Masks of Pyrkon: Cosplay and Original Costume Designs
An extraordinary exhibition of fantasy-inspired costumes. These handcrafted outfits come from renowned Polish and international competitions, including the world finals of the Extreme Cosplay Gathering, Pyrkon’s famous Masquerade competition, and the Original Design Contest. To provide contrast and a deeper understanding of the costume-making process, the costumes are displayed alongside works by Polish designers (including our guest, Kuba Dobrenko) and a collection of photographs from Pyrkon’s photo studios.
Come explore the exhibition, scan the QR codes to learn more about each piece, and admire the craftsmanship and attention to detail. Up close!
Plague Doctor – Darkest Dungeon by Bisz
The Plague Doctor costume from Darkest Dungeon II was one of the winning entries of the 2024 Masquerade competition. It also traveled to Paris to represent Poland at the Extreme Cosplay Gathering finals, alongside the Crusader costume created by Talon’s Cosplay Crusade.
This cosplay was made using natural materials, 3D printing, and EVA foam. Hidden inside the bag are glowing green bombs that, under the right conditions, can even produce smoke.
Fabric elements requiring a very specific shape were reinforced internally with foam frameworks, ensuring they maintained their form even during energetic stage performances. The game’s distinctive visual style was recreated using the blackest paint available in Poland at the time, combined with countless hours spent painting on the floor with an entire army of brushes.
Crusader – Darkest Dungeon by Talon
Crusader is one of the playable classes in Darkest Dungeon II. This holy warrior joins the party after the completion of a dedicated quest. His unwavering faith and powerful attacks make him a valuable addition to any team.
This costume was part of the winning duo from Pyrkon’s 2024 Masquerade competition. After further improvements, it was also presented at the finals of the international Extreme Cosplay Gathering championship, where it helped secure two awards for Team Poland.
Every element was painted with the blackest paint available in Poland to faithfully recreate the game’s comic-book aesthetic. The armor is made from EVA foam with 3D-printed details. The leather components are also crafted from foam, covered on both sides with smooth faux leather.
The scarf is likewise made of EVA foam. Thanks to the faithful recreation of the original model, it always retains its comic-book shape despite being assembled from approximately 40 individual pieces. The boots feature raised internal soles, while the shirt includes padded sleeves, allowing the wearer to achieve a more heroic silhouette.
Ciri – Witcher 4 (first trailer) by Lynx
This costume was created with a strong emphasis on realism and the use of natural materials. It was based on the very first trailer released for the game.
The costume consists of numerous elements: a wig, necklace, gambeson, pauldrons, leather corset, belt, pouch, hook, trousers, gloves, boots, and, of course, two swords with their scabbards and carrying harness. Every pattern was drafted from scratch to achieve the best possible fit, while many components were crafted from genuine leather and metal. The project required balancing traditional craftsmanship with modern techniques, which is why some elements were produced using 3D-printed PLA.
Favorite construction details:
The leather corset was wet-formed and finished with decorative leather lacing. The black belt features not only a handmade brass buckle and tip but also handcrafted details made from epoxy resin and brass powder.
The pauldrons are constructed from hand-woven and riveted chainmail. Individual rows were sewn onto the base by hand to ensure perfectly aligned rivets.
The boots, whose construction was difficult to discern in the trailer (but ultimately identified), were made entirely from scratch using leather, proper shoemaking lasts, and a home sewing machine.
In addition to its signature stitching, the gambeson features pleating, while the inside of the hood is lined with a decorative fabric. In the trailer, a pattern resembling roses and leaves can be seen.
The necklace, hook, scabbard framework, and swords were all produced using 3D printing. The silver sword’s grip is wrapped in leather, while the steel sword’s grip is made from EVA foam. The silver sword’s scabbard includes a beautiful plant-inspired motif, recreated using brass etching techniques.
The silver sword proved particularly challenging due to its cut-out blade design and illuminated lettering. These effects were achieved through a combination of a steel rod core, epoxy resin, and an ultra-thin LED strip.
The sword scabbards are attached to the leather harness solely by the visible straps—a testament to the practicality of the original character design. Since the appearance of the steel sword has not yet been officially revealed, it was created as a prop with a shortened blade.
The costume was presented at Masquerade 2025 and Ryucon 2025, where it was selected to represent Poland at the International Cosplay League finals in the Solo category. It was also showcased at Con Morhen 2026 in the Czech Republic, where it won the Grand Prize.
Damon – Baldurs Gate 3 by Helper
Dammon, the blacksmith from Baldur’s Gate 3, is a character encountered early in the player’s journey. As both a craftsman and merchant, he supports the party throughout their travels across Faerûn, gradually becoming more than just a supplier of equipment.
The costume on display was entirely handcrafted and represented Poland at the GICOF 2025 finals in South Korea. The project focuses on capturing the rugged, utilitarian nature of a working blacksmith’s attire, with particular emphasis on texture and signs of wear.
The apron was enriched with numerous seams and inserts that add visual depth, while the entire costume underwent an extensive aging process to emphasize its well-used, hard-working character. Completing the look are a hand-sewn shirt and a meticulously crafted tail featuring a defined spinal structure, adding distinctiveness to the silhouette.
Alfira – Baldurs Gate 3 by Ayo
Alfira is a bard from Baldur’s Gate 3, known for her exceptionally colorful and eye-catching design. Players can encounter her early in the game, hidden within the druid grove, where she works on her magnum opus while somewhat disrupting the peace of the local squirrels.
This costume represented Poland at the GICOF 2025 finals in South Korea. It was created entirely by hand using a variety of techniques, primarily focused on tailoring.
Among its most interesting features are sleeves decorated using melted metallic powder (embossing), horns created through 3D printing, and elaborate hand embroidery adorning the trousers.
Jinhsi – Wuthering Waves by Nabia
The Jinhsi costume represented Poland at the International Cosplay League 2025 finals in Madrid in the Duo category.
The structural foundation of the costume is a custom-drafted corset reinforced with steel boning. One of its most distinctive features is the dragon tail, created by combining 3D printing directly onto mesh fabric and leather, allowing it to remain flexible and fully articulated.
The armor pieces, collar, and boot details were crafted from leather that was hand-carved, dyed, and painted. The costume also incorporates hand-dyed fabrics, airbrush shading, and heat-transfer vinyl decorations.
The wig was built entirely from scratch and features detachable ponytails and a magnetic horn-mounting system. The horns themselves contain integrated LED electronics controlled wirelessly via Bluetooth, while the sword includes programmable lighting effects and a collapsible design for transportation.
Brant – Wuthering Waves by Nethi
The Brant costume represented Poland at the International Cosplay League 2025 finals in Madrid in the Duo category.
Every element of the costume was patterned and constructed from scratch. Hand-dyed fabrics, airbrush shading, and heat-transfer vinyl decorations were used throughout the project to faithfully recreate the character’s distinctive design.
One of the most striking features is the hat, made entirely from EVA foam with a hand-finished surface, painted patterns, and printed TPU and resin details. The mask was custom-designed to fit the wearer’s face, printed in resin, and hand-painted.
The wig was dyed to a custom color and finished with airbrush shading to add depth and dimension.
The sword incorporates custom electronics based on an ESP32S3 controller, which powers the LED lighting effects. The blade features a checkerboard pattern and a Damascus steel effect, while interchangeable batteries and multiple lighting modes recreate the visual effects seen in the game.
Cody – It Takes Two by Kanto
Cody’s costume from It Takes Two represented Poland at the finals of the International Cosplay League.
The project was created as a duo effort by Kanto Cosplay and Talenka for the ICL qualifiers held during Ryucon, where its creators earned the opportunity to represent Poland at the international finals.
The costume incorporates a number of unconventional techniques. The wig itself was crafted from Worbla to achieve a realistic leaf-like appearance. Similarly, the hands were created from a 3D model converted into Pepakura patterns, then built from foam and covered with Worbla.
Recreating the character’s proportions posed a unique challenge. To achieve Cody’s distinctive physique, the creators constructed specially padded trousers and an artificial belly. The sweater was made using a hand-crafted braided structure.
The entire costume took six months to complete, but the final result was worth every minute invested in its creation.
Furina – Genshin Impact by Asayu
This costume earned Third Place in the Solo Craftsmanship category at the International Cosplay League 2024 finals in Madrid.
Furina is the most celebrated opera performer in her homeland. Her costume was created using shimmering fabrics that look spectacular under stage lighting. The design draws inspiration from French aristocratic fashion and historical court attire.
The tailcoat-style jacket features a flared skirt silhouette, hand embroidery made with glitter thread, and applications crafted from pearlescent faux leather, referencing the aquatic themes present throughout the game.
The multi-layered train incorporates custom-designed satin printed with a scale pattern, white jacquard, cotton, and glitter-bonded chiffon. The entire structure was reinforced with tailoring interfacing to preserve its distinctive shape.
The shoes were handmade with meticulous attention to every detail, including the sole patterns that create a rubber mosaic effect. The gold accessories were produced using two different 3D-printing technologies and enhanced with resin castings. To emphasize their visual impact, they were backed with holographic vinyl film, creating the illusion of shimmering water.
Nightmare Nurse – Baldur’s Gate 3 by Margaret
This costume depicts the Nightmare Nurse from Baldur’s Gate 3. It was created entirely by hand and won First Place at the international Cosplay Champions Cup 2026.
The most technically advanced part of the costume is the headpiece, constructed from EVA foam. Hundreds of individual lines were painted by hand to create a realistic texture, while the ruffles required approximately 90 hours of finishing work, often with the aid of a magnifying glass. Great care was taken to reproduce the textures and colors of the original design as faithfully as possible.
The costume is essentially one large painting project, incorporating a wide variety of painting techniques. It also includes handmade sewn elements, weathered bandages dyed with black tea, and deliberately distressed fabrics that enhance the realism of the character.
The overall appearance is completed by extensive SFX makeup, including facial makeup, body effects, and tattered artificial fingernails, all contributing to the character’s dark and unsettling presence.
Alistar – League of Legends by Asgardian Fraud
Moo Cow Alistar is a cow-themed skin for the minotaur champion Alistar from the League of Legends universe. The costume was originally created as part of the League of Legends Village project, which can also be visited at Pyrkon through Project League.
The costume’s impressive volume comes primarily from a massive amount of upholstery foam attached to a custom-sewn base structure. The mask is built around a resin cast taken from a sculpted model, covered with fleece fabric and shaded using an airbrush.
The character’s pajama outfit is made from fleece, but the costume also includes one of every cosplayer’s favorite materials – EVA foam.
Isabela Madrigal – Encanto by LinaSakura
Isabela’s dress is literally overflowing with flowers. More than 500 flowers cover its entire surface – some individual, others grouped together with beads at their centers – and every single one was sewn on by hand.
The fabric used for the sleeves was custom-dyed to achieve the desired color. The dress itself consists of two layers of fabric, including a lightweight chiffon overlay.
The earrings are small flowers assembled from carefully selected jewelry components. The shoes are hand-embroidered espadrilles that were first painted to match the costume’s color palette.
Crucible Knight – Elden Ring by Astel
Crucible Knight is an enemy from Elden Ring and a member of the knightly order serving under the first Elden Lord, Godfrey.
The armor on display was handcrafted and represented Poland at the ACWS finals in Bulgaria, where it received the Silver Armor Award.
The cosplay was built entirely by hand, primarily from EVA foam, with a strong focus on texture and fine detail. Surface effects were achieved using puff paint and foam clay.
The smaller rivets covering the armor were cast from foam clay, while the largest ones were produced using 3D printing. The chainmail was made entirely by hand, from coiling the wire into rings to weaving the complete mail shirt and sewing it onto the wool skirt.
The cloak was sewn from linen, while the golden symbol was applied using heat-transfer vinyl. The entire costume was painted with an airbrush and subjected to an extensive weathering process.
The costume is completed by a shirt and gloves made from chainmail-print fabric, as well as a foam sword reinforced with an aluminum tube core.
Kotoyuki Tsuneki – Silent Hill F by The Fantastic Boiz
Kotoyuki Tsuneki (Fox Mask) is a character from Silent Hill f.
The costume was created by the duo Cain and Aesthmodeus (The Fantastic Boiz) for the Polish qualifiers of the World Cosplay Summit 2025. An improved version of the costume will represent Poland at the WCS Grand Finals in Japan this August.
The outfit is based on a traditional Japanese wedding garment, and every aspect of its construction was inspired by authentic bridal attire. All components of the costume—including the shoes and socks—were handmade from scratch.
One of the most interesting techniques used during production was linocut printing. The kimono sleeves and the emblem on the outer haori were first printed using a hand-carved stamp and then individually painted by hand.
The fabrics were dyed to match the reference material as accurately as possible. Since the costume represents ceremonial wedding attire, natural materials were used whenever feasible.
The earring was first sculpted in clay and later cast in resin, while the fox mask was created from Worbla coated with foam clay.
Aloy– Horizon Forbidden West by Zannah
Aloy is the protagonist of the Horizon series. Through her journey, players experience both the joys and hardships of her quest to find her mother, while ultimately helping save the world. The Savior of Meridian is one of the most recognizable characters in modern gaming.
This Aloy cosplay represented Poland at this year’s Cosplay Central Crown Championships in London.
When creating the costume, I wanted to maximize the use of materials that Aloy herself could realistically find in the wilderness, such as natural wood and leather. Anyone familiar with the games knows that the story carries a strong environmental message.
I also wanted to approach the construction of my costume as sustainably as possible. Leather scraps were repurposed into braided ornaments, necklaces, straps, and decorative embroidery on the skirt. The leftover pieces were cut into narrow strips and either woven into accessories or stitched into embroidered patterns.
The wooden elements were made from pieces of wood found in a garage or from dry branches. The wig was assembled by sewing together hair wefts in different shades, and the entire hairstyle is secured primarily through stitching rather than styling products. Only minimal amounts of hairspray and glue were used.
Dolores Madrigal – Encanto by Shironi
This Dolores costume from Encanto was made from cotton fabric. The patterns decorating the off-the-shoulder blouse and headscarf were hand-painted using fabric paints, while the embellishments on the ruffle were created with heat-transfer flex vinyl.
The cotton lace used on the blouse was hand-dyed yellow.
All patterns featured on the skirt and shoes were embroidered by hand. The wig was created by sewing together two separate wigs and styling them with a narrow curling iron.
The earrings and the pendant attached to the choker were crafted from buttons and Thibra.
I Postać z powieści– Wiedźmin (powieść) by Kuba Dobrenko
The first silhouette is my original interpretation of the armor of an old witcher master. From its cut to its finishing details, the design emphasizes simplicity of form and restraint in ornamentation. The costume is intended to be practical, easy to repair, and straightforward to reproduce.
By using the same materials while presenting them at different stages of wear and deterioration, I tell the story of a garment that has evolved over time. The witcher repaired it repeatedly, modified it, and adapted it throughout years on the Path. Drawing on his experience, he gradually created the final version of this armor.
The jacket resembles a trophy. Its texture evokes the hide of a draconid or another monster. Entirely hand-stitched, it was constructed so that not a single piece of material would go to waste. It appears to be a work of great pride.
Roughly cut pieces of thick, rigid leather underwent multiple stages of treatment before being fastened together with silver rivets. The armor is worn, but fully functional.
The foundation of the costume is a long, faded tunic made from a linen-cotton blend, sewn both by hand and by machine.
The first and most heavily worn piece of armor is a padded gambeson reinforced with leather plates. It was sewn both by hand and machine, quilted with wool padding, and weathered using acrylic paints.
The studded leather jacket is made from textured sheepskin dyed black and hand-stitched to a leather lining. Its pattern was created by layering overlapping rectangles.
The belts, pouch, and bracers are crafted from a mix of natural leathers finished to match the rest of the design. The sword carried on the back was produced using 3D printing.
II Postać z powieści– Wiedźmin (powieść) by Kuba Dobrenko
A leather armor set for a witcheress. Simple and elegant. Composed of a blend of warm and cool shades of brown, it reflects pragmatism and experience while still retaining a touch of sophistication.
This costume is intended to command respect. It deliberately departs from historical standards and traditional tailoring, presenting something new—something that seems unconventional at first glance.
Despite its fitted silhouette, the costume remains comfortable and suitable for dynamic combat. It is clear that its owner takes good care of it. There are no visible signs of wear; it ages slowly and gracefully. Well-maintained, properly treated, and always ready for the next journey.
The gambeson motif appears not only as the foundation beneath the leather armor but also as an outer layer protecting the upper body.
The costume consists of a tunic made from brown cotton finished with hand-sewn edging.
The gambeson is constructed from heavy brown linen quilted over wool batting.
The leather armor is formed from leather strips joined together with lacing. Its tailored cut conforms closely to the wearer’s figure while also allowing size adjustments. Every element has been constructed in a believable and functional manner.
The pouch, belts, bracers, and accessories are all made from genuine leather. The witcher’s sword was created using 3D printing.
III Postać z powieści– Wiedźmin (powieść) by Kuba Dobrenko
It is difficult to call it armor.
It looks different from the attire typically worn by witcher masters. It is light, comfortable, and slightly playful. The warm, light-brown leather sets it apart from the more somber appearance commonly associated with witchers.
Such lightweight protection might suggest exceptional swordsmanship—or perhaps an unexpected degree of recklessness.
The costume is decorative yet restrained. Some of its embellishments seem almost unnecessary, out of place on a witcher—a serious monster slayer whose appearance is usually meant to inspire respect and fear.
This witcher—and therefore his clothing—is entirely different.
The costume consists of a lightweight tunic in a color contrasting with the jacket.
The light leather jacket is finished with braided leather details and studded accents. Its cut intentionally diverges from widely accepted historical conventions.
The leather belts and bracers are stamped with decorative patterns and rich in texture.
Accessories are finished with brass fittings.
A 3D-printed sword, decorated with brass wire, hangs across the back.
IV Postać z powieści– Wiedźmin (powieść) by Kuba Dobrenko
The armor itself immediately drew attention and revealed much about its wearer.
A strong character. Cold. Reserved. As if the stories of emotionless witchers were true.
There was also an undeniable elegance to it, despite its relatively simple structure and the large portion of the body it covered.
The fitted corset appeared highly practical, almost as though it functioned as armor itself. The leather jacket was either heavily worn or exceptionally well maintained. The leather had aged with dignity.
For witcher armor, it was surprisingly short.
Whoever wore it must have moved with remarkable speed and grace. The witcheress was likely not old, yet clearly experienced. Despite certain decorative flourishes, the armor looked practical and undeniably dangerous.
The costume consists of a leather jacket worn over a lightweight linen-and-cotton tunic.
The jacket is finished with stamped leather trim and studded details.
The corset belt is crafted from thick natural leather and secured with heavy straps.
A knife is attached to the belt and carried across the back.
Additional armor elements are made from materials matching the heavy leather corset.
The sword was produced using 3D printing.
V Postać z powieści– Wiedźmin (powieść) by Kuba Dobrenko
The stranger was not old, yet his hair was almost completely white. Beneath his cloak he wore a worn leather jerkin, laced at the neck and shoulders. When he removed the cloak, everyone noticed the sword hanging from the belt across his back.”
“The stranger once again reached through the opening of his doublet and pulled out a round medallion hanging from a silver chain. The medallion depicted the head of a wolf baring its fangs.
‘Do you have a name? Any name will do. I ask not out of curiosity, but to make conversation easier.’
‘My name is Geralt.’
‘Geralt will do. From Rivia, judging by your accent?’
‘From Rivia.’
The Last Wish, Andrzej Sapkowski
The rider’s hair was white as milk, held back across his forehead by a leather headband, and a black woolen cloak draped over the hindquarters of his chestnut mare.”
Sword of Destiny, Andrzej Sapkowski
A short gambeson made from heavy dark cotton.
A jacket densely covered with simple studs and laced at the neck and sides.
Light armor secured with a simple belt.
The pouch, studded bracers, and knife sheath are crafted from genuine leather.
The sword was created using 3D printing.