing Lisa's free spirit and lifestyle. The tricky part was to adapt the wardrobe into the physical world, which was handled by international fashion and clothing designer Talisa A. Timla with a variety of options before going to camera.

2. Young business woman in the big city outfit
Something elegant and sophisticated but with a touch of catholic school uniform. Again, without making her a teenage boy fantasy
though. Jacqueline Li also took on this task but approached it with more of a kit-bash technique, working more within the limitations of the currently established office culture because the movie's not so distant future reflects a similar social image to what we're used to today. The final products will be provided by Tendu for our upcoming shoot in July.

3. Fighter plane pilot of the future
Basically a jump suit with a steampunk flair. I wanted it to be like a flight suit but without losing Lisa's female shape. In an ideal world, I wished for a life action version of Tatiana Wisla (タチアナ・ヴィスラ) or Alis Agrew from Last Exile but with more attractive boots! We had Sebastien Hue and Nika Rukavi work out the early stages of the costume and help me figure out the logistics of the suit before getting Steve Hong on board. Whatever we would come up with needs to be made without breaking my wallet, so my brief to Steve basically was something between April O'Neil and Moon Bloodgood from Terminator Salvation. This had to be realistic in the physical world.

Meanwhile we were in constant contact with our wonderful production designer Mai Anh Tran who would have to obtaining all the materials once we had the measurements of the actress, and create the final suit in time for our first costume fitting at the end of May. Once Steve's character conceptual art was complete, we had to hurry and cast the perfect actress in order for Mai-Anh to be able to hit the deadline, or else the entire production schedule would snowball down to hell.