Anna Terrazas on Crafting the Haunting Wardrobe of Netflix’s Pedro Páramo

PH: Pedro Páramo centers around themes of life, death, and memory in a haunting, surreal atmosphere. How did these themes influence your costume designs, particularly in the way you used textures, colors, and aging techniques?

Anna Terrazas: Together with the creative team, Rodrigo Prieto, Carlos Jacques, and Eugenio Caballero, we decided that in order to be truthful to the novel, we had to create two different intertwined atmospheres: life and death. In my costume department, we opted to create two different color palettes to define the two atmospheres. When Pedro is young, Comala is alive, green, humid, and full of colors. We chose light fabrics and textures to show the vibration of life. At the same time, we have always been true to the time period of Mexican history - that is to say, pre and post-revolutionary era. When Pedro leaves Comala to die, the colors start to fade and become darker. The fabrics are heavier to give the sensation that the earth is swallowing every soul.  In terms of aging, this time around, I decided to do the distress and aging with an amazing team of artists who use graffiti airbrush techniques. It provided the most authentic feel.

PH: You collaborated with local artisans to ensure historical accuracy and cultural authenticity in the costumes, right down to handmade sandals without rubber soles. Could you tell us more about this partnership and the importance of involving the community in the costume design process?

Anna Terrazas: This film gave us a chance to work with a wonderful art-craft community from many states of Mexico. We had to find the right artisans who were willing to recreate the clothes, hats, shoes, etc., as they were made back in the day. For instance, the huaraches did not have rubber soles as they do nowadays; instead, the soles were also made out of leather. Rebozos are not as long as they used to be. Back in the day, they were approximately 3 meters long; now, they weave them around 1.80 meters. For the artisans and for us, it was a huge challenge to accomplish the design and be accurate. At the same time, it was really rewarding to bring those traditional pieces to life. I do believe, or hope that this film will encourage people to preserve our traditions and will help these artisans to keep working and to teach younger generations.

PH: Each piece of clothing was custom-made for the film, with around 1,000 pieces in total. How did you approach the monumental task of designing and crafting so many items, and what systems did you set up to ensure each piece aligned with your vision?

Anna Terrazas: The key was teamwork! I was very fortunate to have a great team that involved assistant costume designer, seamstresses, tailor, shoppers, illustrators, agers, and dyers, as well as all the artisans that worked in the film. As I mentioned above, we also worked with an extensive number of local manufacturers, so it was a huge logistical endeavor. We had to be very creative and organized in order to achieve our goal. Each member of the team had a specific task to accomplish, and no one could do this without a team.

PH: You designed embroidery and other details to subtly indicate how some characters met their deaths. Can you share some examples of this unique storytelling approach and how it added depth to the film's narrative?

Anna Terrazas: This was a conversation that I had with Rodrigo. I came up with the idea that since everyone in the film is dead, we thought there was something beautiful and helpful for the actors to show in a very subtle way how they died. Let’s use Eduviges as an example. There is a conversation her sister Maria has with the father at church, saying that she drowned in her own blood. So, we used the red embroidery in her blouse to represent her own blood. For Damiana, there is always a very subtle darker spot in her blouse because where Abundio stabbed her at the end of the film. I could probably go on and on through every single cast member.

PH: The distressing process was extensive to create a realistic look for each costume. What techniques did you use to achieve the level of wear and authenticity needed, and did any specific pieces or characters present unique challenges in this regard?

Anna Terrazas: First of all, we had to wash the clothes many, many times. Everything that you see in the film was a brand new fabric that needed to be distressed once we made the garments. After that, we did the normal techniques of sanding the clothes by hand, and we started aging the clothes in various ways, using some paint, fuller earth, and the final touch was the airbrush.

PH: The film’s setting, with its hypnotic, dreamlike shifts between times and consciousness, required a nuanced approach to costume design. How did you ensure that each character's wardrobe contributed to this atmosphere of timelessness and spectral presence?

Anna Terrazas: What we decided to do with almost all of the characters in the film was to set a specific color palette for each one. We started with light versions of their corresponding colors, and as time passed by and they started dying, their colors started to get rustier and darker. To again, symbolize the life and death color division. Same thing with the weight of their fabrics. In the beginning, they are lighter to show freedom, and the skirts start to get heavier towards the end, as if the earth is swallowing them.

PH: In your research for period accuracy, were there any surprising or particularly challenging aspects you encountered about clothing or materials from that era?

Anna Terrazas: We had an amazing time doing the research for the film because there was so much to learn about the period, and it helped us be as accurate as possible.

One of the challenges that we encountered was that all the photos were black and white. So, I worked with production designers Eugenio Caballero, Carlos Jacques, and Rodrigo to create our own color palette. We all wanted to tell this story in colors that would reflect the time period and our story best.

We also had to find the right artisans who were willing to work with us and build the things as they were made back in the day. Luckily, we found the right people who went on the roller coaster with us and went back to investigate and build things as accurately as possible. I think that we all feel a sense of accomplishment with the final outcome.

PH: Looking back on the entire process, was there a particular costume or design choice that you felt especially proud of or that had a personal meaning for you?

Anna Terrazas: This film was extremely special because every piece of clothing in the film has a meaning to me. We designed and manufactured everything with so much love and passion, that it will always be in my heart.