FBFX

25/08/2026

Supergirl: Kara’s neural scanner

The neural scanner Kara wears in her escape pod during her journey from Argo City was fabricated at FBFX by a team headed up by Electronics Design Engineer Simon Lawrence and Lead Programmer Wayne Buttigieg.

The scanner featured 2,172 individually addressable RGB LEDs, controlled by FBFX’s custom handheld DMX Pro device running different pre-programmed lighting patterns.

Costume design for Supergirl by Anna B. Sheppard and Michael Mooney.

19/08/2026

Supergirl: The Sklarian Raiders

With piping, pleats, scuba fabric and distinctive, art-finished armour, costumes for the Sklarian Raiders called on the skills of the whole FBFX team.

Kara battles the tech pirates on an intergalactic space bus, first using a teleportation device before stepping into a beautiful gold spacesuit (also made here at FBFX!).

Jackets, trousers, gloves and gaiters for the Sklarians were made by the soft costume department featuring pleated inserts, ribbed piping, ruched panels and stretched scuba fabric, all broken down by the paint team.

The armour was made up of chest plates embedded with large gems made in the workshop, pauldrons, vambraces, leather belts and thigh plates, aged and finished with graffiti motifs by the paint team.

Costume design for Supergirl by Anna B. Sheppard and Michael Mooney.

Find out more about the costumes FBFX made for Supergirl on our website: fbfx.co.uk/post/the-speciality-costumes-of-supergirl-made-at-fbfx

13/08/2026

Lovely to see these flight helmets in action! Made at FBFX for Silo. Costume design for Silo by Charlotte Morris.

Starring and executive produced by Rebecca Ferguson and created by ...

08/08/2026

Armour made at FBFX for George R.R. Martin's Game of Thrones: The Mad King at the Royal Shakespeare Theatre in Stratford-upon-Avon. Wonderful costume design by Georgia McGuinness.

30/07/2026

Here’s an Easter egg to look out for in The Odyssey - Myrmidon soldier helmets made at FBFX 24 years ago!

These helmets were part of the 1,800 costumes FBFX made for Troy (2004) over six months back in 2002-3, with armour pieces for Trojan, Spartan, Mycenaean, Thessalonian and Myrmidon warriors, as well as stunt versions of Brad Pitt’s Achilles armour.

The pieces FBFX contributed to Troy were moulded from original costumes, sprayed out in polyurethane, cleaned up and painted to recreate the look of leather, fabric, wood, beading and metal.

It’s not the first time we’re spotted pieces we made for Troy in other films, including Hercules (2014) with Dwayne Johnson, and Wrath of the Titans (2012).

One of our earliest big armour jobs was Gladiator (2000) and we're still making armour, including 120 Praetorians for Gladiator II and some gorgeous pieces for upcoming projects!

Costume design for Troy was by the brilliant Bob Ringwood.

📸 Photo copyright propstore.com Propstore

28/07/2026

Supergirl is available to stream from today!

Milly Alcock’s first appearance as Supergirl was in 2025’s Superman, with wonderful costume design by Judianna Makovsky.

The suit for 2026’s Supergirl was an all-new costume, built on the great work of Judianna and her team. Costume designers Anna B. Sheppard and Michael Mooney’s suit, fabricated at FBFX, featured changes to the belt, boots, skirt and glyph.

It’s a clean, form-fitting look, and a design that appears simple is often the hardest to make! Everything needs to be crisp and precise, zips and fixings completely hidden.

Cloth sim was used to ensure the planned print and stretch of each piece worked in harmony. Every panel of fabric on the body suit, shorts and skirt was dimensionally printed, with stretchy silicone and plastisol incorporated to keep pace with the action.

The blue body suit was constructed using several different fabrics, bonded to allow varying levels of stretch and return, allowing it to move with demanding stunt work.

FBFX’s soft costume team also created bespoke fixings to elegantly attach the cape to a strengthened section of the suit.

The all-important glyph involved multicolour castings, while the belt was super light and flexible.

The fabulous boots were made by Jeff Churchill and the Jitterbug Boy team in Toronto.

25/07/2026

“There are 206 bones in the human body. 207 if I’m watching Gossip Girl.”

It’s two years since Deadpool & Wolverine opened in cinemas with an unforgettable scene: Deadpool exhuming Logan’s skeleton and dispatching TVA agents using adamantium bones.

The sequence featured carefully planned stunt choreography calling for hard-working props. Enter FBFX.

The first step was digitally modelling a skeleton scaled to a scan of Hugh Jackman in ZBrush and Fusion, combining human bone assets with a CT scan of FBFX co-founder Andrew Dow’s skull!

The complete, poseable skeleton had to be lightweight, some parts 3D printed while others were moulded and cast. All the bones were painted with a realistic metal finish, aged and art finished with ligaments, tendons and decayed flesh.

Locking mechanisms were hidden away under rubbery tendons, and a jagged piece of wood matching the one that impaled Logan fabricated to protrude from the ribs. Clothes and boots matching those Logan wore when he died were broken down with power tools, paint and grimy bathwater.

Hundreds of stunt bones were made, each chosen in collaboration with the stunt team.

From the first rib snapped off the skeleton to the claws Deadpool pops at the end of the fight, every element was moulded and cast in multiples. Some needed to be hard and many more were produced in stunt-safe soft foam with structural armature, art finished with similar techniques to the poseable skeleton.

Some of the brilliant props we got to make included leg nunchucks, throwable fingers, bags of toes and piles of tendons. One version of the spine attached to the ribcage with magnets, allowing it to be ripped out.

Hero and stunt skulls were finished with peeling skin, punched-in hair and Wolverine's famous sideburns.

The soft stunt skulls were robust enough to be kicked like a football, or swung on the end of the spine. To allow for this move, a tennis ball was embedded in the centre of the skull and attached to the vertebrae.

Sometimes, the only way to stress-test props is to hand them to the stunt team. Luckily, we had a few extra adamantium fingers to cross on set!

Visual development for Deadpool & Wolverine was by Ryan Meinerding and Andy Park, with costume design by Mayes C. Rubeo and Graham Churchyard.

20/07/2026

Supergirl: Kara’s gold spacesuit

During a close-quarters punch-up with Sklarian Raiders on an interstellar bus, Kara climbs into a gold spacesuit before being blasted into space.

Costume designers Anna B. Sheppard and Michael Mooney created an emergency suit that would adapt to fit any extraterrestrial creature who needed it.

The beautiful gold fabric for the suit (seen here as a work in progress) was especially created at FBFX. Two versions of the suit were made by our soft costume team; one with long arms and legs and another using the exact same volume of fabric fitted to Milly Alcock.

The helmet was made in the workshop with vacuum cast visors, and finished with the gold fabric.

The visual gag of the gold suit fitting to the wearer was created with practical effects - drawstrings sewn into the costume. The arms and legs on the gold suit stretched 10 feet when extended!

The costumes for the Sklarian Raiders were also fabricated at FBFX, more on those soon.

13/07/2026

We were very sorry to hear of the death of Sam Neill. FBFX worked with him in the late 90s, making the rescue suit he wore in Event Horizon. Not only was he a brilliant actor, but an extremely kind and down-to-earth man who put us at ease on one of our earliest big films.

📸 A member of the FBFX team wearing an Event Horizon rescue suit, Pinewood Studios, 1997

10/07/2026

Supergirl: Ruthye's inflatable spacesuit!

Supergirl may be able to survive in space (yellow sun permitting), but Ruthye needed a suit to keep her safe as she zipped between planets searching for Krem.

Costume designers Anna B. Sheppard and Michael Mooney dreamt up this this brilliant, beautiful spacesuit and FBFX was tasked with bringing the design to life.

We made two designs, the inflatable suit and the deflated version Ruthye wears later in the film. It was first modelled in Zbrush, then fabricated by a talented team headed up by Russell Peet, creating something that had never been made before!

Electronics were a puzzle: where do you hide wiring, lights and power in a transparent space helmet? At least cooling wasn't a problem: the suit was inflated using a powerful fan. Stunt versions were also made for Team Ruthye, including a soft version of the helmet.

The gorgeous orange undersuit was also made at FBFX by our soft costume team.

Eve Ridley, who plays Ruthye, was an absolute superstar, as you can see in the BTS shot by Katie Pearce Makeup.

And when your space bus runs into trouble with Sklarian Raiders a little too far from a yellow sun? There's a spacesuit for that, too! More on that one soon.