This is a simple site showcasing Rachael Haupt design work.


After an exciting and eclectic childhood travelling around the world with her journalistic father (including studying Ballet in Moscow with a Bolshoi teacher, schooling in Washington DC, witnessing the last night of the hammer and sickle above the Kremlin and skiing in -22C through the  Russian woods) Rachael discovered her true passion lay in costume and production design.

Going on to study for a Bachelor of Fine Arts, she also started a Bachelor of Theatrical Design at NIDA (one of only six out of two thousand chosen .)

Before completing her study Rachael was snapped up by Neil Scanlan for Fox Studios. After working at the top of the SFX industry with Neil and also beside the famous Corbold brothers on films such as Gladiator at Levesdan Studios London, Rachael sensed a change in the air as VFX and CGI began to escalate.

Making a switch to digital FX came easily to Rachael and she continued her design career at MPC Soho London, on films such as Tomb Raider, Troy, and the Harry Potter films.

Roles included matte painting, concept art, creature design and look dev.

Accelerating her career again Rachael then moved to the world class Weta Digital VFX studio in Wellington NZ to work for industry legend Joe Letteri on films such as IRobot, starring Will Smith and Peter Jacksons King Kong.

Rachael was nominated for the VES award for her futuristic Chicago design work. Her work on King Kong directly contributed to the films VES win.

Always interested in history and period, Rachael worked with Peter Jackson on his personal project Gallipoli, an exhibition at the Wellington War Museum.

Rachael is a mature and friendly professional. She is well travelled and well read, able to work to time, budget and delivers on point design under pressure. Ever enthusiastic and in love with her work, she is a boon to any project and a positive asset to any production.



Costume design…



‘What a person wears, when given a choice, is a direct insight into our sense of self. We project ourselves through clothing, appearance and body language. When this is a conscious decision it can be quite blatant. Subconscious apparel choices are more interesting as ones desires, insecurities and ambition are revealed in a more subtle way.

The ear young apprentice may start to look more and more like their imposing boss, a love struck character loses out in passion, his face drained of colour as well as his clothes. He beings to look like a pale imitation – perhaps his usual bold green jacket becomes a khaki?

Costume is a potent tool for the director to utilise. Its ability to evoke a myriad of audience response demonstrates its importance to a film. Characters can be extended, reduced or even sidelined through costume. Audiences brought to tears or tension via colour, structure and fabric choices.’

-Thoughts on Costume - Haupt 2017




(3D simulated and tailored garments, Keyshot + Pshp)


(pencil on paper + Coral Painter/Phshp)