the costume designer - spring 2015

48

Upload: costume-designers-guild

Post on 22-Jul-2016

253 views

Category:

Documents


10 download

DESCRIPTION

The official trade magazine of the Costume Designers Guild, IATSE Local 892 (Spring 2015)

TRANSCRIPT

Page 1: The Costume Designer - Spring 2015
Page 2: The Costume Designer - Spring 2015
Page 3: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 3

CDG Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16Symposium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20The Legacy of Mary Rose . . . . . . . . . . . . . . . . . . . . . . . . .22Mentorship, The Invisible Foundation . . . . . . . . . . . . . .24Spark @ The Academy . . . . . . . . . . . . . . . . . . . . . . . . . . .30 My Mentors—Eduardo Castro . . . . . . . . . . . . . . . . . . . . .32

COSTUME DESIGNERS GUILD11969 Ventura Blvd., First Floor

Studio City, CA 91604phone: 818.752.2400 fax: 818.752.2402

costumedesignersguild.com

GENERAL CDG [email protected]

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 President’s Letter Executive Director Labor Report Report from the Costume Design Governor for the Television Academy

The Costume Department . . . . . . . . . . . . . . . . . . . . . . . . .14 History of Dress

Book Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34What’s On What’s In . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

DEPARTMENTS

FEATURES

vol. 11, issue 2

COVERAnn Foley, Marlene Stewart, and

Christopher Lawrence photographed at International Silks and Woolens

by Emily Berl. Makeup by Debbie Zoller and hair by Richard DeAlba.

TOC photo: Milena Canonero’s Oscar-winning costumes for The Grand Budapest Hotel

at the FIDM Exhibit. Getty Images.

Page 4: The Costume Designer - Spring 2015

4 The Costume Designer Spring 2015

EDITOR’S NOTE

In our modern visual language, red symbolizes passion. But in the

medieval lexicon, red was the most precious pigment. It is no won-

der that noblemen and religious figures in 15th-century paintings

were cloaked in crimson and ermine to illustrate their prestige. In

actuality, the color was made from the South American cochineal

insect. The pigment was extracted by artisans in medieval guilds

that defended the formula with their lives; trade secrets were not

passed on, they were coveted and guarded.

In what seems to be another universe, obscure information is a

Google search away and there are university curriculums dedicated

to disseminating knowledge freely. But some lessons can only be absorbed on the job, or under

the tutelage of a master. I find mentorship to be a deeply resonating theme in our Guild, and I

am delighted to bring it to your attention in this spring issue. I would go so far as to say that we

are shaped by our mentors because they define the edges of what we think is possible. Work

is so often just that—work. But occasionally, the transcendent happens. Not unlike a rocket

needs boosters to clear the weight of the atmosphere, sometimes a mentor makes the differ-

ence between a career launch and remaining earthbound.

After many conversations with our members, I’ve learned that mentorship relationships

are often extensions of lives lived magnanimously, rather than deliberate choices or “work.” If

we are lucky enough to be a mentor or mentee, we experience a beautiful, self-perpetuating

cycle of generosity and gratitude, which is the cornerstone of what our Guild represents.

I feel fortunate to have called Theadora Van Runkle my mentor in art and in life.

Thank you, Thea, for your example and encouragement, which carries me to this day.

Anna Wyckoff

[email protected]

EDITOR IN CHIEFAnna Wyckoff

ASSOCIATE EDITORSBonnie Nipar

Christine Cover Ferro

PRESIDENT Salvador Perez

[email protected]

VICE PRESIDENT Cate Adair

[email protected]

SECRETARY Ivy Thaide

[email protected]

TREASURER Nanrose Buchman

[email protected]

EXECUTIVE BOARDMary Vogt

[email protected] Lawrence

[email protected] Weiss

[email protected] May

[email protected] Boutté Jr.

Costume Illustrators Representative [email protected]

Kristine Haag ACD Representative

[email protected]

LABOR REPRESENTATIVESBetty Madden

Sharon DayBOARD ALTERNATES

Kristin [email protected]

Jennifer [email protected]

Lyn [email protected]

Terry [email protected]

BOARD OF TRUSTEESJacqueline Saint Anne

[email protected] Chally

[email protected] Inglehart

[email protected]

ALTERNATE TRUSTEE Dorothy Amos

[email protected]

EXECUTIVE DIRECTORRachael M. Stanley

[email protected]

MEMBER SERVICES ADMINISTRATORSuzanne [email protected]

RECEPTIONIST/SECRETARYCecilia Granados

[email protected]

PUBLISHERIngleDodd Media

ADVERTISING 310.207.4410

[email protected]

costumedesignersguild.com

Thank you International Silks

and Woolens

Location of our cover photo shoot

ISW was established in September 1969 by Nahum Zimmer, Paul Mandel, Salim Israwi, and Nandor Markovic, all of whom have now retired. Presently, the Israwi brothers: Salim, Souhail, and Safwat run the store. ISW has always part-nered with and been an advocate of the Costume Designers Guild.

Page 5: The Costume Designer - Spring 2015

OUTSTANDING COSTUMESFOR A PERIOD/FANTASY SERIES, LIMITED SERIES OR MOVIE

Costume Designer TERRY DRESBACH, CDG

STARZ FYC . c o m

Visit starz.com for airdates/times. STARZ and related channels and services marks are the property of Starz Entertainment, LLC. Outlander © 2014 Sony Pictures Television, Ltd. All Rights Reserved. PBR4459-15-M.

PBR4459-15-M EmmyAd_CostumeMag_5.7_FP_OLS1_FINAL.indd 1 5/11/15 1:39 PM

Page 6: The Costume Designer - Spring 2015

6 The Costume Designer Spring 2015

MARCY FROEHLICH(History of Dress, Text)

Marcy Froehlich joined the Guild in 1992 fresh from New York and Broadway. Her designs have run the gamut from the-ater and opera to film and TV, from Waiting for Godot to the Miss America Pageant. She also co-authored (with Barbara Inglehart and Pamela Shaw) Shopping LA. Froehlich has long had an interest in historical cos-tume and research, so she is delighted to contribute to the magazine in this way.

BONNIE NIPAR(Associate Editor, What’s On,

What’s In)

Bonnie Nipar joined the Guild in 1997 and works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the indus-try. A huge fan of The Costume Designer, Nipar happily took over four recurring columns. “It’s a treat to honor the latest accomplishments of our peers.”

CHRISTINE COVER FERRO

(Associate Editor, Spark @ The Academy, Co-contributor to

Boldface Names)

Christine Cover Ferro joined the Guild in 2012 after nine years of theatre and indie work in Los Angeles. Previous stops included costume work in her adopted hometown of Miami, as well as Boston and the Twin Cities. She studied theatre design at Brandeis University and Macalester College. As a lover of storytelling in all forms, she enjoys exploring the differ-ent facets of Costume Design and bringing them to light in the magazine.

JACQUELINE SAINT ANNE(The Reading List)

Born in Panama and raised in the United States and Europe, Emmy Award-winning Costume Designer and President Emeritus of the CDG, Jacqueline Saint Anne has been a frequent contributor since the inception of our magazine. She became a Board member soon after join-ing the Guild in 1982 and she continues to serve the CDG as a Trustee. In her post-televi-sion career, Saint Anne regularly designs eight operas per season from October to May as well as television commercials and films. She is the mother of two and the mentor of many.

STACY ELLEN RICH(Co-contributor to Boldface

Names)

Stacy Ellen Rich joined the CDG in 2005 and she is thrilled to be involved with the magazine. Her design career began with study in Florence, Italy, and flourished within the sphere of Chicago Theater, which catapulted her into the world of film. The jour-ney has seen her through many amazing experiences in medias as varied as film, performance art, and music video. Additionally, Rich’s designs have been on view in the Whitney Museum of American Art in New York City and the Tate Modern in London. It is her pleasure to assist in compiling the fantastic array of accolades earned by our Guild members.

CONTRIBUTORS

EDUARDO CASTRO(My Mentors)

Eduardo Castro is a CDG Career Achievement recipient. He received a master’s degree in Costume Design from Carnegie Mellon University’s School of Drama. A seven-time Emmy nominee, Castro has designed over 30 television series includ-ing Miami Vice and Ugly Betty. Additionally, he has cre-ated several television movies and worked on many films. He delights in drawing his own illustrations of his designs.

DIANA EDEN(Legacy Mary Rose)

Diana Eden spent 30 years in Hollywood Costume Designing 14 prime-time TV series, 16 pilots, TV movies, and fea-ture films. Additionally, she has designed dozens of stage produc-tions. Eden has also served two terms as Secretary and one term as Vice President of the CDG, as well as serving on a number of committees, including presently co-chairing the Legacy Group.

Eden received an Emmy nomina-tion for A League of Their Own and two more Emmy nomina-tions for NBC’s Passions. She is co-author of the book Retro Chic. Since her move to Las Vegas in 2008, Eden has designed several films and stage productions and taught at UNLV.

ROBIN RICHESSON(History of Dress, Illustrator)

After joining the Guild in 1992, Richesson currently works as a costume illustrator, a storyboard artist, and educator. “I trained to work as an illustrator for print (publishing) so when the CDG began the magazine, I was pleased to be asked to illustrate for it. I love working in film, but I have to admit, I missed seeing my work in print. The History of Dress column is a great way for me to learn more about clothing and participate in this publication.”

Page 7: The Costume Designer - Spring 2015

OUTSTANDING COSTUMESFOR A PERIOD/FANTASY SERIES, LIMITED SERIES OR MOVIE

Costume Designer TIM ASLAM

STARZ FYC . c o m

Visit starz.com for airdates/times. STARZ and related channels and services marks are the property of Starz Entertainment, LLC. Black Sails © 2015 Starz Entertainment, LLC . All rights reserved. PBR4459-15-M.

PBR4459-15-M EmmyAd_CostumeMag_5.7_FP_BKS2_FINAL.indd 1 5/12/15 12:37 PM

Page 8: The Costume Designer - Spring 2015

C

M

Y

CM

MY

CY

CMY

K

cdg magazine ad supply store 2015.ai 1 5/1/15 3:13 PM

Page 9: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 9

This issue of The Costume Designer magazine highlights mentors. Where would we be in our careers if

we didn’t have the chance to learn from those who paved the way before us? In my career, I have worked

for some very talented Costume Designers including Rosanna Norton, Joseph Porro, and Elsa Zamparelli

who taught me so much about Costume Design.

Once I joined the CDG as an assistant costume designer, my first job was assisting Marlene Stewart

on the feature film, The Phantom. I only had one chance to work with Marlene, but lessons I learned

from her on that project have stayed with me throughout my career. Producers and directors are always

impressed by my presentations, which is one of the tools I learned from Marlene. Every time I take a meet-

ing, I think of Marlene and the wisdom she taught me.

You can spend many years studying the art of Costume Design in school, but the real lessons come

from working with talented professionals who show you how they do it in the real world. So many of our

great Costume Designers like Eduardo Castro and Judianna Makovsky worked with amazing mentors, like

Milena Canonero, who gave them the tools to have great Costume Design careers of their own.

I would like our new members to have the chance to learn from the more experienced Costume

Designers who have a wealth of knowledge to pass on. We have an active Legacy Group of retired mem-

bers who are a valuable asset to us all. Give them a call, invite them for a coffee, and ask for advice, you

will learn so much from them.

The CDG recently went to contract negotiations with the producers. I had the opportunity to attend

with the Negotiating Committee, and it was an eye-opening experience. I encourage all members to join

the Negotiating Committee to experience how it works. It will give you a whole new respect for what

IATSE has been able to achieve.

I finally made time to create my Costume Design website. My agent has been asking me to do this for

years, as producers expect it, instead of lugging around your portfolio. The images from the earlier part of

my career were not available in digital format so I had to scan my portfolio, and the large format scanner

in our CDG office was amazing. It made the job so easy. I hope all members make use of the computer

stations in the office. Visit my website at www.salvadorperezdesign.com. Hopefully, it will inspire you to

build your own.

Our Education Committee Chair, Ivy Thaide, has been busy with many classes. I attended the Adobe

Illustrator class. In just a couple of hours on a weekend, I learned some valuable tools to help with my

presentations. Take advantage of these free classes available to all CDG members to learn the latest technol-

ogy. It will be a valuable asset in your career.

I am hopeful that with the California Film & Television Tax Credit starting in July of this year,

Hollywood will be busy once again and our members will be working here at home. We have suffered

many years from so much production leaving California following tax credits, now we get to enjoy the

benefits of film tax credits here in our home state of California!

In solidarity,

Salvador Perez

[email protected]

UNION LABEL

PRESIDENT’S LETTER

Costume Designers take the ordinary andmake it extraordinary.

“”

–Salvador Perez

Page 10: The Costume Designer - Spring 2015

S O N N E N T A Gcreative advertising and design

310 374 8175

Page 11: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 11

Spring brings new beginnings in nature and also here at the Guild. After a busy holiday season and a successful awards season, we all took a quick breath and dove into the spring proj-ects. We are hard at work to bring more seminars, workshops, and social events to our membership. The Education Committee has planned many exciting seminars and

classes, so be sure to open the weekly GEMS email for the latest schedules. Our new Executive Board was sworn in at the April Executive Board Meeting and they were ready to get to work for the membership. I send a big thank-you to all who par-ticipated in this election as a candidate or a voter, and a special thank-you to our Election Committee Chairs, Jennifer Collopy and Mikael Sharafyan.

In the second week of April, the IATSE and the AMPTP hammered out a new three-year con-tract to begin on August 1, 2015. Details will be coming shortly about the new terms, and I know the membership will be pleased with the results. President Loeb was impressive in his abilities to stave off losses while moving forward in a direc-tion that will benefit IATSE members.

We have lots of exciting things happening in the next few months. We just held the Legacy Brunch where we honored President Emeritus Mary Rose. In just a few weeks, we will hold our annual mixer with our sister Local 705, Motion Picture Costumers union. Be sure not to miss it.

In July, your elected delegates will head off to Honolulu, Hawaii, for our District 2 meeting. District 2 consists of California, Nevada, Arizona, and Hawaii. This is the first time in more than 10 years the convention has been held in Hawaii.

Remember to always keep your contact infor-mation updated with the Guild office so we can be sure to let you know about upcoming events. An active involved member is always a treasure!

In solidarity, Rachael [email protected]

EXECUTIVE DIRECTOR

UNION LABEL

Page 12: The Costume Designer - Spring 2015

12 The Costume Designer Spring 2015

As your Costume Design Governor for the Television Academy, I am pleased to announce we’ve implemented several major and exciting changes to both our Emmy categorizations and Active membership requirements.

In terms of Emmy nominations, one of our greatest successes has been separating Contemporary costume submissions from Period/Fantasy/Sci Fi. This new direction means Contemporary costumes will no longer com-pete with Period/Fantasy/Sci Fi for Emmy consideration. Contemporary costumes are defined as those styles from the past 25 years, i.e.: this year the Contemporary category would encompass all costumes depicting any of the years between 2015–1990.

Contemporary costume submissions will compete in their respective programming categories, either: series, mini-series, or MOW. Separately, Period/Fantasy/Sci Fi would have the same three opportunities. This means, based on the number of votes, there could be a possible number of six Emmys awarded for costumes.

But only if YOU VOTE!The Juried Award category will remain unchanged. Changes to our Active membership requirements allow eligible assistant costume designers, key costumers, set costumers,

heads of workroom/workroom supervisor, and owner/head of independent costume manufacturing facilities to become Active members. For membership consideration, applicants must have 25 hours of TV programming which have aired within four con-secutive years on any platform from network, cable, digital, and streaming, among others.

None of this works if you, our Academy Peer group, doesn’t participate and vote. We need each and every member to vote, and that means voting twice … first for the nominations and second for the final vote.

For all Emmy submission information, please visit the Academy website at televisionacademy.com.

Crucial deadlines are as follows:June 15 Nomination voting beginsJune 26 Nomination voting endsJuly 16 Nominations are announced liveAugust 3 Nomination viewing site opensAugust 17 Final round of voting beginsAugust 28 Final round of voting endsSeptember 12 Creative Arts Awards and Ball

Join us May 30, as we host a brunch for you, at the Beverly Hills Montage Hotel’s Scarpetta Restaurant. Come meet and greet your fellow members, find out about the changes, ask questions, and get ready to vote. Let’s start the awards season together. Watch for a formal invitation in your email from the Television Academy and be sure to RSVP!

Sincerely,

Terry [email protected]

UNION LABEL

May 25 Memorial Day office closedJune 1 Executive Board MeetingJune 20 General Membership MeetingJuly 3 Holiday office closedJuly 6 Executive Board MeetingJuly 9–12 CDG at Comic-ConJuly 10–12 District 2 in HawaiiJuly 26–31 General Executive BoardAugust 3 Executive Board Meeting

CALENDAR

Page 13: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 13

An Argument for Minimum Wage Increase

Service jobs swell and incomes stagnate as minimum wage earners are unable to make ends meet without government

assistance. While Democrats blame the inherent unfairness in the economy, Republicans cite high taxation and onerous regulations. Both are cor-rect, but minimum wage should not be a political football, people’s lives are at stake.

The essential question is how do full-time workers earn enough to support their basic needs and thrive without turning to government assis-tance? We can pay a liveable wage, giving workers the dignity of providing for themselves, or we can tax ourselves in order to give these same work-ers the assistance they need to cover their bases. Are we willing as taxpayers, to give higher taxes to fund assistance to underpaid workers so we can cover the difference created by undervalued prices for the goods we purchase? Our social values are a direct reflection of how and what we are willing to pay. Minimum wage, by defini-tion, should support workers, so they can feel the direct benefits of working and not be reliant upon social assistance programs. Also, if a worker can do better not working, then why work at all?

We can decide to pay a true value price that is fair in the existing marketplace or gamble on the hope that we can escape higher prices. We can choose to be ethically fair-minded and allow others to share in the success of hard work and fair play. Perhaps a living wage will not change your bottom line, but it can alter the playing field in the marketplace to fairly reflect the cost of goods and services.

California spends $3.7 billion, New York spends $3.3 billion, Texas spends $2 billion on public assistance programs to among others: fast-food workers, child-care and home-care workers, and part-time college faculty workers. Let’s set political teams aside. Minimum wage is about the quality of life in our communities.

In solidarity,

Betty P. [email protected]

LABOR REPORT

UNION LABEL

Page 14: The Costume Designer - Spring 2015

14 The Costume Designer Spring 2015

THE COSTUME DEPARTMENT

Kente, kente, kente clothStrips of woven hue.

Silk and cotton on the loomPatterns bold and true.

Royal, sacred, made for kings,Symbols of great wealth.

Geometric, bright, and proud,Wear it in good health.

Illustration by Robin [email protected] by Marcy [email protected]

HISTORY OF DRESS Kente ClothThe Formal Wearof West Africa

Page 15: The Costume Designer - Spring 2015

Illustration by Robin [email protected] by Marcy [email protected]

ISSUE/POST: 05.07.2015

POSITION:

FILENAME: J3577_19340_MADMEN_THECOSTUMEDESIGNER_2F

CLIENT: AMC JOB NO: J3577_19340

MEDIA: FULL PAGE

Mechanical:Bleed: 8.625 X 11.125”Trim: 8.375 X 10.875”Live: 7.875 X 10.375”

2FPRINTED: 05/11/15

SCALE: 100%

DENSITY: 300 MAX

CANYON DESIGN GROUP

MADMEN

THE COSTUME DESIGNER

CANYON DESIGN GROUP • 4929 WILSHIRE BLVD., SUITE 500 LOS ANGELES, CA 90010 (P) 323 933 2203 • CONTACT: JUDY KEMPER • EMAIL: [email protected]

52-42-41-20 0-95-100-0 74-69-67-97

©20

15 A

MC

Netw

ork E

nter

tainm

ent L

LC. A

ll rig

hts r

eser

ved.

OUTSTANDING COSTUMESFOR A PERIOD/FANTASY SERIES, LIMITED SERIES, OR MOVIE

JANIE BRYANT Costume DesignerTIFFANY WHITE STANTON Co-Costume Designer

CHRISTINA M. ANTHONY Costume Supervisor

F O R Y O U R C O N S I D E R A T I O N

Page 16: The Costume Designer - Spring 2015

16 The Costume Designer Spring 2015

CDG Awards17th Annual Costume Designers Guild Gala

Excellence in Contemporary Film Birdman, Albert Wolsky

Excellence in Period Film The Grand Budapest Hotel, Milena Canonero

Excellence in Fantasy Film Into the Woods, Colleen Atwood

Outstanding Contemporary Television SeriesTrue Detective, Jenny Eagan

Outstanding Period/Fantasy Television SeriesGame of Thrones, Michele Clapton

Outstanding Made for Television Movie or Mini-SeriesAmerican Horror Story: Freak Show Lou Eyrich

Excellence in Commercial DesignArmy: Defy Expectations, Villagers Christopher Lawrence

Career Achievement AwardAggie Guerard Rodgers

Distinguished Collaborator AwardRichard Linklater

Edith Head Award for the Advancement and Education of the Art of Costume DesignDr. Deborah Nadoolman Landis

LACOSTE Spotlight AwardNaomi Watts

Ph

oto

: Kev

in W

inte

r/G

etty

Im

age

s

Ph

oto

: Ch

rist

oph

er P

olk

/Get

ty I

ma

ges

Albert Wolsky

Naomi Watts with LACOSTE Spotlight Award

Aggie Rodgers accepting her Career Achievement Award from Harrison Ford

Page 17: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 17

Ph

oto

: Kev

in W

inte

r/G

etty

Im

age

s

Ph

oto

: Alb

erto

E. R

odri

guez

/Get

ty I

ma

ges

Photo: Stefanie Keenan/Getty Images

Christopher Lawrence

Patricia Arquette and January Jones

Colleen Atwood

Michelle Monaghan and Milena Canonero

LACOSTE S.A. Director Beryl Lacoste-Hamilton and President Salvador Perez

Page 18: The Costume Designer - Spring 2015

18 The Costume Designer Spring 2015

This Edith Head Award is particularly meaningful for me. Edith said, ‘If a designer can make the audience feel that the actress is the character, then it’s a good job of costuming. My job is to help the girl who wears the dress become the person she’s playing on the screen.’ Edith Head was one of the founders of the Costume Designers Guild in 1952. When you are negotiating for your next project, be brave, take a moment, and consider,

What would Edith do?

–Dr. Deborah Nadoolman Landis

Dr. Deborah Nadoolman Landis and John Landis

Mindy Kaling and Kiernan Shipka

Richard Linklater

Naomi Watts

Ph

oto

: Kev

in W

inte

r/G

etty

Im

age

s

Ph

oto

: Kev

in W

inte

r/G

etty

Im

age

s

Ph

oto

: Alb

erto

E. R

odri

guez

/Get

ty I

ma

ges

Page 19: The Costume Designer - Spring 2015

ISSUE/POST: 05.11.2015

POSITION:

FILENAME: J3577_19341_HOW_THECOSTUMEDESIGNER_3F

CLIENT: AMC JOB NO: J3577_19341

MEDIA: FULL PAGE

Mechanical:Bleed: 8.625 X 11.125”Trim: 8.375 X 10.875”Live: 7.875 X 10.375”

3FPRINTED: 05/11/15

SCALE: 100%

DENSITY: 300 MAX

CANYON DESIGN GROUP

HEELS ON WHEELS

THE COSTUME DESIGNER

CANYON DESIGN GROUP • 4929 WILSHIRE BLVD., SUITE 500 LOS ANGELES, CA 90010 (P) 323 933 2203 • CONTACT: JUDY KEMPER • EMAIL: [email protected]

2-21-37-39 74-69-67-97

©20

15 A

MC

Netw

ork E

nter

tainm

ent L

LC. A

ll rig

hts r

eser

ved.

OUTSTANDING COSTUMESFOR A PERIOD/FANTASY SERIES, LIMITED SERIES, OR MOVIE

CAROL CASE Costume DesignerADEJOKÉ TAIWO Assistant Costume Designer

KIMBERLY CATTON Assistant Costume DesignerMICHELLE CARR Costume Supervisor

F O R Y O U R C O N S I D E R A T I O N

Page 20: The Costume Designer - Spring 2015

20 The Costume Designer Spring 2015

SYMPOSIUM

All photos courtesy of Getty Images

Panel from left to right: Moderator Trish Summerville, Christopher Lawrence Ray Donovan, Ruth Carter Selma, Aggie Rodgers Career Achievement recipient, Albert Wolsky Birdman, Ane Crabtree Masters of Sex, Jenny Eagan True Detective, Mark Bridges Inherent Vice, Kari Perkins Boyhood, and Mary Zophres Interstellar.

Clockwise from top left: Ane Crabtree and Amy Perris; Oakley Cree Stevenson and Rebecca Raleigh; Jenny Eagan and Mark Bridges; guest and Ellen Falguiere; Kari Perkins and guest; Vice President Cate Adair and husband David Landau; Ruth Carter (center) and guests; Susan Nininger and guest; Trish Summerville and Albert Wolsky; Sarah Cowperthwaite, John Dunn, and Mary Zophres.

Page 21: The Costume Designer - Spring 2015

818-509-9669

21724 WARNER BROS. TELEVISION PRETTY LITTLE LIARS CDG MAGAZINE-RHPAD RUNS: 5/18/2015 AD CLOSES: 5/13/2015 BLEED: 8.625"W x 11.125"H TRIM: 8.375"W x 10.875"H SAFETY: 7.875"W x 10.375"H SAFETY CHEAT: 7.625"W x 10.125"H 5/14/15 mech01

F O R Y O U R E M M Y ® C O N S I D E R A T I O N

“Costume designer Mandi Line has crafted the girls’ lookssince the show’s inception, and promises more of the same bold, fashion-forward outfits that we’ve come to know and love…”

– The Hollywood Reporter

Page 22: The Costume Designer - Spring 2015

22 The Costume Designer Spring 2015

Mary RoseThe Legacy of

The Legacy Group of the Costume Designers Guild hon-ored President Emeritus Mary Rose at the 5th Annual Legacy Brunch on May 3. Rose, a two-term president, has been an ambassador for the Costume Designers Guild both here and abroad.

Rose takes great pride in the role she has played pro-moting television Costume Design. The annual exhibit at FIDM showcases the best of television design and the

opening is counted among the most important events of the awards season. Previously serving as one of the governors of the Television Academy, Rose has also been a pioneer in

helping the next generation of designers learn the art and craft of Costume Design on the sets of professional television shows, under the stewardship of the Academy’s Foundation. Initially, the summer internship pro-gram was received with skepticism, but Rose would not be discouraged and made many calls to designers to see if they would be willing to participate. The program, which is in its 20th year, is a huge success. Rose still runs it and stays in touch with many of the former interns, many of whom have gone on to successful careers in the business.

One such intern, now an assistant costume designer, JR Hawbaker, says of Rose, “That distinct Mary Rose style is more than any shade of hair color or memorable ensemble. Her style is her unabashed exuberance for life and education about Costume Design. That spirit spills over to her mentorship of young people.”

BY DIANA EDEN

Her style is her unabashed exuberance for life and

education about Costume Design. That spirit spills over to her mentorship of young people.

–JR Hawbaker

For the full article, please go to www.costumedesignersguild.com

The Legacy Group is co-chaired by Sharon Day and Diana Eden and is comprised of Peter Flaherty, Betty Madden, and Dodie Shepard.

The CDG wishes to thank the sponsors of the Legacy Brunch

Page 23: The Costume Designer - Spring 2015

818-509-9669

21724 WARNER BROS. TELEVISION 2 BROKE GIRLS CDG MAGAZINE-RHPAD RUNS: 5/18/2015 AD CLOSES: 5/13/2015 BLEED: 8.625"W x 11.125"H TRIM: 8.375"W x 10.875"H SAFETY: 7.875"W x 10.375"H SAFETY CHEAT: 7.625"W x 10.125"H 5/13/15 mech11

F O R Y O U R E M M Y ® C O N S I D E R A T I O N

“…signature styles of well accessorizedand affordable looks on

2 Broke Girls continue to inspiretrends for the everyday fashionista…”

–Entertainment Tonight Online

Page 24: The Costume Designer - Spring 2015

Mentorship THE INVISIBLE FOUNDATION

Even before Marie Antoinette, clothing has always been viewed as a snippy business—heads will roll as they say. Then, there is the proximity. Somehow, Hollywood conjures a feeling of dog eat dog, or perhaps everyone has just watched All About Eve one too many times? This association isn’t limited to the stars on the screen but includes the ones behind the camera as well. Costume Design seems caught in the crosshairs of two potentially negative perceptions. Certainly, drama just makes for better ratings—thank you reality television. But what you don’t hear about is the lasting relationships that are forged in the crucible of a production, and their life-changing impact. Mentorship is not a hot topic, but it has always been an integral foundation of Costume Design.

There have been many famous mentor relationships within our Guild: Lou Eyrich worked for Carol Ramsey, Ret Turner guided Executive Director Rachael Stanley, April Ferry was championed by Robert Fletcher, Eduardo Castro and Judianna Makovsky assisted Milena Canonero. These relationships were powerful. Makovsky says, “Milena’s mentorship, encouragement, and friend-ship most certainly provided opportunities for me in film that I never could have imagined, starting as I had in theatre and opera. I am forever grateful for her generosity and nurturing.”

To better understand the mentor dynamic, we examine the relationship of Marlene Stewart and two of her protégées, Christopher Lawrence and Ann Foley, who have gone on to highly successful design careers of their own.

BY ANNA WYCKOFF

Page 25: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 25

The MavenMarlene Stewart

In her first incarnation, Marlene Stewart was a highly successful fashion designer. Following a master’s degree in history from UC Berkeley, attending FIT in New York, and a stint in Europe, she finished her education at FIDM in Los Angeles. Stewart sold cocktail dresses, day dresses, and some sportswear to major department stores like Saks Fifth Avenue, Neiman Marcus, and Bergdorf Goodman. She was featured in W magazine, Women’s Wear Daily, Mademoiselle, and Glamour.

While changing backers, Stewart received a for-tuitous phone call asking if she wanted to interview to design a music video. The artist was Madonna and the rest is history. At a time when the music video was an art form, Stewart learned the basics of mov-iemaking while surrounded by giants of the field—from the directors of photography, choreographers, hair and makeup artists, to the directors. The many filmic elements were heightened because of the abbreviated format. It is no surprise that the world of music video catapulted Stewart into Costume Design, which led her to feature films where her skills and background were indispensible.

Stewart’s love of history surfaced as she began to make movies. She remarks that her aptitude as a historian allowed her to deeply investigate a character and story on many different levels. Her inclination toward travel and being surrounded by fine artists also led her to absorb the people, cul-tures, and environments she was immersed in. Her accomplishments in the garment industry gave her a deep understanding of the technical aspects of building clothing and researching textiles. “It was my privilege to learn from very experienced tech-nical people when I had my own business. I think you have an awareness of structure and fabrics and what goes into creating a line or a silhouette, because you have that information embedded in your sensibility; to turn to that for different char-acters is not a great leap.”

The CDG Career Achievement recipient is known for such seminal movies such as Terminator 2, Ali, JFK, The Doors, Oblivion, and the Night at the Museum series, among many others. She is presently working on the next iteration of the Divergent/Insurgent films. Stewart also enjoys participating in the Academy Spark program which exposes young students to Costume Design and other film arts.

Val Kilmer as Jim Morrison in The Doors. Photo: Getty Images

Ma

rlen

e St

ewa

rt a

nd

ba

ckgr

ou

nd

ph

oto

s of

Inte

rna

tion

al

Silk

s a

nd

Woole

ns:

Em

ily

Ber

l

Page 26: The Costume Designer - Spring 2015

26 The Costume Designer Spring 2015

The NaturalChristopher Lawrence

When Christopher Lawrence was a boy, his father made neckties for fun. Following his dad through fabric stores made a lasting impression on him. First, it sparked his interest. Secondly, it made him think anything was possible. The latter led Lawrence to sew himself a jacket in third grade. While he doesn’t quite remember what it looked like, he notes it got quite a bit of use. As a child, Lawrence’s family moved more than most. An interesting byproduct of multiple relo-cations was that he became a master of subtle shifts in style in order to blend with his peers and negotiate the difficult world of adolescence.

After studying communication at Pasadena City College, Lawrence became the manager of the Camp Beverly Hills store. The vintage military surplus hit retail gold in the eighties as purveyors of their namesake pastel T-shirts and associated merchandise. Celebrities and Costume Designers roamed the aisles daily. But Lawrence had his sights set elsewhere. While he shopped for stars like Candice Bergen in the store and on the side, he asked every Costume Designer that walked through the doors if they need-ed an assistant.

Interestingly, it was through a friend that he learned Robert Turturice needed help. Lawrence began as a personal assistant, but as soon as Turturice realized Lawrence knew his way around a fabric shop, he began hiring him on films. Eventually, Lawrence had to give up the security of his day job, but he was thrilled to be doing what he loved. “Working with Robert was an amazing education because he built most of his costumes. Being in those rooms not

only taught me the fine art of fitting, but also the oh-so-important art of communication. Whether it was working with the cutter/fitter and illustrator or guid-ing the actor through the Costume Design, Robert’s deep respect for the process—actor, director, story—is an invaluable gift he passed on to me.”

Lawrence began to work on A-list projects and used his carefully honed powers of observation to watch the process of directors and Costume Designers working at the highest level. From each designer he learned something different. Julie Weiss made an impression upon him by saying, “One shouldn’t return to the same set of crayons.” From Albert Wolsky he learned confidence, because Wolsky came from an era before racks and racks of clothes were presented to stars. He created a design and stuck to it.

Lawrence’s breakthrough job was as an associ-ate Costume Designer on the Michael Mann film The Insider designed by Anna B. Sheppard. Lawrence continued onto a series of films including Crank and Hannah Montana: The Movie. In Hannah Montana, Lawrence custom made all the clothing because Disney wanted a unique look, and needed to own the designs for merchandising. The sweet, winsome femininity of the clothes made headlines for their appeal and modesty.

Recently, Lawrence has created the costumes for the television series Ray Donovan and has been recognized for the sleek, understated elegance of Liev Schreiber’s looks. Additionally, Lawrence has continued designing commercials for which he has won two CDG Awards. He finds the medium to be an experimental and rewarding forum where one day he can be dressing futuristic skydivers, Vikings, or a scene in the Middle East.

Ch

rist

oph

er L

aw

ren

ce p

hoto

: E

mil

y B

erl.

Ray

Do

no

van

ph

oto

: Su

zan

ne

Ten

ner

/SH

OW

TIM

E

Liev Schreiber and Paula Malcomson in Ray Donovan.

Page 27: The Costume Designer - Spring 2015

The Superhero SavantAnn Foley

“Diligence is the mother of good luck,” said Benjamin Franklin. Ann Foley would agree. The Savannah native received her degree in fashion merchandizing from Georgia Southern University. During her senior year, the film 1969 came to her hometown, and her boyfriend, a production assistant, brought her to the set. Julie Weiss was the Costume Designer and Foley was astonished by the period costumes. On the heels of graduation she followed her heart and dropped fashion for Costume Design. With $500 she moved to Los Angeles. Fortunately, the one phone number she had in her pocket was for acclaimed Costume Designer and recent Career Achievement Honoree, Aggie Rodgers.

Rodgers recommended Foley to her previous assistant, Hope Hanafin, who was working on After Dark, My Sweet, one of her first films as a Costume Designer. Foley began her career as a PA for Hanafin and spent several years in independent film. There, she met Deena Appel and graduated from set costum-er to key costumer. One of her first assistant jobs was for Marilyn Vance. The end of Foley’s assistant career reads like a best-of-the-best list: she volleyed from Hansel & Gretel: Witch Hunters for Stewart, to Star Trek with Michael Kaplan, to the Emmy-winning Behind the Candelabra, designed by Ellen Mirojnick. “They each have their own way of working and their own journey, so to speak. It’s been fascinating for me getting to be part of that journey with them and has made me a better designer in the long run.”

Foley offered to be Betsy Heimann’s assistant designer on the pilot of Agents of S.H.I.E.L.D., despite the fact that she had just designed two features, because she was a fan of Marvel films. When it went to series, Heimann had a film commitment and rec-ommended Foley. To create the striking look of the show, Foley works closely with Maurissa Tancharoen, who is one of the co-creators and executive produc-ers. Her challenge in the first season was to create six strong, distinctive characters. The second season took an edgier turn toward noir to reflect the film Captain America: Winter Soldier. Foley views this as a dark evolution.

She delights in the fact the show requires most costumes be built in-house. Additionally, she also works with Mary Ellen Fields at Bill Hargate Costumes and Legacy Effects. The schedule is challenging. In typ-ical episodic fashion, she is required to shoot one epi-sode while prepping the next. The task is even more complex because the Marvel Creative Committee is part of the dialogue and approval process.

One of the unique aspects of the show is that the costumes cover such a broad range of personalities. There are the fantastical sleek garments one expects, as well as an extraordinary take on ordinary garments, which give the characters vitality, uniqueness, and accessibility. Foley says, “I’ve been so lucky and truly blessed in my assistant career to have worked with some amazing designers like Marilyn Vance, Michael Kaplan, Ellen Mirojnick, and Betsy Heimann. They’ve all taught me so much about Costume Design, and their guidance has really served me and helped me take on a project like Agents of S.H.I.E.L.D.”

Illustration: Phillip Boutté Jr.

An

n F

ole

y. P

hoto

: E

mil

y B

erl

Spring 2015 The Costume Designer 27

Ph

oto

: ©

Kel

sey

McN

eal/

AB

C

Agents of S.H.I.E.L.D. stars J. August Richards as Deathlok

Page 28: The Costume Designer - Spring 2015

28 The Costume Designer Spring 2015

The Relationships

Stewart finds it difficult to compare the way she works with any other Costume Designer, because she’s never worked for anyone else and has learned her craft through personal experience. While she’s never had a mentor, early in her career Stewart recalls the openness of designers like Wayne Finkelman and many others who were generous with their suggestions and advice. “I always like to have someone to talk to about the process,” she explains. “When working with assistants, or someone like Ann [Foley] or Christopher [Lawrence], it’s a wonderful opportunity when you can have someone that you trust. You can kind of relax a little bit—as much as anybody can relax on a movie. It’s like you can pick your family and you don’t hold back or hide anything.”

Lawrence is grateful to have worked with many designers he considers men-tors including Marlene Stewart. He feels that part of being a mentee is learning from everyone you come in contact with and being respectful, aesthetically and politically, of the designer you are working with. He explains, “Marlene’s absolute trust in our partnership allowed me to walk in the Costume Designer’s shoes and experience the job firsthand, without the pressure of actually being the designer. I was fortunate to be Marlene’s eyes and voice on films that she would have a “design and go” deal on and in meetings she was unable to attend, a daunting but rewarding responsibility.”

Foley feels that each assistant has a different relationship with their designer. “I don’t think Marlene looks at it as mentoring,” she says. “We’re just such close friends. Not one of the designers that I have worked with is consciously trying to be a mentor when they are guiding their crew. They are just trying to get the job done.”

“I think trust is the important thing.” Stewart explains, “It’s about building rela-tionships and giving each other support—those are life skills you want to cultivate at the end of the day. Out of this trust comes the ability to communicate, learn together, and problem solve.” Her desire to keep things in perspective is rooted in her personal beliefs. “The goal is to have as rich of a life experience as you can, and it’s tough because you’re in a pressure cooker and things can get feisty.”

Like the ancient guilds, our members who work together share a knowledge which cannot be absorbed in a classroom. Some lessons are purely experiential. It is no sur-prise that one of the best ways to learn excellence is to watch someone extraordinary at work. Mentorship is not so much a goal or intention as a state of mind, a willingness to share on the part of the mentor, and an openness to learn on the part of the mentee. This relationship is the crucial, unspoken foundation of our Guild. And while it will never make headlines, it gives us depth and substance. It is by supporting each other that we become more than our occupation; we become a community.

Page 29: The Costume Designer - Spring 2015

QUITE POSSIBLY,THE MOST DURABLE,MOST COMFORTABLEBOOTS EVER MADE.They are rugged, with their own natural beauty and distinctive look and feel. Built tougher than they need to be, they reflect the place they’re from. There is no place on Earth like Tasmania, and no boots on Earth like the ones that were born there.

They are more than just boots. They are Blundstones.

Page 30: The Costume Designer - Spring 2015

30 The Costume Designer Spring 2015

Since late 2013, the Academy of Motion Picture Arts and Sciences has partnered with Spark, a national nonprofit program that provides apprenticeships to middle school students in underserved com-

munities. Research shows that this is a crucial age to reach students at risk of dropping out of high school and that the program is very successful, with 90% of alums enter-ing high school on-track, compared to an average of 70% of their peers.

There have been 58 apprenticeships completed at the

Academy thus far in which students have written screen-plays and short stories, produced all sorts of projects, and, yes, even designed costumes. The Academy also gives them access to workshops, screenings and Q&As with filmmakers, behind-the-scenes tours of the making of the Oscar envelope, as well as the Academy Film Archive.

Participation in Spark @ The Academy is open to current members of the Academy. For more information, please contact Bettina Fisher at [email protected] or visit www.sparkprogram.org

BY CHRISTINE COVER FERRO

Universal Studios_Costume Ad_The Costume Designer Mag_3.15

818.777.2722 / 818.777.7OPS (7677)filmmakersdestination.com Find Us

DOWNLOAD FROM APPLE APP STORE AND GOOGLE PLAY STORE

Universal Studios CostumeDepartment

Page 31: The Costume Designer - Spring 2015

1-800-876-8320 uclahealth.org/mptf

Los Angeles, Hollywood, Mid-CityBob Hope Health Center335 N. La Brea AvenueLos Angeles, CA 90036(323) 634-3850

Los Angeles, West Los AngelesWestside Health Center1950 Sawtelle Boulevard #130Los Angeles, CA 90025 (310) 996-9355

Santa ClaritaSanta Clarita Health Center25751 McBean Parkway #210Valencia, CA 91355(661) 284-3100

Toluca LakeToluca Lake Health Center4323 Riverside DriveBurbank, CA 91505(818) 556-2700

Woodland HillsJack H. Skirball Health CenterMPTF Wasserman Campus23388 Mulholland DriveWoodland Hills, CA 91364(818) 876-1050

Motion Picture & Television Fund and UCLA —

working together for better health

MPTF focuses solely on the unique needs of the entertainment community.

Recently, the health centers became part of UCLA Health, and you can rest

assured you’ll still fi nd them in the same convenient locations close to where

you work and on the studio lot with the Health Wheels mobile clinic.

So whether you’ve always counted on MPTF healthcare or haven’t yet

experienced it, there’s never been a better time to explore the healthcare

options available to you — now with the expertise of UCLA Health.

Our focus is on

UCLA1122 MPTF-Taking Care Of Our Own-IngleDodd-Ad(PRS)ms.indd 2 1/9/15 1:57 PM

Page 32: The Costume Designer - Spring 2015

32 The Costume Designer Spring 2015

My Mentors

I have been very lucky to be mentored by a few great designers, including Theadora Van Runkle and Ann Roth. However, it was Wayne Finkelman and Milena Canonero who provided me with the most important

guidance that has led to becoming a successful designer.Wayne Finkelman hired me to assist him on Protocol after

his main assistant quit. I was sorting shoes and pulling stock when I overheard he was about to hire an assistant from New York. When I just went up to him and said, “I can do it,” he gave me the chance on the spot. I had to prove to him I could do it and it paid off.

Wayne was a true genius who was very generous. He taught me so much about fabrics and layering techniques he learned when he assisted Danilo Donati on Satyricon, such as cheesecloth over silk brocades, overdying and then shredding. A technique I later used when I designed Kama Sutra and Once Upon a Time. His costume sketches were so inspiring, as were his hair and makeup drawings. He was the first designer with whom I did major research when we were working on the sequel to Chinatown. He taught me to use the most exquisite fabrics on suits and ladies gowns. I also learned to line custom-made shoes with the most beauti-ful, most supple leather that made all the difference in the final product.

Milena Canonero opened my eyes in many ways and taught me one very important lesson, that there is no such thing as “non-descript,” and she is right. Everything is descrip-tive and has meaning. Milena’s forte is her impeccable eye and her intelligence. When I worked with her on Miami Vice, she

BY EDUARDO CASTRO

gathered up the best of what Europe had to offer. I was very young and had not been exposed to the kind of glamorous clothes we were working with, but I learned all about high fashion very fast.

On Bulworth, Milena approached a very swanky party in Beverly Hills, not by shopping at high-end stores such as Neiman’s or Saks. Rather, she decided to go the vintage route, mixing dupioni shawls with dresses from stock and utilizing vintage jewelry.

On Solaris, she taught me to break the rules by making George Clooney’s spacesuit out of silk from the Silk Trading Co., instead of a new high-tech fabric. We shopped for extras for another party scene, again not at high-end stores, but we found suits at “The Alley” in downtown Los Angeles that were a bit “pimpish,” but worked beautifully and actually looked artistic in the end.

Milena taught me to appreciate luxurious and expensive fabrics, but also not to be afraid to use something cheap if it had the right texture. Most importantly, Milena is a per-fectionist when it comes to duplicating period pieces. Her costumes for Affair of the Necklace were light as air and the underpinnings were constructed to easily come on and off. She said, “People wore these clothes daily.” She taught me to carefully study genuine pieces and really look at their construction.

Both Wayne and Milena were incredibly generous in the same way: they appreciated my ideas and nurtured my development as a designer, and for that I am very grateful.

Page 33: The Costume Designer - Spring 2015

My Mentors

Chr i s Man ley 3 10-270-5093 | 1 -800-227- 1724 | s a les@g ladson l td .com | www.g ladson l td .com

© 2015 Gladson Ltd., an HMS International Company

Find the fabric you’re looking for.

Page 34: The Costume Designer - Spring 2015

34 The Costume Designer Spring 2015

The Reading ListThe Naked Truth:An Irreverent Chronicle of Delirious Escapades

By Jacqueline Saint Anne

Jean-Pierre Dorléac offers us a front-row seat in The Naked Truth that details the facts of Costume Design on all entertainment levels. In it, he describes an extensive career (1973–1985) during which he became an acclaimed theater, film, television, and cou-ture designer. He was Oscar nominated for Somewhere in Time and an 11-time Emmy nominee, winning for Battlestar Galactica and The Lot. Dorléac arrived in Hollywood in 1973 with an education from the University of Paris in Historic Apparel. With a stage career already in place, he was witness to and part of the survival struggle for film glamour.

It’s a delicious read about long-standing friendships of great depth with Edith Head, Jean Simmons, Roddy McDowall, June Lockhart, and more, that makes you sigh, wishing you’d known them. It’s a prickly read about the treacherous realities of egos run amok and short-lived relationships with stars and producers that leaves you relieved they weren’t yours. But mostly it’s a designer’s read about persistence, networking, and love of the beauty of the art.

From his opening stories of outrageously bawdy party behavior, to intimate moments of confidences shared, Dorléac names names and calls spades on a part of Hollywood you haven’t experienced. In a time not like today, he chronicles a designer’s entry to the film business—more sad than sweet; more tribulation than tri-umph—but he tells you how he did it, as improbable as it may sometimes have been.

Want all the facts? Get “Naked.”

Buck Rogers in the 25th Century costumes (Jean-Pierre Dorléac center)

BEVERLY HILLS NASHVILLE NEW YORK

MELISSA BRUNINGExcel lence in Contemporary F i lm

WILD

CHRISTOPHER LAWRENCEExcel lence in Contemporary Televis ion Ser ies

RAY DONOVANRAY DONOVAN

BOB BUCKExcel lence in Fantasy F i lm

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

CHRISTOPHER LAWRENCE †Excel lence in Commercial Costume DesignExcel lence in Commercial Costume Design

ARMY ‘DEFY EXPECTATIONS, VILLAGERS’

WE PROUDLY CONGRATULATE OUR CDGAWARD NOMINEES AND WINNERS

† WINNER

Page 35: The Costume Designer - Spring 2015

BEVERLY HILLS NASHVILLE NEW YORK

MELISSA BRUNINGExcel lence in Contemporary F i lm

WILD

CHRISTOPHER LAWRENCEExcel lence in Contemporary Televis ion Ser ies

RAY DONOVANRAY DONOVAN

BOB BUCKExcel lence in Fantasy F i lm

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

CHRISTOPHER LAWRENCE †Excel lence in Commercial Costume DesignExcel lence in Commercial Costume Design

ARMY ‘DEFY EXPECTATIONS, VILLAGERS’

WE PROUDLY CONGRATULATE OUR CDGAWARD NOMINEES AND WINNERS

† WINNER

Page 36: The Costume Designer - Spring 2015

36 The Costume Designer Spring 2015

WHAT’S ONCompiled by: Bonnie Nipar

Texas Rising

Costume DesignersMICHELE MICHEL KARRI

HUTCHINSON

Assistant DesignerCARLOS BROWN

The Lizzie Borden

Chronicles

Costume DesignerJOSEPH PORRO

Transparent

Costume DesignerMARIE SCHLEY

American Odyssey

Costume DesignersJO

KATSARASCAROLINE DUNCAN

Assistant DesignerZURETA SCHULZ

Wayward Pines

Costume DesignerMARY VOGT

Assistant DesignerTONI

RUTTER

IllustratorKEITH LAU

Aquarius

Costume DesignerAMY

STOFSKY

Phot

os: T

exas

Ris

ing/

His

tory

; The

Liz

zie

Bor

den

Chr

onic

les/

Life

time;

Tra

nspa

rent

/Am

azon

; Am

eric

an O

dyss

ey/A

BC

; Way

war

d Pi

nes/

FOX;

Aqu

ariu

s/N

BC

Page 37: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 37

WHAT’S INPh

otos

: Ave

nger

s: A

ge o

f Ultr

on/D

isne

y/M

arve

l; Ju

rass

ic W

orld

/Uni

vers

al; T

he M

an fr

om U

.N.C

.L.E

./War

ner

Bro

s.; D

ope/

Ope

n R

oad;

Sel

f/les

s/Fo

cus

Feat

ures

; Tom

orro

wla

nd/D

isne

y

Avengers: Age of Ultron

Costume DesignerALEXANDRA

BYRNE

Assistant DesignersLAURA SMITH

RICHARD SALE

IllustratorsJACK

DUDMANDARRELL WARNER

Jurassic World

Costume DesignerDANIEL

ORLANDI

Assistant DesignerMARIA TORTU

IllustratorCHRISTIAN CORDELLA

The Man From U.N.C.L.E.

Costume DesignerJOANNA

JOHNSTON

Assistant DesignersJANE

GOODAYVIVIENNE

JONES

IllustratorWARREN HOLDER

Dope

Costume DesignerPATRIK MILANI

Self/less

Costume DesignerSHAY

CUNLIFFE

Assistant DesignerAMY

RITCHINGS

Tomorrowland

Costume DesignerJEFFREY

KURLAND

Assistant DesignersLEIGHTON BOWERSKARIN

NOSELLA

IllustratorsPHILLIP

BOUTTÉ JR. KEITH

CHRISTENSEN

Phot

os: T

exas

Ris

ing/

His

tory

; The

Liz

zie

Bor

den

Chr

onic

les/

Life

time;

Tra

nspa

rent

/Am

azon

; Am

eric

an O

dyss

ey/A

BC

; Way

war

d Pi

nes/

FOX;

Aqu

ariu

s/N

BC

Page 38: The Costume Designer - Spring 2015
Page 39: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 39

IN FOCUS

BOLDFACE NAMES

BFN - WORK

CD April Ferry headed to Belfast, Northern Ireland, in April to design the sixth season of Game of Thrones for HBO, with ACD Donna Berwick assisting her. Ferry is equal parts scared and ex-cited for the challenge ahead.

CD Mirren Gordon-Crozier is designing the feature Low Rid-ers, starring Gabriel Chavarria, Tony Revolori, Nicola Peltz, and Eva Longoria. The film was written by Elgin James, Justin Tipping, and Josh Beirne-Golden, with Imagine/Blumhouse producing and Ricardo de Montreuil attached to direct. In the vein of 8 Mile and Saturday Night Fever, Low Riders is an aspirational youth culture movie set in the world of street art and low-rider car culture. Shoot-ing will begin May 28 in Los Angeles.

CD Alexis Scott is happy to be shooting at home in LA’s Echo Park once again for producer David Lancaster. The film Message from the King, stars Chadwick Boseman (Get on Up), Luke Evans (Fast & Furious 7, Dracula Untold), Teresa Palmer, and Alfred Molina.

CD Hannah Jacobs is thrilled to have reclassified to the CD cat-egory and is designing the second season of HBO’s Togetherness, with the Duplass brothers.

Work on Pretty Little Liars’ sixth season is underway with CD Mandi Line at the helm and CD Ivy Thaide as her new ACD.

CD Ane Crabtree, with ACD Amy Parris assisting, has joined Jonathan Nolan and Lisa Joy on the series Westworld, a collaboration between HBO, Bad Robot, Warner Bros., and Kilter Films. The show will star Anthony Hopkins, Jeffrey Wright, Evan Rachel Wood, Thandie

Newton, Miranda Otto, James Marsden, and Rodrigo Santoro, with Ed Harris reprising the “Man in Black” role from the 1973 film. Crab-tree will also lend her knowledge of ’60s fashion, specifically, Jackie Kennedy’s signature style and how it informed and influenced her choices in Masters of Sex and Pan Am, to a 10-hour docu-series, The Kennedys, produced by Asylum Entertainment.

CD Elizabeth Meredith is currently designing the third season of Restaurant Startup for NBC.

CD Mindy Le Brock re-cently wrapped up several col-laborations with director Tom Kuntz. She’s con-tinued on the Di-recTV Rob Lowe spots, with CD Jessica Albert-son co-design-ing, along with a new DirecTV spot starring model Hannah Davis, and the French Lotto music video Out of Office.

CD Lorraine Carson is in Vancouver on the Disney feature Fur-ther Adventures in Babysitting, starring Sofia Carson, Sabrina Carpenter, Gillian Vigman, and Max Lloyd-Jones, with John Schultz directing. The cat-and-mouse-chase movie shares the same fun spirit of the 1988 original.

CD Denise Wingate was in Toronto, ON, designing the pilot for Cheerleader Death Squad, directed by Mark Waters and produced by Marc Cherry for CBS/CW.

CD Debra McGuire is keeping busy, having designed two pilots at home: The Grinder, starring Rob Lowe and Fred Savage, and Coo-per Barrett’s Guide to Surviving Life. She is heading to Hawaii in May to film Mike and Dave Need Wedding Dates, all projects are produced by FOX.

CD Christine Bieselin Clark and ACD Alexandra Casey are tackling the series Into the Badlands for AMC, shooting in New Orleans.

CDs Julie Weiss (center) and Maria Tortu, andACD Christine Cover Ferro (back row) pictured with

their fabulous Local 705 crew and PA

CD Julie Weiss, with CD Maria Tortu and ACD Christine Cover Ferro assisting, designed The 87th Annual Academy Awards. They were responsible for dressing the dancers, choir, and musicians in the opening and musical numbers, roughly 200 cos-tumes all told. The show was held at the Dolby Theatre in Hollywood and prepped at Bill Hargate Costumes.

CD Judy Gellman-Friedman designed the NBC pilot Problem Child, based on the eponymous 1990 feature, starring Matthew Lil-lard, Erinn Hayes, and Jack Gore.

Also working with NBC, CD Marissa Borsetto designed the pilot People Are Talking. Written by DJ Nash and directed by Pamela Fry-man, it stars Bresha Webb and Tone Bell.

Ivy Thaide and Mandi Line

Page 40: The Costume Designer - Spring 2015

CD Barbara Chennault has recently completed production on the HBO situation comedy pilot Brothers in Atlanta, starring Fallon and Chocolate News writing duo Bashir Salahuddin and Di-allo Riddle. The Atlanta-based comedy, directed by Tim Story, centers around struggling disc jockey Riddle and backup singer Salahuddin, who seek chance and opportunity in the southern entertainment mecca. The ensemble is rounded out with SNL alum Maya Rudolph and the versatile Jaden Smith.

IN FOCUS

BOLDFACE NAMES

CD Keri Smith designed the pilot Dr. Ken for Sony/ABC, based on Ken Jeong’s life as a doctor before becoming a comedian. The project filmed at Sony Studios.

CD Julia Schklair-Schultz was in Atlanta shooting the David Nutter-directed pilot Cordon, written by Julie Plec, for CW.

CD Kate Healey has designed two pilots so far this year: the TBS comedy Wrecked on location in Puerto Rico, and just finished up Rush Hour, here in Los Angeles for CBS.

CD Sanja M. Hays, with ACD Irena Stepic-Rendulic and ILLs Phillip Boutté Jr., Alan Villanueva, and Christian Cordella are hard at work prepping Star Trek 3 in Los Angeles. Principal pho-tography is set to start in June in Vancouver, BC.

CD Diane Crooke is on location in Baton Rouge, LA, designing the new TV series Hush for MTV.

After designing the costumes for the characters in a new Xbox game and a series of live-action episodes that will be integrated into the gameplay, CD Frank Helmer has left Atlanta for Pittsburgh where he will be shooting season four of Banshee for HBO/Cinemax.

CD Ellen Falguiere just finished shooting a commercial for the Wyndham Rewards campaign for Wyndham Hotels. The new spot stars Kristofer Hivju, from Game of Thrones, as the Wyndham “Wiz-ard.” The project shot on location in one of the hotel’s resorts in Panama City, FL, with Mike Maguire from MJZ Production Company directing. The costumes were custom built in both Europe and at Western Costume.

CD Jenni Gullett just finished the pilot Tales from the Darkside, with Brad Buecker directing. The revival of the cult classic was writ-ten by Joe Hill and shot in Vancouver, BC.

Page 41: The Costume Designer - Spring 2015
Page 42: The Costume Designer - Spring 2015

42 The Costume Designer Spring 2015

IN FOCUS

BOLDFACE NAMES

CD Deborah Nadoolman Landis was approached by Liberty London to create a print for The Pictures and Conversations Collec-tion, which celebrates the 150th anniversary of Alice’s Adventures in Wonderland. Landis took her inspiration from family tablecloths hand-embroidered by her grandmother and ultimately given to her by her mother Laura, after whom the print is named.

CD Carol Ramsey is designing Central Intelligence, with Dwayne Johnson and Kevin Hart teaming up for their latest nonstop action com-edy. The plot features mild-mannered accountant Hart, who is unwit-tingly drawn into an intrigue of international banking driven by rogue CIA agent Johnson. Ramsey is joined by ACDs Senna Shanti and Christine Jordan. Shooting will take place May through July in Boston.

CD Kathleen Felix-Hager designed the NBC pilot Heartbreak-ers, starring Melissa George and produced by Amy Brenneman and Brad Silberling, in Vancouver, BC. The project is based on the memoir Heart Matters: A Memoir of a Female Heart Surgeon by Kathy Magliato, MD, and is directed by Robbie McNeill.

CD Audrey Fisher will be in Vancouver until August designing the costumes for Amazon/Scott Free’s alternate reality series The Man in the High Castle. Audrey has a great crew and also feels very lucky to have had talented Local 892 colleagues ACD Leslie Sungail, CDs Allison Leach and Elizabeth Martucci onboard for LA prep and beyond.

CD Jacqueline Saint Anne returned to the commercial world to work with art director Nick Goodman for the Internet security provider Sec-1.

Just three days after completing the third season of The Mindy Project and looking forward to a summer break, CD Salvador Perez jetted off to Chicago to Costume Design the FOX pilot Love Is a Four-Letter Word, working with his longtime friend and direc-tor, George Tillman Jr.

CD Bonnie Stauch just returned from Alabama, where she de-signed the action feature Extraction, starring Bruce Willis and Kellan Lutz. This is the second feature where she has enjoyed working with Mr. Willis. She also re-created the Bridgestone tire lab coats for their new commercial campaign, with ACD Svea Macek assisting.

CD Sarah Trost is in Charleston, SC, designing Vice Principals, a new comedy series for HBO, starring Danny McBride and Walt Goggins. ACD Lois DeArmond joined the costume department of the feature Bolden! as assistant costume designer in Los Angeles. UK-based Colleen Morris is the Costume Designer for the picture, which is filming in Wilmington, NC, Atlanta, GA, and New Orleans, and CD Ellen Ryba is the key costumer. Bolden! is a bio-pic about the life of Buddy Bolden, cornet player and originator of improvisational jazz.

CD Monique Long had her 15th anniver-sary costuming the Academy of Country Music Awards 50th Anniversary Show , held in Dallas on April 19.

CD Danny Glicker recently designed the HBO pilot The Devil You Know, directed by Gus Van Sant and cre-ated by Jenji Kohan, in Boston, MA. A provocative period drama, The Devil You Know explores the circumstances around one of

the most compelling chap-ters in American history: the infamous Salem witch trials in 17th-century New England, where intolerance and repression set neighbor against neighbor and led a town to mass hysteria.

CD Kari Perkins is in Dal-las designing a ballet for the Texas Ballet Theater in May. The piece is a world pre-miere of British choreogra-pher Jonathan Watkins’ new work.

Extraction director Steven C. Miller, DP Brandon Cox, 1st AD Jonathan Southard

Monique Long

Kari Perkins’ Ballet Costumes

Also in Dallas, CD Shawna Trpcic designed FOX pilot Franken-stein, produced by Rand Ravich and starring Tim DeKay and Rob Kazinsky, set to air in the spring 2016 lineup.

Page 43: The Costume Designer - Spring 2015

ACD Sica Schmitz founded Bead & Reel, an online boutique that believes that fash-ion and ethics aren’t mutually exclusive, offering vegan, sustainable, charitable, fair-wage fashions for the conscientious woman, or Costume Designer.

CD Negar Ali Kline is partnering with Carefree daily liners as a brand ambassa-dor, sharing style secrets that carry her ce-lebrity clients through awards season, and that women everywhere can incorporate into their everyday style routines.

BFN - ENTREPRENEURS

Project Wildsong

BFN - PRESSCD Salvador Perez was cho-sen to be a style expert in the April issue of InStyle magazine whilst on the heels of his new collaboration with Express Run-way for Pitch Perfect 2.

Perez styled a collection from the Express summer line in-spired by the looks from the film. Two lucky winners received tickets to the LA premiere of the movie and were dressed by Perez from the Express Line.

The New York Times profiled CD Janie Bryant in their fashion and style section. The article covered Bryant’s brand partnerships, sources of inspiration, and what lies ahead post-Mad Men.

CBS Online interviewed CD Monique Long during her stay in Dallas while prepping for the Academy of Country Music Awards. The interview is available at cbs.com

With Project Wildsong, CD Diana Orr collaborated on a series of photographs. By working with filmmakers, photographers, educa-tional programs, and conservation efforts, Project Wildsong exposes people to the world outside their door in a more hands-on way, championing creativity through collaboration.

Bead & Reel

CAMO SURPLUS would like to thank the costume designers who have allowed us to provide them with

Military Uniforms, Zombie Wear and Post-Apocalyptic Fashions. If you have yet to call us for your production

needs, know that since 1965 CAMO SURPLUS has provided the military clothing, equipment and consulting skills needed to complete various films, stage,video and television productions. CAMO

SURPLUS has assisted costume

designers on such notable productions as, The Expendables 1, 2 & 3, Hunger Games 3 & 4, Rambo 2 & 3, Water World, Red Dawn (1984), and more. CAMO SURPLUS can facilitate small or large productions, so call

us with your needs--or better yet--come on down!

(323) 263-8564www. [email protected]

2835 E. 26th St. Vernon, CA 90058

CAMO SURPLUS

Page 44: The Costume Designer - Spring 2015

44 The Costume Designer Spring 2015

Janie Bryant

BFN - EXHIBITIONS/FESTIVALS

CD Stacy Ellen Rich exhibited costumes at the Schindler House/MAK Center for Art and Architecture with the consortium Opera Povera, for which she is resident designer. The exhibition ran from April 4 to 11 and featured live works in addition to the installations.

On the red carpet, CD Janie Bryant attended the Black & Red Ball in celebration of the final epi-sodes of Mad Men’s “The End of an Era.” The event was held at the Dorothy Chandler Pavilion. Janie Bryant wore a custom-designed, one-of-a-kind, Black Halo dress she created with Laurel Berman, the founder of Black Halo.

On April 25, 2015, CD Ann Foley was one of the esteemed judges at the C2E2 Crown Championships of Cosplay, part of the Chicago Comic & Entertainment Expo which took place from April 24 to 26 at the McCormick Place in Chicago.

IN FOCUS

BOLDFACE NAMES

Stacy Ellen Rich’s costumes at the Schindler House

Page 45: The Costume Designer - Spring 2015

Spring 2015 The Costume Designer 45

For the month of May, CD Julia Schklair-Schultz will be exhibiting her paintings at O&M Leather in Eagle Rock, CA.

On May 6, the Los Angeles Film Festival and the LA Film Fest Art Program kicked off at the Underground Museum. CD Sophie de Rakoff and photographer Mark Laita’s new Transformation X project will be exhibited alongside works by Ed Ruscha and Shepard Fairey, to name a few. Transformation X is a photographic project addressing the trans-formational power of Costume Design. The photos will remain on exhibit at the Under-ground Museum for two weeks after the gala.

Compiled and written by: Christine Cover Ferro [email protected] and Stacy Ellen Rich [email protected]

Transformation X project

Page 46: The Costume Designer - Spring 2015

46 The Costume Designer Spring 2015

SCRAPBOOK

P atricia Norris was a double threat as both a costume and production designer. She was a California native who studied art at Marymount, then continued to archeol-

ogy and paleontology at Stanford University. After a marriage ended, Norris had to support five children: Michael, Patrick, Christopher, Kelly, and Kathy. She began ironing clothes, then applied to MGM’s stock room. Next, she became a set costumer and eventually, a Costume Designer and production designer. Self-taught and hands-on, Norris always fell back on her love of history to create an authentic look.

Norris did not ascribe to either of the two most promi-nent trains of thought—what she called Hollywood television overdressing or the cheery conventions of the typical sitcom closet. Instead, she strove to make characters distinctive and their clothing memorable yet unobtrusive. Audiences were mesmerized.

While she was nominated for six Academy Awards, she never took home the Oscar. She remarked, “I’m up against one too many sequins.” Norris captivated audiences with films like 12 Years a Slave, Victor Victoria, The Elephant Man, and Days of Heaven. Her son Patrick Norris is a director.

12 Years a Slave. Photo: Fox Searchlight Pictures

Patricia Norris1931–2015

Page 47: The Costume Designer - Spring 2015

12 Years a Slave. Photo: Fox Searchlight Pictures

To play the part, they have to dress the part!

30,000 SQ FT - OVER 330,000 ITEMS - INDIVIDUALLY SCANNED AND CATEGORIZED - NOW ACCEPTING CREDIT CARDS

545 Circle 7 Drive, Glendale CA 91201 | 818.553.4800 | Mon-Fri 8am - 6pmwww.abcstudioscostumes.com

-Jewelry and Other Accessories-Vintage thru Modern-Fitting Room

-Wide array of Contemporary Wear-Men’s and Women’s Couture-Costumes and Uniforms

Page 48: The Costume Designer - Spring 2015

Costume Designers GuildLocal 892–I.A.T.S.E.11969 Ventura Blvd., First FloorStudio City, CA 91604

costumedesignersguild.com

The Official Magazine of the Costume Designers Guild

Non-Profit Org.U.S. Postage

PaidSanta Ana, CAPermit No. 450

818-509-9669

21724 WARNER BROS. TELEVISION GOTHAM CDG MAGAZINE-3/4 PAGE BACK COVERAD RUNS: 5/18/2015 AD CLOSES: 5/11/2015 BLEED: 8.625"W x 8.125"H (NO TOP BLEED) TRIM: 8.375"W x 8"H SAFETY: 7.875"W x 7.5"H SAFETY CHEAT: 7.625"W x 7.25"H 5/13/15 mech01

F O R Y O U R E M M Y ® C O N S I D E R A T I O N

“Gotham…arrives as its own entity : a fully realized universe with enoughintriguing f igures and a stylized visual approach that is immediately captivating.”

– The Hollywood Reporter