Last week, we challenged you to help us revive that awesome ’80s celebration of Kitty Pryde’s Spectacular Revolving Wardrobe, Kitty’s Kostume Korner! Much as we love the classic yellow-and-black she’s been sporting for the last decade-plus, we remember when Kitty reinvented her costume twice an issue–and you sent us some great revamps in that tradition. Click through for the full lineup!
An additional note regarding fan art, costume design, and sourcing: There’s one image we didn’t run, because it was done directly on unsourced art by another artist. We totally get that sometimes that’s the simplest way to do a design, and the person who submitted it was in no way attempting to claim the original art or plagiarize–but if you’re submitting a piece like that, the source needs to be noted and visible in the image–and, ideally, used with the permission of the original artist–for us to run it on this blog, i.e. “Recolored from [artist] design” or “drawn over art by [artist].”
If–like us–you’re someone whose costume design aspirations outpace your drawing skills, we also recommend resources like Hero Factory (again, we recommend citing ’em if you’re using ’em, as Rick did above).
Great job, guys. Some beautiful artistry, some spot-on humor, and a lot of variety. Kudos.
File under ‘Veddy Eenterestink’–the secret history of how Kitty’s Kostume Korner led to the design (creation?) of the Goblin Queen:
The first entry on Kitty’s Kostume Korner (complete with behind-the-scenes hair-prep and internal dialogue) was by young George Gozum of the Philippines. George became pen-pals with Chris Claremont and when he grew up and moved to NYC for a career in fashion and graphic design, where they continued this friendship through the occasional lunch date. Chris enjoyed George’s input and was always looking for a way to get him involved somehow. It was at such a lunch that Chris prodded George for ideas for a new look for the Black Queen, so George whipped up a sketch. Chris loved it but said it was too provocative for the X-books at the time. Still, he was enamored and wanted to find some way to use George’s input. Less than a year later, what should George see on all kinds of promo images? Why it’s his own costume design worn by the Goblin Queen, rendered by Marc Silvestri–underboob, loin cloth, pointy sleeves, pointy thigh-highs, tattered cape, brooch, the woiks. George was no longer in the business of Kostume Kornering, so he asked Chris, “Uhhh… what?” Chris had no reply and lunch dates suddenly stopped happening until the two simply faded from each others’ lives. Years (decades?) later, contact was reestablished and Chris said he felt sorry about the mess but that his hands were tied at the time–that editorial had refused to pay a freelancer for a spec submission (as they considered it) and forbade him from anything that might exacerbate the situation.
So there you have it. KKK created GQ! …wait, no.
(These days, George is a successful, highly celebrated designer, illustrator, & creative director. The grapes ain’t so sour and they’ve long since dried up, so he has no motive to spin the facts here. Besides, he’s just terrific. A tiny fraction of his work can be seen at draw365.blogspot.com.)
Was a lot of fun! More art challenges please 🙂