What does it take to dress a killer doll evolving into a cyberpunk icon? In M3GAN 2.0, the highly anticipated sequel to the viral horror hit, costume designer Jeriana San Juan brings a bold new vision to the franchise—fusing retro-futurism, AI aesthetics, and a surprising dose of humanity. From tactical catsuits and chrome nemeses to campy party gowns and emotional character arcs, San Juan’s costumes thread together the film’s genre-bending world of sci-fi, horror, and dark comedy. In this exclusive conversation, we break down the inspirations, challenges, and dazzling craftsmanship behind M3GAN 2.0’s unforgettable costume design.
Spencer Williams: I’m so happy to welcome back my friend, costume designer Jeriana San Juan.
Jeriana San Juan: Hi Spencer! It’s good to see you. How are you?
Spencer Williams: I’m great—and very excited to talk with you!
Let’s start with your initial approach to M3GAN 2.0. The first film became a global sensation, so I imagine this was an exciting opportunity. Can you tell us about your early conversations with director Gerard Johnstone and how you began shaping the visual language of this next chapter?
Jeriana San Juan: Yes! My first conversations with Gerard were really about the project—what he envisioned for the sequel. I hadn’t seen the first M3GAN at that point because I’m a scaredy-cat when it comes to horror. I don’t usually seek it out, but when I do, those images stay in my imagination forever.
After watching it, though, I was completely drawn in. The film handles horror with this compelling duality—balancing comedy with these visceral, gritty truths that give it authenticity. I loved that about it.
Gerard and I talked a lot about what parts of the first film’s DNA he wanted to retain, and how we could evolve things—from giving M3GAN more looks to updating the technology of who she is. It was an exciting challenge. Designing for her really is like designing for a living, walking doll, so there was a lot of creative room to play.
Spencer Williams: The evolution of M3GAN was so exciting to watch—we’ll get more into that soon.
While audiences can’t get enough of M3GAN, I was also thrilled to see the return of Gemma and Cady. Now that they’ve survived the chaos of the first film, there’s definitely an evolution in both their lives and looks. What was it like revisiting these characters through costume and working with Allison Williams and Violet McGraw to reflect their growth?
Jeriana San Juan: For both Gemma and Cady, they’ve just come through this incredible trauma, and there’s a sense of rebirth in their evolution.
It was important for me to reflect how M3GAN’s identity was essentially born from Gemma and Cady. She was created to be Cady’s companion, so her code—and by extension, her aesthetic—is deeply influenced by their personalities. All the nuances of what they’re drawn to, their tastes, even the colors they gravitate toward, are embedded in M3GAN. So I wanted to visually reflect that connection.
Costume Fitting for M3GAN 2.0 – Courtesy of Jeriana San Juan
This time around, Gemma is in a new phase of her life. She’s now a public-facing figure—a humanitarian and advocate—so we wanted her costumes to reflect that. There’s a presentational quality to how she dresses now, but I also wanted to root her in nature with a palette of earth tones—browns, greens, colors that feel grounded and the opposite of tech.
As for Cady, she’s undergone a huge transformation. She’s no longer the little girl we met in the first film. She’s now a tween exploring her identity through clothing. And I think every costume designer—or person, really—can relate to that moment when you’re figuring out who you are through fashion. Thrift shopping with friends, trying out military surplus jackets, experimenting.
We had a lot of fun with that. I ended up making this oversized nylon track jacket with an ’80s/’90s throwback feel that gave her this cool, tomboy energy. Violet was a dream to work with, and so was Allison. The whole cast was incredible.
Spencer Williams: Because M3GAN takes more of a backseat in the first half of the film—while she’s trying to return to her body—it gave the rest of the cast a chance to really shine, especially in ways that costume nerds like me can appreciate.
In the first half of the film, there is a party thrown by Alton Appleton. Gemma is there looking incredible (details redacted for spoilers), and we have AMELIA in full glam-bot mode with that golden look. Can you talk about those two specific looks? That golden one—it’s insane.
Jeriana San Juan: So the golden look—throughout the film, I had the chance to create this kind of visual haiku about technology.
AMELIA is a chrome robot, wearing human skin, and then wearing a dress. I thought: wouldn’t it be hilarious if she’s wearing metal again? That’s where the chainmail came from. Conceptually, it was like a hat on a hat on a hat—but in the best way.
For Gemma, the key moment was when Katie sees her dressed for the party and says, “Why are you dressed like a Portuguese prostitute?” Gerard loved that line. So the goal was to create something just slightly over the top—garish, a little too much—but that could also sustain the wild action sequence that follows.
We stayed within Gemma’s warm, nature-inspired palette and found this beautiful brown sequin dress. It also felt like the kind of gown she might already have in her closet—maybe something she once wore as a guest at a wedding.
That was always the line to walk with this film. Even in a world with robots and killer dolls, the costumes still needed to pull from reality. There’s a constant balance between making things feel authentic and tactical versus leaning into the fun and playful—especially when we get to break the rules a little.
Spencer Williams: Okay—it’s time we talk about M3GAN. I was so excited to see the expansion beyond her signature doll look from the first film. In this one, we really see her coming into her own—just like the rest of the cast, even though she’s a robot.
Let’s break down some of her looks. One of the first costumes we see her in is that blue training jumpsuit, and it’s hilarious. It’s sleek, but such a shift from the polished doll we’re used to. What was your approach to designing that specific look, and what did it need to communicate about where M3GAN is in her story?
Jeriana San Juan: It’s the first time we really see her wearing fabric—any textile garment at all. Before that, it’s just her robotic under-skin.
The idea was to begin rebranding who she is—or what she could be. It’s meant to be a training outfit, since she starts learning Wing Chun.
So I went back to the M3GAN code: What are the visual ingredients that define her? Color palette was a big one. I used that iconic stripe from her bow and reimagined it as an athletic stripe. That became a racing stripe, which worked well for the athleticism she has to show off in this film.
Then I dove into Gerard’s references—he loves ‘70s kung fu movies. We looked at Bruce Lee and his training gear, and that led to this stretch polyester catsuit with a stripe down the side. It framed her movements beautifully and gave her this subtle campiness.
I added white tights and ballet flats underneath to nod back to her original design. That sweet American Girl–style DNA is still in there. But now her objectives are different, and her clothes need to reflect that mission.
Spencer Williams: Yes! The ballet flats and tights were such a fun little note. I saw that and thought—okay, she’s still cute under all that.
Now, the moment I’ve been dying to ask about: the Embrace AI tech convention. M3GAN shows up in this incredible cyberpunk look that absolutely floored me. I’m a huge sci-fi nerd—this was totally my jam. So, what were your inspirations for this look? And you have to walk us through the process of creating such a complicated, high-tech costume.
Jeriana San Juan: Yeah—once again, it was like a haiku. A costume poem about technology. This was a robot wearing a robot costume, and I wanted to go as meta as possible with that idea.
I explored everything from retro-futuristic robot imagery—think 1960s visions of the future and designers like Pierre Cardin—to early presentations of robotics that were intentionally a little clunky and inefficient. There’s something campy in how we once imagined the future, and I wanted to indulge in that.
My biggest inspiration came from my first encounters with technology in the late ’90s—like the see-through Game Boy.
Spencer Williams: Oh yeah, I had one of those!
Jeriana San Juan: Exactly! That translucent plastic casing was a big influence. I also looked at Y2K fashion—like Alexander McQueen’s 1999 collection, where sheer garments revealed what looked like circuitry underneath. There was this idea of fetishizing technology—being able to see through the surface to the microchips and wiring, as if that transparency gave it allure.
That was the concept: revealing the tech underneath. I was also thinking of those clear-colored Mac computers everyone had in college. It felt nostalgic but also strangely futuristic again.
At the same time, I was thinking about how M3GAN would visually contrast AMELIA, her robot nemesis. I knew AMELIA would be chrome and reflective, so I started exploring textures that could hold up next to that.
Rather than starting with fabric, I turned to crafting. I wrapped a clear jar in tinted pink PVC, stuffed it with fairy lights from my daughter’s room, and watched how it reflected against metallic surfaces. I shot a video, sent it to Gerard Johnstone, and he loved it. From there, I built the look using references, quick sketches, and materials that were tactile, shiny, and otherworldly.
The shapes came from retro-futurism—everything from Judy Jetson to RoboCop. There’s always this instinct in robot design to armor over the most human, vulnerable parts. So I added some rubber tubing and exaggerated shoulder forms—there’s even a little bit of Mugler-like structure in there. It was playful, nostalgic, and a little silly by design.
What fascinated me most was that I was physically crafting all of this in a moment where AI is rising—and often positioned against creativity. But this costume came from play—from building, tinkering, touching materials. That kind of process is deeply human. I don’t think a machine could have arrived at the same result.
Spencer Williams: Right—and speaking of human, there’s so much happening at this convention. You needed a strong team behind you. Can you talk about your crew and who helped bring this all together? There were so many wild shapes and textures throughout that sequence.
Jeriana San Juan: Absolutely! We filmed this in New Zealand, and my crew was phenomenal. Many of them had worked on The Lord of the Rings: The Rings of Power, so the talent was top-tier.
Sarah Goodhue was my supervisor, and Benjamin Toner, my amazing assistant designer, came in from Canada. For the Embrace AI convention, we had over 30 costumers on set to manage that massive crowd.
And because the scene takes place at a convention, we wanted that blend of cosplay chaos. As luck would have it, when I arrived in New Zealand, there was a real convention happening—Armageddon Expo. I had never been to one, but I decided to go experience it in person. I took photos of everyone, talked to fans, and found people who had made their own costumes.
Some of those fans actually ended up in the movie. I connected them with our background team, gave them little design assignments, and they created costumes just for the film.
One guy had hollowed out a giant computer and turned it into a costume. Another group had these enormous LED stick-men costumes, two stories tall, strapped to backpacks—and I invited them to be part of the convention scene.
It was an amazing way to fill out the crowd with real texture and authenticity—from walk-ins to people who had spent months perfecting their costumes. That blend gave the scene its richness.
Spencer Williams: That’s incredible. Huge shoutout to your crew—and the New Zealand community—for helping make M3GAN 2.0 such a success.
As we gear up for the final showdown, M3GAN debuts this sleek tactical catsuit. I thought it was such a strong culmination of everything we’ve seen her in so far. Can you walk us through that look?
Jeriana San Juan: So, the catsuit really needed to feel tactical. There’s a little camp in there, for sure—but it also had to feel sharp.The inspiration was more grounded in motorcycle gear—plus a little Diana Rigg from the 1960s The Avengers. That slick catsuit silhouette, but with padding and structure.
We went through so many versions of it, since it’s her finale look. I wanted it to feel protective—like a real tactical garment with padded zones, especially through the shoulders and knees, almost like motorcycle armor. But it also had to move. So we used leather smocking to create beautiful shapes and flexibility. I took some inspiration from Dior’s motorcycle-inspired collections for that part.
The wide low-slung belt echoed the M3GAN aesthetic, but my favorite part is the quilted abdomen that hints at a six-pack.
Spencer Williams: Yeah, I need one of those.
Jeriana San Juan: Right? It was a way to strike that balance—she looks formidable, threatening even, but there’s levity too. Like, of course she has an engineered six-pack under there.
Spencer Williams: Okay, let’s talk about AMELIA’s final look, because the moment I saw it, my brain went straight to Metropolis—that iconic chrome suit from 1927. It’s nostalgic and futuristic at the same time. Could you walk me through that design and explain how you achieved that balance?
Jeriana San Juan: Yes! Retro-futurism is definitely a through-line in the franchise, and Gerard flagged Metropolis early on as a visual touchstone. He told me straight out: “She’s basically Maria at the end of the film.”
That led me to explore 1920s visions of the future—Surrealism, Deco lines, aerodynamic surfaces. I pulled from Metropolis, yes, but also from Mugler, and even 1960s concept cars.
If you look closely at AMELIA’s final costume, you’ll see all these built-in vents and grills—those were inspired by vintage cars. I kept thinking, ‘She’s a functioning machine; she needs ventilation.’
This is a total costume-nerd thing to say, but I wanted to honor that function in the design. The chrome, the venting, the sculptural plating—it’s all drawn from real-world mechanics.
Spencer Williams: You’re in the right place for costume-nerd talk.
Jeriana San Juan: Good! Because, for all the robot costumes in this film, I pulled more from industrial design and car manufacturing than I ever have before. That glossy chrome, those structural forms—it was all about merging the human with the machine.
So, I’m thrilled you saw the Metropolis connection. I think that’s what makes this film so satisfying—it’s horror, it’s action, but it’s also for film lovers. People who know their sci-fi history will recognize RoboCop in M3GAN’s cyberpunk suit, or Metropolis in AMELIA’s final form. It’s a love letter to genre.
Spencer Williams: That’s exactly why I loved this film—it brings together so many genres.
M3GAN 2.0 really explores this mother-daughter relationship, and I remember reading in my notes that your daughter was with you on set during filming. What was that experience like—having her there with you during such a major project?
Jeriana San Juan: came to New Zealand with me for the summer while school was out. Honestly, it was magical. Costume design is such an all-consuming job—long hours, high pressure—and I knew it would be daunting to have her there. But I also knew I wanted her to see this world firsthand.
She would hang out in the office, playing in the corner with scraps from the cyberpunk materials, building her own little creations. And it was important to me that she saw this—saw that her mom wasn’t just off somewhere, but building something, leading something.
I wanted to break that barrier for her. To show her: you can do this too. Whatever it is that lights you up, you can pursue it with passion and make it your life.
My mom was a professional ballerina, and I would sit in the corner of her rehearsals, playing with the fabric and listening to classical music. That’s how I fell in love with costume design—watching how movement and clothing worked together.
So to be able to share that creative environment with my daughter felt really full circle. She even got to spend the summer in New Zealand! Pretty lucky kid.
Spencer Williams: Honestly, it just feels like you were the perfect person for this film. Your story mirrors the movie in such a beautiful way.
Okay—final question. What do you hope audiences will take away from M3GAN 2.0?
Jeriana San Juan: I hope people walk away with a feeling of joy. This movie doesn’t take itself too seriously, and I hope audiences don’t either.
Yes, there are themes of grief and trauma and power, but there’s also comedy and camp and absurdity. We’re living in heavy times, and I think M3GAN 2.0 is here to let people laugh and scream and just have a good time.
This is also my first really big studio film—one at this scale—and I’m just so, so proud of what we were able to accomplish. I’m excited for people to go with their friends, get popcorn—maybe even in a limited-edition M3GAN popcorn bucket—and just have a great time.
But you know, on a personal note… in this political moment, as the daughter of immigrants, seeing my last name up there on the big screen, in a major Universal Pictures release, it really hit me. I thought, This is what this immigrant kid did. And that’s something I’m incredibly proud of.
It took generations of hard work to get here, and I truly felt like I was doing it for my grandparents—for all the people who came before me.
Spencer Williams: That’s so beautiful. I’m proud of you, too! Jeriana San Juan, thank you so much for talking with me. I’m so excited for people to see this film. Go see M3GAN 2.0!
Jeriana San Juan: Aw, thank you.
