Before I set the stage for your costume, let me set the stage for our production.

Mythos is, by every definition, a micro funded independent production.
But, professional is not about budget, it is about intention and how we show up to the work. And, in that, we are very professional.

At the same time, we are a small group of dedicated artists coming together to build something we believe in. Real characters, drawn from history, literature, and mythology, brought to life through craft, design, and performance.

We are not well funded. Think of Mythos more as community theater, captured on film.
We are scheduled for eight days of filming in late August and early September of this year. Each day will feature a new interview with one of the characters.

The show is a 30 to 45 minute interview format and will initially be released on secondary streaming platforms such as Tubi, Roku, and Pluto.

Do what you can and no more. I am not asking for anyone to “Do it all” just one costume. A single piece. A prop. A texture. A detail no one else would have thought of. Offer what you can. Truly. Every contribution matters, and every piece is appreciated. You dont need to do it all to be super helpfull.

We are looking for collaborators as much as creators. People who love the craft. People who enjoy the process. People who understand that communication and clear expectations are what keep something like this moving forward.

On compensation, I want to be completely clear. This is not a funded production, Pay is very low, if there is any at all. That said, we will cover all material costs and shipping. We do not want anyone coming out of pocket to help bring this to life.

All costumes and props must be original designs. No store bought pieces as final work, and no reproductions of existing intellectual property. Inspiration is welcome. Copying is not. Everything we create needs to stand on its own.

And finally, all costumes and props created for Mythos Anthology become the property of the production. These pieces live on with the project, in future shoots, events, and appearances.

Who is Victor, and what is CRG?

Captain Victor T. Mayfair is, in real life, Victor Ciccarelli. That’s me, the one writing this page and the one behind Mythos.

I’m an artist in my 60s with over 45 years of professional creative and technical experience. If you’re curious, you can go down the rabbit hole at www.Ciccarellis.com and see the work for yourself, costumes, makeup, props, sets, web, tech, video, and photography.

You can see a lot of my personal costume work on my social media and here https://ciccarellis.com/abex-armory-costume-design/

But I am just one voice in a much larger chorus of the people working on Mythos

What we are building

Mythos is not about wardrobe in the traditional sense. We are not looking for costumes that just look good on camera. We are building characters from the ground up. Not cosplay recraetions of others ideas now, based in the real history of the character.

These pieces need to live in the world. They need to feel like they belong to the character, like they have history, weight, purpose. Something that can stand up not just on set, but in close conversation, at events, under scrutiny. Because our long term goal goes beyond filming.

We are building characters that can step off the screen and into the world. Conventions, schools, live events, immersive experiences. The work you create here may be seen up close, questioned, interacted with.

So this is about more than aesthetics. It is about storytelling through materials. Through wear. Through detail. Through choices that say something about who this character is and where they come from.

If that excites you, if you like building things that feel real, that carry a story, then you are exactly who we are hoping to find.

Characters of Season #2

Lilith — First Woman The oldest written sources describe Lilith not as a demon but as a storm spirit — the Sumerian lilitu, a wind that carried disease and unrest. She appears in early Hebrew text as a wild creature of the desert, unnamed in Genesis but present in the margins: a figure neither human nor divine, draped in the night itself. The Alphabet of Ben Sira, medieval but drawing from older oral tradition, gives her robes, wings, and the posture of someone who walked out of Eden rather than being cast from it. She is dark fabric, shadow, and absolute stillness. Nothing decorative. Nothing soft.

Status – Not Started / Actor – Not Cast

The Scientarch of Mars — American The Scientarch is original Quixana Productions IP — there is no historical source to draw from. His costume description comes entirely from the series treatment: a mid-century American business suit, slightly too formal, slightly too precise. Think 1950s government scientist. The suit is the costume. The alienness is in the prosthetics and the way it’s worn — bureaucratic, careful, just slightly wrong.

Status – Done / Actor – Joel Pelletier

Elara — Hedge Witch Elara is original Quixana Productions IP. The visual inspiration is the historical hedge witch tradition: a woman who worked at the village boundary, not inside it. Practical clothing, worn from use. Earth tones. A staff or walking stick of natural wood. Botanicals woven in — not decorative, functional. Her look comes from the land, not from a coven. Nothing theatrical. Everything earned.

Status – Done / Actor – Not Cast

Bacchus — God of Wine and Agriculture Roman-era sources describe Bacchus with an ivy crown wound loosely through tangled hair, a nebris — fawn skin — draped over one shoulder, and a thyrsus, a fennel staff topped with a pine cone. He is barefoot or in simple sandals. His robes are loose and often slipping. Classical sculpture and mosaic show him as fleshy, young but not boyish, perpetually mid-gesture — a cup raised, a laugh arriving. The gold and crimson of the Bacchanalia is in his drapery. Nothing is buttoned. Nothing is symmetrical.

Status – Not Started / Actor – Ray Buffer

Daedalus — the Builder Homer and Apollodorus describe Daedalus as an Athenian craftsman in exile — a mortal, not a god. He is old by the time his famous work is done. Think working clothes: a craftsman’s tunic, leather apron, heavy-soled sandals. His hands are the costume. Classical depictions show him as bearded, weathered, practical. The wings he built for himself and Icarus were constructed of feathers and wax — large, articulated, strapped to the arms. He is not armored, not mythologized in dress. He looks like someone who makes things for a living.

Status – Done / Actor – Walter Briese

Moth — Fairy of Shakespeare Shakespeare gives Moth no physical description beyond her name — she is simply one of Titania’s four fairy attendants in A Midsummer Night’s Dream. The Elizabethan stage tradition that surrounded the play imagined fairies as tiny, luminous, winged creatures of the woodland — more insect than human in scale. Arthur Rackham’s illustrations, the most referenced visual tradition for this fairy world, show translucent wings, clothing made of leaves and cobweb, a figure that reads as ancient despite appearing small and slight. The moth’s palette: dusty, muted, night-colored, with wings that catch light rather than reflect it.

Status – Not Started / Actor – Paisley Bird

Artemis — Goddess of the Hunt Callimachus’s Hymn to Artemis, written in the third century BCE, is the most detailed early description: a short hunting tunic reaching the knee, a silver bow carried personally from Hephaestus, a quiver across the back. Her hair is pulled up and back. She is described as wearing no jewels, no gold — silver only, and only what serves a purpose. The Versailles Artemis in the Louvre shows her mid-stride, one hand reaching to her quiver, a hunting hound at her side. Her clothing is practical, her sandals laced high. Everything about her reads as someone who has spent her entire existence outdoors and dressed accordingly.

Status – Not Started / Actor – Not Cast

The Ogre — Ancient European Pre-literary European folklore describes the ogre as something the forest itself produced: massive, bark-skinned, wild-haired, wearing what it could tear or find. No manufacture. No craft. Animal hides if anything — rough, untreated, worn because the cold required it, not because anything like vanity entered the picture. French and Italian oral tradition, where the word ogre itself originates, imagines a creature of enormous bulk with deep-set eyes and a face that looks carved rather than grown. He does not look assembled. He looks like something geological that decided to move.

Status – Not Started / Actor – Not Cast

Alice — from Wonderland Carroll’s original Alice — the one in Dodgson’s own hand-illustrated 1864 manuscript, before John Tenniel drew a single line — wears a simple dark dress with a white pinafore, hair loose and somewhat plain. Tenniel refined this for the 1865 publication: the dress lightened, the hair tidied, the overall image becoming the more recognizable version, though still grounded and practical rather than grand. The blue dress is Disney, 1951 — it did not exist before that. Carroll’s Alice is a Victorian child dressed for an ordinary afternoon, not a fairy tale. Light fabric, a pinafore apron, hair down. The costume’s power is in what it isn’t: there is nothing magical about it, which is exactly the point.

Status – Not Started / Actor – Not Cast