A lot of the early concept art we see for TV shows and films don't normally end up being the same exact design that we get in the final product. But this design for Marvel's Daredevil suit, created by artist Ryan Meinerding, is pretty much exactly what ended up in the show.
Marvel released the concept art along with an interview with the artist. He talked about the design he came up with, saying:
“The tone that was really communicated was the sense of realism that they were going for. I think the way that [manifested itself in] the costume was through the armor and making it feel a little bit more padded than you traditionally think of Daredevil being. When we do these designs, there’s a concept of grounded and a concept of reality. The grounded nature that they brought to the vigilante costume was the simplicity and effectiveness, because you’re trying to conceal your identity but also [have to be] mobile enough to fight.
“When you do a super hero costume in that world, it’s hard to be as real as you need to be, because you’re making it heightened. So you try and find the touchstones for that with armoring pieces that you would want armored, like your shins and your forearms for blocking and hitting as well as having things be riveted on. The overall layout of that costume is really that it’s meant to look like a Kevlar vest with stuff underneath it. That’s what we were going for.”
Marvel CCO Joe Quesada talks about what he liked about the costume saying:
“One of my favorite parts of the costume is that if you look very, very closely at some of the way the armature is attached to the costume, you can actually see rivets,” Quesada elaborates. “There was something about that particular element that I told Ryan, we should lean into that a little bit because that is so quintessentially New York and how the city itself is constructed. And Melvin Potter, being who a guy who’s working on engines [and] a bunch of different things, rivets seem like something he would use. Ryan also did some great stuff with respect to the placement of blacks against the red, the way that the darker portions of the mask are constructed to really give the full feeling of when comic artists draw that mask and rim light it in red while leaving the center portions black.
“The horns are iconic, and we had to be careful as to how we handled them,” remarks Quesada. “I think what Ryan did is absolutely spectacular, when you really look at the structure of the helmet and the horns, because those can be done in a way where they actually look silly. He created an architectural design, an angular design for the horns, that just feels natural to the cowl.”
It will be interesting to see how that costume evolves when Season 2 rolls around.