(LEFT) Lot 69 – Batman’s (Adam West) Surfboard Logo, Batman (TV 1966-1968) and (RIGHT) Lot 70 – The Joker’s (Cesar Romero) Surfboard Logo, Batman (TV 1966-1968)
And who better to help steer the character into a darker setting then director Tim Burton, who was already well-known for his love for the weird and gothic visuals
Producers Michael E. Uslan and Benjamin Melniker acquired the film rights from DC Comics and Ulsan wanted to explore a gloomier and more serious version of Batman for the silver screen.
Ringwood produced a more armoured and muscular design and introduced the combination of prop-making techniques within his costume design. This version of the Batsuit reflected the original comic book designs and stepped away from the boldness seen in the series back in the 60s. The blue and grey colour scheme was replaced with an all-black ensemble, with hints of yellow. It was this design that would become the template for the Batsuits in all subsequent live-action film adaptations.
Producing this new Batsuit was a lengthy process and required many trials with varying materials. The tight-fitting suit was made from Neoprene with sculpted foam-rubber body armour sections.
There were also several trials in creating the cowl and cape – both fundamental elements of the costume. Thick latex featuring a bat-skin texture was used to produce a heavy cape which created impact when it moved on screen. The bottom of the cowl featured scalloped seams which were glued and bolted down to the cape to produce a seamless finish. However, this meant that Keaton could not physically turn his head without damaging the costume, and the suit caused a variety of mobility issues for the actor and stunt actors.