I joined Lucasfilm’s Star Wars: Andor across Seasons 1 and 2, contributing concept design work for both the Makeup & Hair and Costume departments. My work included explorations for the Morlana One hostess, Luthen, Vel, Bix Caleen, and the citizens of Ghorman — helping shape details of costume, hair, makeup, and overall character mood across multiple worlds and storylines.
MORLANA ONE HOSTESS | MAKEUP AND HAIR
Morlana One Hostess — mood sketches.
This is, hands down, one of my favourite stages on a project: the early exploration of silhouette, attitude, and character presence. At this point, the dress had already been developed by the Costume department, and Margaret Clunie had been cast in the role, so the challenge became about pulling those elements together — exploring potential hairstyles, makeup, and facial markings that would complete the character’s look.
Morlana One Hostess — colour explorations.
Further exploration of the hostess’ attitude in response to Cassian’s relentless questioning, with a focus on hair, makeup, and facial markings. Morlana One had a strong cyberpunk energy, with clear echoes of Blade Runner, so the challenge was to lean into that atmosphere while keeping the design firmly grounded in the visual language of Star Wars.
Morlana One Hostess — makeup explorations.
Final render produced for Margaret Clunie’s character, used as a base to explore makeup directions once the hair was close to being locked, before changing again ahead of the shoot, as things often do!
I produced around ten variations at this stage, mixing and reworking glamour and avant-garde references brought in by Emma Scott. The look on the left was the simpler option, and came closest to what eventually appeared on screen, minus the augmented eyes.
In Star Wars, so many characters sit in that space between human and subtly enhanced human, and she felt like a strong candidate for that treatment. The look on the right pushed further into a club/cyberpunk direction, leaning into the atmosphere of Morlana One’s bar.
LUTHEN WIG AND WEAPONS | MAKEUP AND HAIR
Luthen Rael — hair and accessory explorations.
Rapid colour sketches exploring Luthen Rael’s elaborate hairstyles for his high-society persona. Emma Scott mentioned early on that Luthen was a spy who needed to hide in plain sight, which led to the idea that his hair itself could become a place of concealment.
Instead of hiding tools or weapons in his clothing, the knots, structure, and accessories within the hairstyle could hold small objects he might use to crack codes, open locks, or get himself out of trouble. The hairstyles had to feel ornate and composed enough for the world he was moving through, while also creating a kind of visual misdirection: the complexity of the look distracting from the fact that something functional—and dangerous—could be grabbed and released very quickly.
GHORMAN CITIZENS | COSTUME
Ghorman — humanoid alien citizen exploration.
I joined the Costume department fairly early on Season 2, and naturally tried to sneak a few humanoid hybrids into Ghorman along the way. This portrait was an exploration for a possible alien citizen of the planet — playing with the contrast between the polished, post-war European elegance of the costumes and something wilder in the facial markings, hair, and overall attitude.
She (sadly!) did not make it into the final direction, as the Ghorman citizens became much more restrained. One of my favourite explorations from that stage of the process.
For the Ghorman women, I worked from early sketches and design direction by Eimer Ní Mhaoldomhnaigh, developing variations across silhouette, shape, and detail.
Early on, the world of Ghorman was leaning towards a post-WWII European elegance, with the possibility of a more avant-garde or futuristic twist in the details. My role was to support and expand that vision: making the designs feel sharp, exploring how far the costumes could be pushed, and helping the looks remain coherent within the world.
The colour palette and styling later evolved into the darker, more muted direction seen on screen.
BIX CALEEN | COSTUME
Working from references gathered by designer Eimer Ní Mhaoldomhnaigh, ranging from technical clothing to high fashion, I sketched several coat, trouser, and boot variations for Adria Arjona’s Bix. One longer version included a detachable lower section that could function as extra coverage, a cape, or roll into an alternative pack carried on the back or by hand.
Early explorations for a possible travel outfit for Bix Caleen, built around the idea that she might be searching for Cassian across different environments. The brief called for something lightweight but resilient, with a coat that could adapt depending on temperature, movement, and practical need.
Bix Caleen — travel top / under-layer explorations.
Concept sketches for one of Bix’s possible travel tops: a structured under-layer that could sit beneath the jacket while still working as a standalone outfit. The idea was to give her something practical and protective — almost like a reinforced corset or padded vest — that she could move in, work on machines in, and wear across different environments.
I explored a reinforced collar, detachable sleeves, and panelled construction that could provide warmth and structure without feeling restrictive. The top was also designed to leave sections of the belt exposed, allowing different work pouches or tools to be attached underneath the outer layers.
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