the costume designer summer 08
TRANSCRIPT
Prsrt StdU.S. Postage
PaidSanta Ana, CAPermit No. 450
Costume Designers GuildLocal 892–I.A.T.S.E.11969 Ventura Blvd., First FloorStudio City, CA 91604
Summer 2008 The Costume Designer 3
vol. 4, issue 3
COSTUME DESIGNERS GUILD11969 Ventura Blvd., First Floor
Studio City, CA 91604phone: 818.752.2400 fax: 818.752.2402
email: costumedesignersguild.com
COVERFoxy Angel Farrah Fawcett
Charlie’s Angels (1976) Costume Designer Nolan Miller
Photo courtesyThe Kobal Collection
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8President’s LetterFrom the Desk of the Executive DirectorAssistant Executive Director’s Report
The Costume Department. . . . . . . . . . . . . . . 22History of DressMy Favorite Things
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26The Process: Sketch to ScreenA Look Back at Charlie’s AngelsBoldface Names
DEPARTMENTS
18 20 26
FEATURESEmmy Nominees . . . . . . . . . . . . . . . . . . . . . . 12
Q&A with the nominated Designers
Reality TV Costume Design . . . . . . . . . . . . . 14Exploring the organized chaos
Comic-Con 2008 . . . . . . . . . . . . . . . . . . . . . . 18The CDG expands its presence
FIDM & ATAS TV Exhibit . . . . . . . . . . . . . . 20Party pics
4 The Costume Designer Summer 2008
he Television Issue. As if the Designers who work in TVdon’t work hard enough, now they’re doing it LIVE. Like inthe old days but not. Not “live audience” but L I V E ! Racingagainst the clock week after week in a frenetic competition
known as reality TV. Never knowing the genre or which cast is stay-ing or who’s going, going, gone. It’s like Project Runway for profes-sionals. Explore the organized chaos and see just how they hit theground running on page 14.
I’m so excited to be launching a new section known as “TheProcess.” We’ll be tracing costume illustrations from the first pencil sketch to colorrendering to the final costume on screen. Many Designers do their own sketches,while others (myself included) rely on tal-ented CDG Illustrators to realize theirdesigns on paper. A behind-the-scenes lookat an art form that is critical to our successand yet completely taken for granted. Salespitch, blueprint and fine art wrapped up inone. Civilians will be surprised at all thesteps that go into completing one designsketch for a single costume. This will be anongoing section, so over time, you’ll see awide range of styles and mediums fromDesigners, Assistants and Illustrators alike.Stay tuned and enjoy!
And “A few of my favorite things.”Another new section that I hope will alsobecome a favorite. What can’t YOU live without on the job?
A loving “Look Back” at Nolan Miller’s designs for Charlie’s Angels (page 29).Miller single-handedly gave Aaron Spellings’ shows a style that defined the era.
Still hoping to be able to print another cover emblazoned with new CostumeDesigners’ labels. Have you been making (and using) your labels? If so, send samplesto the Guild office to my attention.
Enjoy the rest of your summer!Deena [email protected]
EDITOR’S NOTE
T
“
”
God gave women intuitionand femininity.
Used properly the combination
easily jumbles thebrain of any man
I’ve ever met. — FARRAH FAWCETT
Miss Guided, ABCCostume Designer: Melina Root
Indiana Jones and the Kingdomof the Crystal Skull
Costume Designer: Mary ZophresHarrison Ford’s costumes designed by: Bernie Pollack
Co-Costume Designer: Jenny Eagan
EDITOR/PHOTO EDITORDeena Appel
ASSOCIATE EDITORAudrey Fisher
MANAGING EDITORCheryl Downey
PRESIDENT Mary Rose
VICE PRESIDENT Hope Hanafin
SECRETARY Ann Somers Major
TREASURER Karyn Wagner
EXECUTIVE BOARDSharon Day
[email protected] Perez
[email protected] Appel
[email protected] Chally
[email protected] De Armond (Asst. Costume Designers)
[email protected] Onel (Illustrators)
[email protected] Gill (Commercial Costume Designers)
BOARD ALTERNATESValerie Laven-Cooper
[email protected] Nininger
[email protected] Broughton Ramsey
[email protected] Butler
BOARD OF TRUSTEESPeter Flaherty, Chair
[email protected] Saint Anne
[email protected] Matthews
LABOR DELEGATE Betty Madden
EXECUTIVE DIRECTORCheryl Downey
ASSISTANT EXECUTIVE DIRECTORRachael M. Stanley
ADMINISTRATIVE ASSISTANTSuzanne Huntington
RECEPTIONIST/SECRETARYCheryl Marshall
GENERAL CDG [email protected]
PUBLISHERIngleDodd Publishing
ADVERTISING DIRECTORDan Dodd 310.207.4410 x236
What’s On & What’s Out Corrections
Summer 2008 The Costume Designer 7
Contributors
AUDREY FISHER(Associate Editor & A Look Back)joined the Guild in 2000 and iscurrently the Costume Designerfor the new HBO original series,True Blood. Fisher was in her sec-ond term representing AssistantCostume Designers on theExecutive Board when shereclassified to Designer.“Associate editing the CDG magazine allows me to indulgeone of my first loves and keepsup my writing chops. I appreci-ate the creative outlet and theopportunity to learn more aboutour colleagues and their designs.”
SUZANNE HUNTINGTON(Boldface Names) came to theGuild in 2005 as theAdministrative Assistant aftertwo years with the Editors Guildas their project event coordina-tor. Educated and working infine arts and entertainmentkeeps Huntington in the creativeenvironment she enjoys. Shestays busy with memberinquiries, managing special proj-ects, administrating the CDGwebsite, among other duties.“It’s a pleasure to stay in touchwith the members and make acontribution to the magazine.”
JR HAWBAKER(Emmy Q&A and Locations)joined the Guild in 2006 andcurrently works as an AssistantCostume Designer for film andtelevision. Originally fromChicago and the GoodmanSchool of Drama, she calls LosAngeles and the CDG homenow. Excited to be writingagain, Hawbaker is thrilled tocontribute to the magazine. “Our Guild members are all storytellers, on screen and onthe page, and I am only toohappy to contribute to a maga-zine that narrates their stories.”
PHILLIP BOUTTE JR.(Comic-Con) has been a member of the CostumeDesigners Guild since Januaryof 2007. Since joining, Philliphas produced artwork forfilms such as The Mummy:Tomb of the Dragon Emperor,Star Trek, Wolverine,Terminator Salvation, BedtimeStories, and the upcomingMadonna tour. He loves hisjob and would like to thankRobin Richesson for suggest-ing the Guild to him. Phillipcurrently lives in NorthHollywood, Calif.
Costume Rentals • Manufacturing • Prep Spaces
Tel: 818.954.1297 • Fax: 818.954.2667
COSTUME DESIGN CENTER
© and ™ 2007 Warner Bros. Entertainment Inc. All rights reserved
Summer 2008 The Costume Designer 9
he July issue of our first color newsletter came out with abang! Didn’t you just love it? The feedback I heard was allgood. Sharon Day, our newsletter editor, requested (orrather begged) for more space to print CDG Local 892
internal news and now with Cheryl Downey’s help, she’s made themember-oriented newsletter a reality.
Now we have the beautiful CDG magazine edited by DeenaAppel, that has wide appeal in every issue, and an equally hand-some and effective newsletter for our union business. All thanks toIngleDodd Publishing. Not only did they agree to add color to our
newsletter, but they will now be publishing a third installment to enable us to bring you moremember and union news more often.
For those who don’t know, The Costume Designer magazine is published by IngleDoddPublishing and is completely cost-free to us. It is paid for by revenue from the advertising thatthey sell. The newsletter is fully subsidized by IngleDodd as a gesture of support since thereare currently no ads to finance it.
Wait, there is more! With all the excitement regarding the return of the CDG Directory,I should point out that it will also be published by … YES, IngleDodd Publishing. Like themagazine, it is fully financed by ad sales at NO COST to the Guild. This arrangement, just aswith the magazine, was orchestrated by our very own Cheryl Downey with her usual dili-gence. Bravo! Cheryl!
As CDG President, I feel a few words of gratitude to Jeff and Jody Ingle, Dan Dodd and theirrespective team is long overdue.
On the subject of other institutions financing on our behalf, don’t forget the FIDM/ATAS2008 Outstanding Art of Television Costume Design Exhibit. Two years ago, I thought aboutdoing a TV costume exhibition tied to the Emmys, with my nose for Emmy nominee prognos-tication. Although this event is actually the Academy of Television Nominees’ Reception,FIDM continues to invite all CDG members so that we can honor our own. By the time thismagazine is in your hands, the opening gala will be history, but I hope that you’ll still be talk-ing about the evening (including the delicious Grey Goose Bar). The exhibition is open untilSeptember 27.
Having said all that, I must stress that none of the financing and sponsorship could succeedwithout our CDG volunteers sweating over editing, writing, researching, gathering material,dressing mannequins, and a mountain of other unseen work. It just would not be possible.
On a final note: a big congratulations to Elizabeth Courtney Costumes celebrating its40th anniversary! It began as a partnership between Elizabeth Courtney, Ray Aghayan, andBob Mackie. Ret Turner joined a few years later and although Elizabeth is now gone, the threegreats continue to create beautiful costumes. Their success is part of our history. Here’s tomany more years to come.
Have a wonderful summer!
Mary Rose
UNION LABEL
T
8 The Costume Designer Summer 2008
Dear Members,
PRESIDENT’SLETTER
EBOARD MEETINGS:
September 8October 6
November 10December 8
GENERAL MEMBERSHIP MEETING:
October 20
IMPORTANT DATES
The Costume Designer would like to thank
Phillip BoutteAudrey FisherJR Hawbaker
Suzanne HuntingtonRobin Richesson
Karyn Wagner
&
The Kobal Collection for their generous support
Summer 2008 The Costume Designer 11
hile economic news is sobering way beyond this industry’s woes, it is heartening that many of ourmembers are working, especially out of state. Not surprisingly, overall contributions to our health andpension plans were down 28% from the first quarter of 2007 mainly due to the writers’ strike. Butthere is good news: contributions based on IATSE residuals were up 7%. IA residuals come from film
sales in supplemental markets such as DVDs and are a major source of income for our Plans. Here are some other rays of hope:• President Bush at last signed an extension of unemployment benefits. Check your eligibility at the EDD’s web-
site www.edd.ca.gov or call 800.300.5616.• Musicians Interguild Federal Credit Union is continuing to offer our members signature loans (liberalized because of the strike)
and competitive refinancing. A first-year line of credit, or HELOC loan, is available to our members at 50 basis points below prime,currently 4.75%. One member shares, “I refinanced my house because the credit union is so good and so fast, and the rate is so low,I couldn’t resist.” www.musicianscu.org or call Kevin Wyart 888.386.3795.
• The CDG website now houses up to 10 of your credits as well as your illustrations, so producers and directors can view an up-to-date resume without having to rely on the often inaccurate IMDb. The minute you sign your next contract, go towww.costumedesignersguild.com and add your new credit!
• The printed CDG Directory will be in hand late this fall after a five-year hiatus. It will make contacting an Assistant Designer,Illustrator, or fellow Designer easy to access when you’re not near a computer and our website.
• Remember to list yourself on our website’s Availability List which includes Designers willing to work as Assistants or Illustrators.Don’t forget to re-list at the first of every month.
Are you registered to vote this fall?! Grab a form from the post office or our Guild office and do so NOW. It’s sobering to realize Bush got35% of Labor’s vote in the last election. To summarize the pithy comments of Art Pulaski of the CA Federation of Labor at the IATSE District2 Convention, “Bush’s cowboy capitalism, characterized by a fast ride to fast profits through aggressive deregulation, has been disastrousfor Labor and the middle class.” The reason the AFL-CIO has endorsed Senator Obama is that he has a 98% voting record on working families’ issues, compared to Senator McCain’s 16%. Stay informed and get ready to vote for change!
In Solidarity,
Cheryl [email protected]
WFrom the Desk of theExecutive Director
UNION LABEL
10 The Costume Designer Summer 2008
11149 VANOWEN STREET
NORTH HOLLYWOOD, CA 91605TEL: (818)753-3700FAX:(818)753-3737
COSTUME RENTALS CORPORATION
CONTACT: MEL SABINO
Dear Members,
Budgeting Your Project
udgeting aproject isone of thoseareas that
falls under the juris-diction of Local 705but is generally con-sidered by most pro-
ductions to be the responsibility of CostumeDesigners. For instance, when a project is overbudget, the producer always looks to theCostume Designer for answers. This can be a dif-ficult area to maneuver through so here aresome suggestions.• Since Designers are usually on a project before
any crew, most CDs will be asked by the pro-duction company to make a budget. When youdo so, be sure you are clear that this is simply apreliminary budget that you will review andrefine with the Costume Supervisor. Once theSupervisor is on board, compare their budgetwith yours and refine them into one workablebudget that you both sign off on.
• If there are any changes to the budget duringproduction, be sure to memo the UPM whythere will be increases. This is an importantstep that should not be skipped. Either you oryour Supervisor must inform production ofoverages no matter how slight they may seem.Over a period of weeks those many small over-ages can quickly become a big overage.
• Overages can be caused by adding stunts,adding photo doubles, adding new scenes, latecasting, re-casting, cleaning accidents, re-sched-uling of scenes, lack of proper crew, actors orproducers changing their mind on a costume,just to name some of the reasons. More thanever, production companies are cutting backon budgets.
• Several companies have tried to hold ourDesigners liable for budgetary overages andnot reimburse their credit card purchases andpetty cash. Always add the phrase that “all rea-sonable expenses incurred on behalf of theproduction will be reimbursed.” If you haveadded that clause and informed them of over-ages, you will be protected.
In Solidarity,[email protected]
BHandcrafted
custom designs
1120 India Hook RoadRock Hill, SC 29732
803-448-6431skype: amycousin
Sirius 7 Jewelry
proudly announces
40 WONDERFUL YEARS IN BUSINESSJuly 8, 1968 – July 8, 2008
OUR WORKROOM REMAINS OPEN TO ALL DESIGNERS INTERESTED IN
BUILDING EXQUISITE COSTUMES
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Studio City, California 91604
818-763-8615
Elizabeth CourtneyCostumes
Assistant ExecutiveDirector’s Report
COMANCHE MOONCostume Designer: VAN BROUGHTON RAMSEYCostume Supervisor: BETSEY POTTERWhere do you get your inspiration? Fabric is one of the greatest inspirations, as well as a fan-tastic script with well-defined characters and casting. Fear also plays a role in the beginning! Whatwould you do differently? Hire more crew and demand a longer prep. What TV costumesimpress you? Ugly Betty! Each character is wonderfully visual, with incredible style and humor, weekafter week. Your best advice? Design every project as well as you can, knowing that some of yourbest work might go unnoticed except by a handful of appreciative peers.
CRANFORDCostume Designer: JENNY BEAVANCostume Supervisor: MARK FERGUSON*Assistant Designer: CHARLOTTE LAW Where do you get inspiration? The script, characters, actors’ body language, and, of course,research. Given more time or money, what would do differently? Sleep better at night!And, also try to design the costumes under less pressure for the benefit of my crew and myself. Whatis your best piece of advice? Approach the design in bite-sized chunks!
JOHN ADAMS Costume Designer: DONNA ZAKOWSKACostume Supervisors: AMY ANDREWS HARRELL & CLARE SPRAGGE*Assistant Designer: MICHAEL SHARPE Where do you get your inspiration? From paintings, actual garments, and occasionally texts; and inthis case, from interpreting the personalities of historical figures. Given more time or money, whatwould you do differently? Further explore the nature of 18th-century costume construction andcrafts. What is your best piece of advice? Every designer follows his or her own path, evaluatingresearch with a fresh eye and passion for detail. The journey is a puzzle, and the answer is never evident.
TIN MAN Costume Designer: ANGUS STRATHIECostume Supervisor: SANDI BLACKIE*Assistant Designer: DEVON RENEE SPENCERYour inspiration? Contemporary popular culture and fashion help keep me grounded, especially whendesigning period costumes. Given more time or money, what would you do differently? People,time and money dictate a project’s design; more time and money would simply mean a different design. OnTin Man, I would have refined the finishing. What other costumes impress? Pushing Daisies. Mary Vogtand Robert Blackman’s beautiful designs walk the line between theatrical costumes and clothing, creating astyle not seen in television drama before. Your advice? Costume Design is first and foremost about serv-icing character.
MAD MEN (pilot)Costume Designer: JOHN DUNNAssistant Designer: LISA PADOVANIYour inspiration? A well-written, thoughtfully crafted script feeds, frightens and fascinates me. Givenmore time or money, what would you do differently? I’d take the audience further into eachcharacter’s complexity: the fine-tuning should never end. What TV costumes impress you? I liveand die by Project Runway. Any working Costume Designer can relate to the time pressure, budgetaryrestrictions and insane hurdles placed before those Designers. Your best advice?Working with goodwriting and talented collaborators, Costume Designers can create costumes that will resonate.
PUSHING DAISIES (pie-lette)Costume Designer: MARY VOGT Costume Supervisor: STEPHANIE FOX KRAMER*Assistant Designer: DEVON RENEE SPENCER Where do you get your inspiration? From the tone of the project, which develops from con-versations with the director, actors, art director and cinematographer. What TV costumesimpress you and why? Mad Men’s costumes are very sharp and make the show work. Ugly Betty isfabulously creative with clearly defined characters. Heroes and Lost have great atmosphere. Otherfavorites are The Tudors, Desperate Housewives, Weeds and Battlestar Galactica. What is your bestpiece of advice? Try to relax and enjoy the process. Inspiration comes when you are open to it.
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THE TUDORSCostume Designer: JOAN BERGINCostume Supervisor: SUSAN O’CONNOR CAVE*Assistant Designer: GABRIEL O’BRIEN*Illustrators: KELVIN FEENEY & NATALIE CONATYWhere do you get your inspiration? Everywhere: Paintings. Fashion advertising. Balenciaga! Butabove all, from the social history surrounding the period that I’m designing. Given more time ormoney, what would you do differently? Miraculously for once I was given enough time andmoney for The Tudors.Almost! What costumes from another show impress you and why?Mad Men. I love how the show evokes the period in every detail. I want the whole look to come rac-ing back into our lives! Best piece of advice? Fortune favors the brave.
BERNARD AND DORIS Costume Designer: JOSEPH AULISIAssistant Designer: AUTUMN SAVILLE(Joseph Aulisi was not available at press time)
DESPERATE HOUSEWIVESCostume Designer: CATE ADAIR Costume Supervisors: JOYCE UNRUH GOODWIN & KARO VARTANIAN *Assistant Designer & Illustrator: JACQUELINE WAZIRWhere do you get your inspiration? Fabrics, vintage clothing, jewelry, books, magazines, andscripts, as well as sketching and observing people … all are wonderful springboards. Anything youwould do differently? Sketch and build even more clothes than I do now! What TV costumesimpress you? There is so much talent and wonderful work out there, and so much of it impresses me!What is your best advice? Pace yourself! Designing is like running a marathon: sustain your visionby putting one foot in front of the other.
UGLY BETTYCostume Designer: EDUARDO CASTROCostume Supervisor: MICHAEL CHAPMANWhere do you get your inspiration? From everything around me. Given more time ormoney, what would you do differently? I would shop more often in NYC and Europe, whichour producers encouraged! What costumes from another show impress you and why?Pushing Daisies for its inventiveness, creativity and whimsy. Mad Men for its sharp, on-target vision ofthe advertising world. Entourage for the way characters are boldly defined with interesting choices.Best piece of advice? Always trust your gut instinct.
Emmy Nominees: OutstandingCostumes for a Miniseries or Movie
Emmy Nominees: OutstandingCostumes for a Series
*The Academy of Television Arts and Sciences does not include Assistant Designers (Los Angeles) or Illustrators in the Costume Design category.
The world of reality TV is experiencing an “extreme makeover.”Costume Designers! Ten-minute concept meetings, one-minute sketches, a smorgasbord of genres, zero prep time, mil-lions of Swarovski crystals and all of it LIVE! Turns out the rap-idly growing programming known as “reality TV” has gone fromnot using Costume Designers at all to employing some of thehardest working Designers in the business. Three shows cometo mind and in fact, make the mind spin with all that they doin an average week. Dancing With the Stars, Designer: RandallChristensen. Deal or No Deal, Designer: Dina Cerchione. SoYou Think You Can Dance, Designer: Soyon An. All are CDGmembers and they all came to their respective shows fromvery different places.
RANDALL CHRISTENSEN, DWTS, was once a competitiveballroom dancer himself. He taught himself to cut and sew andopened a business in Phoenix, Ariz., in 1986. While designingfor other ballroom dancers, he was hired to design the seriesBallroom Bootcamp. He went on to work with SophieCarbonell on Jennifer Lopez’s ballroom costumes for Shall WeDance. He has been designing DWTS since season two andthey’re about to start season seven. Hold onto your hatsbecause this is how Christensen describes his average work-week.
“Our week starts on Tuesday evening, after the resultsshow. The couples come to wardrobe, music in hand. I get10–15 minutes with each couple to conceptualize and nailtheir looks (while my phenomenal Assistant Designers, StevenLee and Daniela Gschwendtner, pre-screen the waiting cou-ples). The three of us stay until midnight or so, working outshopping lists and our rhinestone orders (which has to be e-mailed to Swarovski THAT VERY NIGHT!). A few hours sleep
realityTVdesign
Christensen check fits Marie Osmond Christensen’s quick jive sketch
DWTS’ Shannon Elizabeth & Derek Hough (ABC/Kelsey McNeal)
Host Howie Mandel with Santa’s Elves on the Christmas Show(NBC Universal/Trae Patton)
Karina Smirnoff & Mario (ABC/Kelsey McNeal)
Season six winners Mark Ballas & Kristi Yamaguchi (ABC/Kelsey McNeal)Dina Cerchione gets some lovin’
“Ladies Please.” Purple dresses 26 times (NBC Universal/Trae Patton)
The Star Wars episode (NBC Universal/Adam Taylor)
Summer 2008 The Costume Designer 17
SOYON AN (pronounced So-yun On) went to Otis Collegeof Art and Design and FIDM to study fashion design. She assist-ed Jessica Paster, styling Mariah Carey, Kate Bosworth and Jewelto name a few major stars. Then in the summer of 2005, sheassisted Gamila Fakhry-Smith on So You Think You Can Danceseason two. She went on to design the “tour” for seasons twoand three of the show and the American Idol season seventour. This is her first season taking the reigns as the CostumeDesigner for SYTYCD.
The season starts with 14 dancers and a mixed bag of 28 cos-tumes per week.
An works seven days a week—“by choice” she says, “so thatthe quality of the work matches my aesthetic.”
An knows the dances a week early but doesn’t know WHOthe dancers are until Thursday night’s results show. That leavesher only Friday and Saturday to design, shop, style, and fit every-one before Sunday’s dry blocking. She says, “I start by calling thechoreographers for their themes and getting the music from themusical director, since the best way for me to design any givenlook is to listen to the songs and watch the dance numbers to geta sense of the emotion I want to bring out.”
Soyon builds as many of the pieces as possible, shopping thebits and pieces, accessories, trims and fabrics but then she has towait until the dancers are picked on Thursdays. “Sounds crazy,” shesays, “but I finish all looks in two days and then groom the lookson Sunday during the blocks.”
Then there are the group numbers. “I generally design thecostumes on Mondays in between tapings and then we shop onTuesday mornings. We start fittings in the afternoon and shop forthe rest of the pieces on Wednesday morning. Then we do a sec-
ond and final fitting that afternoon. We get two days to shop, style,and fit for the group routines that we tape at 9 a.m. on Thursdays,”says An.
Soyon’s best piece of advice, “BREATHE!! and be like water ...whatever shape the glass is, you can change with it.” Well said forthis growing category of especially devoted Designers.
Deena [email protected]
16 The Costume Designer Summer 2008
and we meet downtown by 10 a.m., where we shop fabric forthe ENTIRE SHOW by the time the stores close. We deliver thegoods back to my two cutter/fitters (and 11–15 stitchers) and goover the entire show’s designs as accurately as possible! They cutand sew on Thursday and we start fittings mid-afternoon on thatsame day! All-day fittings on Friday. Finishing, beading, stoning onSaturday, and a final fitting after camera blocking on Sunday.Adjustments are done into the wee hours of Monday morn-ing. Dress rehearsal is 2 p.m. on Monday (aka Show Day) whichis the VERY FIRST TIME these couples have tried on and dancedin their costumes. Just an hour or so before the show goes LIVE!After dress rehearsal, while they’re loading the audience, ourcrew is doing alterations or adjustments. I have to say that thecelebrities have so much trust and faith in us. Having neverdanced in 20 yds of glass bugle bead fringe, or 20–30 yds of chif-fon, etc. gets to be quite nerve-racking, to say the least!Thankfully, they appreciate my 22+ years of experience in theworld of ballroom dance.”
The competition makes the show so unpredictable Randallexplains, “you’ve got to go with the flow while exuding confi-dence to win over the inexperienced celebrity dancers” and“your crew is EVERYTHING.” All of Christensen’s crew has come
back for the past three seasons which he considers a “blessing.”DINA CERCHIONE (Deal or No Deal) whose background is
in fashion and PR and advertising, has a different set of problems.Twenty-eight of them to be exact. Her main goal is to make the26 on-camera models (plus two alternates) look identical fromearlobes to toes for six shows shot within a week. She usuallystarts with a major hunt for 33 gowns that she restructures,changes necklines, adds or removes trims all on a very tight budg-et. She is able to work very closely with a number of manufactur-ers to keep the color palette of saturated jewel tones and thebling quotient high. Most dresses have to be ordered 4–8 weeksin advance to get the quantity needed (all in size 2 and 4). Eachdress requires three fittings. Dina dresses the girls, Howie Mandeland often the contestants. She also has a couple of “specialty”shows in each cycle with only about four or five days’ advancewarning. Her favorite to date was the Star Wars show and her 26Princess Leias, but she’s looking forward to this year’s premiere!
Cerchione has been with the show from its start on ABC.She’s taken it from a stylized campy feel to more of a sexy glamlook. Dina tells me, “My best compliment came from MarthaStewart. Howie was on her show and she asked about who didall the dresses because they were ‘perfect’!”
Watching So You Think You Can Dance was what spawnedthe idea for this article. Seeing so many different kinds of dancecostumes from a very gritty hip-hop number to a classic Viennesewaltz to the little known Bollywood Dance and knowing that thisis all for a WEEKLY LIVE SHOW had me nauseous. There aredozens of different choreographers on the show who specializein each genre but only one lone Costume Designer to pull off adesign United Nations every week.
Contestants Chelsea & Thayne do jazz (Fox Broadcasting Co. /Michael Becker) Kherington & Twitch perform the Viennesse waltz Soyon An surrounded by Bollywood Dancers An’s quick sketch
Raven & Jamie perform a hip-hop number
Summer 2008 The Costume Designer 1918 The Costume Designer Summer 2008
“Art is not about finding yourself, art is about creating yourself.
Comic-Con 2008Designing for Television ProductionModerator/Costume DesignerSusan NiningerCostume Designers Shawna Trpcic, Roland Sanchez, Amanda Friedland
Costume Illustrators, Production Illustrators, and Concept & Storyboard ArtistsModerator/Director and Storyboard ArtistWilliam David HoganCostume Illustrators Oksana Nedavniaya , Phillip Boutte Jr.Felipe Sanchez, Cristian CordellaIllustrators and Artists From Local 790 Ricardo Delgado, Jeff Errico, Tim Burgard, Mark Moretti, Trevor Goring
Designing for Feature FilmsModerator/Costume Designer Mary VogtCostume Designers Michael Wilkinson, Michael DennisonIsis Mussenden, Kym Barrett
Committee VolunteersSusan Nininger, ChairPhillip Boutte Jr., Co-chairOksana Nedavniaya, Co-chairBrian Valenzuela, Co-chairCarrie Grace, Aimee McCue, Oneita ParkerLocal 790 panelists, Local 495 San Diego
than a week later to start work in Prague on The Chronicles of Narnia: Prince Caspian.Inspired by Oksana’s success, I joined the Guild shortly after. Almost a month later, I washired by Sanja Hays to start work on The Mummy 3:Curse of the Dragon Emperor. Brianfollowed suit and was hired to start work with Michael Kaplan on the newest Star Trekinstallment. And this year the three of us are Co-chairing the Comic-Con Committee withveteran Chair, Designer Susan Nininger! A very fruitful venture all the way around.
The visibility of the Guild at Comic-Con is a big step in the right direction. It notonly allows us to reach people like me, but it provides the general public and the indus-try a chance to understand how important Costume Designers are to creating charac-ters. Most importantly, it shows the studios and networks, that the Costume DesignersGuild is making strides to establish itself as a valuable commodity; one that’s recognizedevery year by hordes of fans re-creating the works of its designers with intricate detail,precision and passion.
In the Guild’s three short years of attendance, it has gone from having a single panel,to having three separate panels; One for Television Designers, Film Designers, and Cos-tume Illustrators with members of Local 790. The Guild now alsotakes part in the prestigious Masquerade Ball in which our De-signers judge the costumes made and worn by the fans.
I recommend that everyone visit Comic-Con at least once asyou will truly be inspired by all that there is to see. Who knows,maybe while you are creating yourself, you will inspire others todo the same.
Phillip Boutte Jr. [email protected]
nd what better way is there to create yourself than to be surrounded bycreative people; people who can be found once a year at an event calledComic-Con International: San Diego.
You may be asking yourself, “What is Comic-Con?” Comic-Con In-ternational is an annual multi-genre fan-based convention that show-cases everything from comic book fanfare, to the best in science fiction,fantasy and anime film and television and much more. It’s a four-day
event with a loaded schedule of activities, previews of upcoming shows & products, art tu-torials, vendors, illustrators showcasing their work, and fans in costume. In recent years,the convention has expanded to include pop culture elements and the film industry comesto represent with tremendous force. In fact, Comic-Con has become a must stop for filmslooking to hit their target audience hard at the box office while cashing in on the mer-chandising.
I’ve been going to Comic-Con for a few years for the opportunity to meet potentialclients, from comic book editors to video game companies to toy manufacturers and evenfilm producers. I’d heard about the Guild from my teacher and Guild Board member, RobinRichesson so I was interested in joining as an Illustrator. But it was when I stumbled on aCostume Design panel at Comic-Con 2006 that I first understood what you actually do. Iwent with fellow Illustrators Oksana Nedavniaya and Brian Valenzuela to a panel discussionshowcasing Costume Designers talking about their upcoming films. After the discussion,we joined the Designers as they signed paraphernalia and answered questions. Each of us,portfolios in tow, walked the line, talked to the Designers, and showed them our work.
We all received encouraging feedback but it was Oksana’s beautiful portfolio that gotthe attention. Designer Isis Mussenden was wowed by Oksana’s talent and hired her less
A
Clockwise from top: Phillip Boutte Jr. stands among the Terra Cotta Warriors, Judges’ Choice winner Hairspray, Best Young Fan winner X-Wing Girl, Illustrator Oksana Nedavniaya, TV panel Designers (front) Shawna Trpcic, Roland Sanchez, Amanda Friedland (back) CDG membervolunteers: Carrie Grace, Aimee McCue, Phillip Boutte Jr, Susan Nininger, Cristian Cordella, fans on the floor, Illustrator Felipe Sanchez, Michael Dennison signs for a fan of The Spirit, CDG and Local 790 combined Illustrator panel, CDG and Best in Show Masquerade winnerwith CDG judges (l-r) Cordella, Grace, McCue, Vogt, Wilkinson, Dennison, Boutte Jr., X-Men fans on the floor, Film Costume Designer panel (l-r) Isis Mussenden, Michael Wilkinson, Kym Barrett, Michael Dennison.
”
Summer 2008 The Costume Designer 21
(clockwise from top left) Joan Bergin’s The Tudors costumes on display/CDG President, ATAS Governor and Exhibit CuratorMary Rose in the Technicolor Entrance/CD Bob Mackie and FIDM President Tonian Hohberg/Costume Designer Nolan Miller,Ret Turner’s costumes from the Tim Conway Show, Greek CD Mandi Line surrounded by actress Spencer Grammer and pro-ducer Shawn Piller. Emmy-nominated Ugly Betty Designer Eduardo Castro with partner and costumer Hans Struhar/(center)Moonlight CD Salvador Perez flanked by actor Jason Dohring and costumer Angela Parrish.
(clockwise from top left) Desperate Housewives Costume Supervisors Joyce Unruh Goodwin & Karo Vartanian flank DesignerCate Adair as they accept their Emmy nominations/Robert Nelson, Director FIDM Museum & Galleries, and Barbara Bundy,VP Education, FIDM/Mad Men ACD Allison Leach Haze and Designer Katherine Jane Bryant/Comanche Moon costume/thefabulous FIDM setting/Comanche Moon’s Emmy-nominated Supervisor Betsy Potter and Designer Van Ramsey/Scrubs CDCarey Bennett with actors Sam Lloyd and Ken Jenkins/(center) Pushing Daisies Designer Robert Blackman.
FIDM & ATASCo-sponsor The Third AnnualOutstanding Art of Television
Costume Design Exhibit
Costumes past and present are on display at FIDM through
September 27
20 The Costume Designer Summer 2008
22 The Costume Designer Summer 2008
THE COSTUME DEPARTMENT
-85: This 1942 decree “L-85” from the WarProduction Boardforbade men’s suitsfrom having cuffs
or pleats for the duration ofWWII. Under the law,vests with double-breast-ed suits and suits withtwo pairs of pants were for-bidden. Amended in 1943to include restrictions forwomen such as maximum hemcircumference, maximum twopockets on jackets, simplesleeves (no dolman, leg-o-mut-ton, etc.) and dressescouldn’t have hoods, capes,fichus or shawls. French cuffswere forbidden and rufflesrestricted. Films had exclusions for historicalcostumes in theatrical productions!
Last: Form or mold used in shoe construction. It gives theshoe its shape. Dimensions are based on measure-
ments for the ball, waist and instep of the foot.
Lawn: A fine, soft, sheer fabric, plainly wovenand usually made of cotton. Often starched
for body. Commonly used for handker-chiefs, blouses, baby clothes and curtains.
Lederhosen: Knee-length shortsmade of leather (leder) with attached
suspenders. Traditionally, lederhosenwere worn by men throughout the Tyrolarea; the German-speaking part of Italy,Austria and Switzerland. By the 18th centu-ry, they had become known as “aBayaroise,” the Bavarian style.
Liberty Bodice: While still tight,the Liberty Bodice was an under-
garment championed by the Victorian Dress reformmovement of the late 1800s because it was a step
away from the traditionally restrictive corset.Strapping replaced the boning of the corset while
still encouraging good posture. As women wereemancipated, they became more active and
sportive and needed clothing for greater move-ment. This was a simple sleeveless bodice, made offleecy fabric or knitted cotton. It fastened withbone buttons in front and buttons at the hem to
attach garters or drawers.
Livery: Coming from the French Livree (a gift ofcloth or clothing from a lord to his vassel), the
word has come to mean the uniformof the servants employed in a castle
or estate.
Loden: Is a loose, warm, thickly woven woolcoat of a particular dark green color.
Longyi (Burma)/Lungi (India, Bangladesh,Sri Lanka and Mayanmar). Its origin isSouthern India but its use has spreadacross Asia. A piece of loomed clothroughly two meters x 80 cm sewn intoa tube. Depending on location, tradi-tion and need, it can be worn by fold-ing, knotting or fastening. The doubleknot is most common as it is mostlikely to hold. For formal situationsmen and women wear their best silks,for every day, women tend to wear cal-icos and florals, whereas men wearmore plaids and solids.
Lorica: Roman breastplate made ofmetal scales, an early form of chain-mail. Because of the high cost ofproduction and maintenance,it was typically wornby high-ranking officerssuch as generals.
Karyn [email protected]
LHISTORY OF DRESS A-Z
Illustrations by Robin [email protected]
Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
West Coast
Scott Anderson
323-650-8875
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201-708-1600
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24 The Costume Designer Summer 2008
THE COSTUME DEPARTMENT
FAVORITE THINGSRuth Myers
My iPhone is so handy for contacts,appointments, pictures and e-mails alleasily synced with my computer—especially with so many script re-writesand producer approvals.
My Filofax, to carry little sketches, fabricswatches and business cards and in it,my Montblac pencil for all my drawings.
Designer line sheets & runway photographs which I refer to constantly for looks I want to incorporate into the show.
Costume & fashion books, designerbiographies and photo journal publications, not to mention all themagazines I need for daily research.
One of my favorite things is music to settone and mood in my office. RebeccaRomijn especially likes it during fittings,it helps her “pose.”
Eduardo Castro
loveall blacksunglassesmusicthe beach
The new changeable rack dividers
Collapsible rolling racks with bottoms that fit in my car
My voice recognition Bluetooth earpiece for my cell phone
Zappos
Target
Ellen Mirojnick
Jill O’Hanneson
costume departmentHigh-End Contemporary Clothing & Accessories Men’s and Women’s Vintage thru Modern
545 Circle Seven Drive Glendale, CA 91201 818.553.4800 (p) 818.545.0468 (f) Monday - Friday 8am-6pm
- Women’s Couture Room- Men’s Couture Room- Costumes & Uniforms- Jewelry- Fitting Room- Designer Rooms
WORK IN STYLE
THES
E A
RE
A F
EW O
F M
YCate AdairI’m sitting with Tami (Eldridge) and she’s laughing. She says my Blackberry, a latte, and tea plus a cookie at 4 p.m.
But I would say, a work space with good light (I hate feeling like a mole).
My art supplies, inspirational art books, research, photos and fabric swatches. A nice big desk that Ican spread out on and a little music is a nice bonus.
People around me with a sense of humor!
I guess most of all, the opportunity to be creative!!!
My varied collection of butterflies. I have not left the house without a butterfly onsome part of my body for the last twodecades and would be terrified to do sonow. This means apart from the beautifuljewelry, I also probably have the biggestselection of butterfly underwear and socks in the world.
My late husband Richard Macdonald’s 6B pencil.
My Millia Davenport costume books.
Aquarelle drawing paper, which I neurotically believe is the only paper that I can draw on
My sense of humor!
Summer 2008 The Costume Designer 2726 The Costume Designer Summer 2008
IN FOCUS
THE PROCESS: SKETCH TO SCREEN
Moore: In this scene, Wild Bill Hickok appears as an extremely theatricalized ver-sion of himself in his friend Buffalo Bill Cody’s Wild West Show. The costume wasmade of butter-soft, cream-colored glove leather, with directly embroidered panelsand was only worn in this scene.
Once we all established the character, Walter Hill and I were in a high de-cree of accord on most of Jeff Bridges’ costumes. Of course, Lois’s renderingshelp facilitated that accord because Walter could always see exactly what he wasgoing to get.
DeArmond: 15x20 is the most comfortable size for me to work on, as I can makethe head just big enough to get the likeness and the size reduces well for 11x17color copies.
I did a few headshots of Jeff, but found that this one was generally the best andkept using it. I probably did 80–120 pencil drawings and over 40 paintings of theprinciples’ costumes; including most of Jeff’s 15 or so changes.
DeArmond also did paintings of John Hurt, Ellen Barkin, Jim Gammon and a PlainsIndian character (see DeArmond’s gallery on the CDG site). This drawing and paint-ing were done before the costume was made. Finding a photograph in the samepose as the illustration was a happy accident.
Materials (painting):Watercolor, gouache and colored pencils on 100% rag surface,15x20 illustration board.
WILD BILL 1995Designer: Dan Moore Illustrator: Lois DeArmond
IN FOCUS
Spel
ling-
Go
ldb
erg
/ T
he
Ko
bal
Co
llect
ion
nce upon a time, there were three little girlswho went to the police academy…” So beginseach famously campy episode of Charlie’sAngels, Aaron Spelling’s hugely successful ladydetective drama which ran from 1976 to 1981on ABC. As we all know, mysterious millionaire
Charles Townsend hires three gorgeous policewomen as hisoperatives, and in every episode his “Angels” must go under-cover as race car drivers, models, saloon girls, strippers, ball-room dancers, truckers, cocktail waitresses or inmates (toname just a few!) to aid in their investigations.
Legendary Costume Designer Nolan Miller was handpickedby Aaron Spelling to create the stylish and playful costumesfor Charlie’s Angels. Miller, a 6’5” Texas charmer and grandsonof a Comanche, came to Hollywood in the mid-’50s, got hisdegree at L.A.’s Chouinard Art Institute, and then worked parttime at a flower shop between commissions for gowns.Regular customer Barbara Stanwyck introduced Miller toSpelling one day, saying: “Nolan’s a terrific designer. You've gotto use him.” With this chance meeting, a heavenly match wasmade. Lasting 33 years, their fruitful collaboration would bethe trademark of some of TV’s most memorable shows. In the’80s, Miller earned four Emmy nominations for OutstandingCostume Design for couture costume drama Dynasty alone.
Nolan Miller’s costume design for the delicious original trio ofKate Jackson, Jaclyn Smith and Farrah Fawcett embraced theexciting dynamic between the Angels’ business wear and theirrisqué undercover disguises. In the Townsend office, the
Angels’ costumes are sophisticated, modern and idealized,each befitting the star’s on-screen persona. The “smart” Angel,Sabrina (Kate Jackson), wears sleek turtlenecks, proper suits,and favors bold red. Kelly, the “sweet” Angel (Jaclyn Smith), isdressed luxuriously in more fashion-forward ensembles, oftenin white. Golden-maned “sexy” Angel Jill (Farrah Fawcett)bounces around in the most revealing outfits, always braless,usually in light blues. When the Angels go undercover, theirdisguises are a perfect blend of fantasy stereotypes, sometimesnaughty but always naïve. A winning combination: sweet,smart, sexy ladies, resplendent in red, white and blue, often inseductive ensembles, with nary a bra in sight!
In November 1976, Kate, Jaclyn and Farrah graced the coverof Time magazine in beaded gowns under the heading “TV’sSuper Women.”The glowing article announces that the showis not just a winner, but a phenomenon, and Spelling is quot-ed as saying: “The people out there love it, and we have thenumbers to prove it.” Spelling’s recipe of gorgeous actressesand undercover hijinks delighted audiences. By infusing thecultural currency of Nolan Miller’s trend-setting costumes intothe mix, Charlie’s Angels was destined to be a hit that lived onthrough new Angels (Cheryl Ladd, Shelley Hack and TanyaRoberts), decades of reruns, and the two blockbuster filmsequels in part inspired by Miller’s foxy Angels.
Audrey Fisher
ODiv ine Design: A Look Back at Nolan Mi l ler ’s Angels
Summer 2008 The Costume Designer 29
A LOOK BACK
“
Summer 2008 The Costume Designer 31
BOLDFACE NAMESBOLDFACE AT WORK
CD Agata Maszkiewicz is taking the reigns of the CDG-nom-inated The Starter Wife starring Debra Messing and Judy
Davis. TSW moves from miniseries to a full season this year.Debra McGuire will be designing the new 90210 series onthe CW while she continues her work for Heroes, Season 3.She recently wrapped Year One, a biblical comedy shot inLouisiana, directed by Harold Ramis and produced by JuddApatow. This June, Marie France wrapped her second pilotof the season, Bad Mother’s Handbook for ABC, with fellowCD Pat Welch supervising.At Universal, CD Dorothy Amoswith CD Barbara Inglehart supervising are back to workon Season 4 of Ghost Whisperer. CD Mandi Line is design-ing costumes for the second season of Greek on ABC Family,and her costumes are featured in a behind-the-scenes spoton abcfamily.com. CD Yolanda Braddy is designing her firstfull season of Lincoln Heights for ABC Family, and she’shappy to have Tashiba Jones-Wilson as her ACD.This July,CD Jenni Gullet designed a CBS mid-season series calledHarper’s Island, a murder mystery about wedding guestsstranded on a secluded island off the coast of Seattle. CDPam Withers Chilton is designing the new Lifetime seriesRita Rocks about a frazzled working mother who starts agarage band. Jenny Gullett is designing the CBS drama seriesHarper’s Island set to air in 2009. Florence-Isabel Meg-ginson is designing the Worst Week. The series is based onthe BBC show in which a young couple quickly get ac-quainted with their soon-to-be in-laws. Jill Ohanneson isprepping the new Ray Romano pilot Men of a Certain Age.
Down in San Diego, Rachel Sage Kunin is designing the seriesThe Ex List for Fox about a woman who revisits her formerboyfriends after a psychic says she’s already dated her futurehusband. Michael T. Boyd wrapped his New Mexico shootSex & Lies in Sin City, a Sony/Lifetime TV movie about thetrue story of Horseshoe Casino owner Ted Binion’s death. CDAmy Stofsky is designingthe new TV series Crashin Albuquerque until Oc-tober. CD KathleenDetoro is back in NewMexico designing thesecond season of Break-ing Bad for Sony/AMC.
Bonnie Stauch recentlydesigned Mostly Ghostlyfor Universal starringNoah Cyrus and AliLohan. Stauch alsowrapped the video gameNeed for Speed 2 and isnow prepping the filmRogue’s Gallery. CDDana Campbell, along with CD Craig Anthony as costumer,are working locally on Janky Promoters, a comedy written
Maszkiewicz, Messing as Cinderella and actor David Alan Basche
Cast of Greek, CD Mandi Line
Stauch’s design for Noah Cyrus People Magazine
IN FOCUS
ssyearsyearsyyy araraaee rseaarsarrseaeaeaarraryears4y4444444444y44444y444444444444yy4... and Counting
Countdown To Our Centennial
The Japanese Interpretation of
by Ivan Marquez
Mikado Opera
Western Costume Company would like to thank the Costume Designer’s Guildfor 96 years of successful collaboration.
We look forward to celebrating our centennial with the best guild in the industry!
11041 Vanowen Street . North Hollywood CA 91605 . P 818.760.0900 . F 818.508.2190www.westerncostume.com
32 The Costume Designer Summer 2008 Summer 2008 The Costume Designer 33
building.Working in NYC and New Jersey, CD Melissa Meisteris designing a Spike Lee film about the early ’90s rock scenecalled The Perfect Age of Rock ’n’ Roll. This July, CD Shay Cun-liffe headed to Vancouver to design an apocalyptic disastermovie inspired by the Mayan doomsday prophecy entitled2012. Francine Lecoultre is in Hungary designing the musi-cal Xayron; the Hungarian cast will be filming at the new BKStudios in Budapest.
BOLDFACE PRESSCD Susanna Puisto is fea-tured in a Finnish documen-tary series about Finns withinteresting careers living in-ternationally called Jaakkoand the Conquistadors. Herepisode will air primetime inOctober on the Finnish net-work YLE. EntertainmentTonight’s CD Anya Sarre hasbeen busy: she was recentlyfeatured in LA ConfidentialMagazine, honored with asummer soiree at the DVFboutique on Melrose and ap-peared on the TV Guide Chan-nel’s The Fashion Team. This September, CD Mary Zophreswill be featured in an L’Uomo Vogue article with glam photos
shot at Bill Hargate’sworkroom. Zophres’ lat-est, Burn After Read-ing, which she designedlast fall, is premiering atthe Venice Film Festival,and the SeptemberL’Uomo Vogue is dedi-cated to the artists in-volved with filmsscreened at the Festival.CD Bernie Pollack wasfeatured in the coverstory of Classic Style(Summer 2008)“BerniePollack: 40 Years ofStyling Redford, Hoffmanand Ford for the BigScreen.” Check out:
continued on page 34
BOLDFACE AT WORKby Ice Cube. CD Roemehl Hawkins is winding up her designwork on the comedy Labor Pains with ACD Brigitta Romanov,and reports that Lindsay Lohan, whoplays a woman who fakes a pregnancyto avoid getting fired, is amazing. CDAriyela Wald-Cohain designed a bloodysex-soaked biker tale of revenge and ret-ribution called Hell Ride for Tarantino Productions, to be released in August.
In between designing Race to WitchMountain in Las Vegas, CD MoniqueLong participated with CDG Board Del-egates at the IATSE District 2 Conven-tion in San Jose. Long also designed forThe View From Las Vegas, shot live fromCaesar’s Palace. Sharon Day designedtwo indies this summer: first the thrillerCaptive Audience around the L.A. area,then she was off to Utah for the WesternThe Desperate Ones. After filming in Tuc-son, Phoenix, Miami and throughoutConnecticut, Emmy-nominated CD JohnDunn has wrapped Sam Mendes’ Far-landers, written by Dave Eggers and starring John Krasinskiand Maggie Gyllenhaal. CD Mary Zophres has just started The
Serious Man forlongtime collabo-rators, the CohenBros. Prepping inL.A., Zophres willhead to Min-nesota with ACDJenny Eagan.
News from theBig Easy and be-yond: CD Chris-tine Peters justwrapped the fea-ture Who Do YouLove in New Or-leans; the film isabout ChessRecords andspans 1930 to1955, a design
dream! This July in New Orleans, Carol Ramsey finisheddesigning the comedy Mardi Gras; star Carmen Electra’sQueen of the Parade costume was built by Hargate Cos-tumes. Alexis Scott is off to Knoxville, Tennessee, to de-
sign I Hate to See That Evening SunGo Down, starring Hal Holbrook as anelderly man who escapes his retire-ment home. CD Catherine Thomas isheading to Minnesota & Texas forWhip It, Drew Barrymore’s featurefilm directorial debut.
CD Roland Sanchez had an amazing timein Detroit with his Lost crew while de-signing the pilot for the ABC show ThePrince of Motor City and returns to Lostfor Season 5. Also in Detroit, Sara JaneSlotnick just completed work on the fea-ture The Job, and she has the scoop if any-one needs places to shop. Judy Truchanjust finished designing the HallmarkChristmas film Moonlight and Mistletoein Chester,VT, about how a father and hisdaughters mend their relationship whilethey save Santaland. CD Ane Crabtree andACD Rahimah Yobah recently wrapped
the untitled Nicole Holofcener project, a comedy about rela-tionships between the residents of a New York apartment
IN FOCUS
ACD Yobah and CD CrabtreeTruchan’s Santa for Hallmark
Puisto on the cover of Oho! bottom center
Anya Sarre
Wald-Cohain's bikers for Hell Ride
BOLDFACE NAMES
Summer 2008 The Costume Designer 3534 The Costume Designer Summer 2008
www.classicstylemag.com. The New York Times DVD reviewof Mad Men “Jacket Required” singles out CD Janie Bryantclaiming that the DVD extras include “The wardrobe geniusJanie Bryant explaining her secrets for dressing the firm’salpha dog Don Draper.” Variety’s style editor and CDG fan, Car-oline Ryder, wrote a story that ran in Variety’s Comic-Con issue,July 24 (based on a pitch by publicity chair Deena Appel).The article detailed the lack of compensation to and ac-knowledgment of Costume Designers in the merchandisingof dolls, Halloween costumes and toys based on our designs.
BOLDFACE HONORSCD Isis Mussenden is a proud new member of the Academyof Motion Picture Arts and Sciences. CD Ane Crabtree is cur-rently in Pennsylvania at Soaring Gardens for a painting andwriting fellowship, and has been accepted to the VermontStudy Center for painting as well. CDG Designers and part-ners, Ray Agahyan, Bob Mackie and Ret Turner, celebratethe 40th anniversary of Elizabeth Courtney Costumes!Movieline magazine will honor Bob Mackie with a “LifetimeAchievement Award” and Janie Bryant with “Most Stylish TVShow: Mad Men” at their Hollywood Style Awards on October12. Movieline will also partner once again with HamiltonWatches for the Behind the Camera Awards, November 9.This year, they are acknowledging Designer Albert Wolskyfor his work on the upcoming feature Revolutionary Road.
BOLDFACE ACADEMICSThis fall, CD Tina Haatainen-Jones will be the new assis-tant professor of costume design at USC’s School of Theatre.Maria Shicker will lead the Teen Studio Project 2008 Fash-
ion Design Class, a two-week intensive on the fashion designprocess, which culminates with a fashion show. UCLA hasbeen pledged an unprecedented gift of $6 million from news-paper publisher and philanthropist David C. Copley toendow a chair and an innovative new center for CostumeDesign. The new center will be the first of its kind anywherein the world. Stay tuned…
BOLDFACE ENTREPRENEURSIllustrator and ACD Lois DeArmond has an online shop, DeAr-mond Costume Art, on Cafe Press, which features her uniqueart deco fashion illustrations on notecards, mugs, tote bags andother items. For great gifts, including charming Christmascards, check out: www.cafepress.com/dearmond. CD SherryThompson has been collecting aboriginal fine art from Aus-tralia for five years, and is now selling a stunning selection ofcontemporary paintings: www.ochredotgallery.com. This June,Thompson had a successful art opening featuring her Aborig-inal pieces at Haziza H1 Gallery/Art 48 in Sun Valley, Idaho. CD Shelley Komarov started a line of travel-friendly apparelwith her son in 1997, and Virgin America will be featuring Komarov’s fashion tops in an upcoming U.S. ad campaign.After 31 years, Shelley will soon be returning to Moscow to finally show her collection! Check out: www.komarov.com.
Rental offices include:• High-speed wireless internet access
with wireless printing and faxing• Digital camera and printing
to use with your fittings• Keyless 24-hour entry• In-office refrigerator and coffee maker• Full service workroom led by
master tailor Gilberto Guzman
818.982.3611 • Fax: 818.982.19057243 Coldwater Canyon Ave.North Hollywood, CA 91605
www.EasternCostume.com
COME CHECK OUT OUR NEWLYIMPROVED RENTAL OFFICES AND
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BOLDFACE NAMES
DeArmond’s art deco gift line Shelley Komarov travel wear
continued on page 36
BOLDFACE PRESS
Summer 2008 The Costume Designer 3736 The Costume Designer Summer 2008
CD Luke Reichle has launched a new interactive website Secrets of the Red Carpet that offers everything from free styletips to personal styling by the hour, a day with Luke and ahead-to-toe makeover. www.secretsoftheredcarpet.com.
BOLDFACE FESTIVALS & EVENTSCostume Designer Susan Nininger returns for the thirdstraight year as Chair of the Comi-Con Committee. Thank youSusan! For Co-chairs and Designers who participated in thethree panels at Comic-Con 2008 see page 18. This year atCineVegas 2008, Dark Streets, a fevered noir drama about se-duction, murder and the blues, with costumes by CD MariaSchicker, was given a Special Jury Award. Dark Streets willmake the Festival rounds throughout the fall. While vacation-ing in France this June, CD Marie France was invited to joinformer CDG President Deborah Landis at the Festival Inter-national Cinema et Costume in Moulins-Sur-Allier. This lovelyCote d’Azur city hosts an amazing museum, the Centre Na-tional Du Costume De Scene (www.cncs.fr), which since2006 has presented three costume exhibitions each year. Thecurrent one was inspired by A Thousand and One Nights.CD April Ferry’s latest film, The Edge of Love, directed byJohn Maybury, opened the Edinburgh International Film Fes-tival. Stars Keira Knightly, Sienna Miller and Matthew Rhys attended the festivities.
compiled bySuzanne Huntington [email protected] Fisher [email protected] Appel [email protected]
Reichle’s Secrets of the Red Carpet
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*For DETAILS call us toll free at 1-800-393-3833 Visit us online at www.musicianscu.org
BOLDFACE NAMESBOLDFACE ENTREPRENEURS
38 The Costume Designer Summer 20083500 Maple Avenue, 17th Floor • Dallas, Texas 75219-3941 • 800-872-6467
1473
7
Annual Sales Over $600 Million375,000+ Online Registered Bidder-Members
To receive a complimentary book or
catalog of your choice, register online at
HA.com/CDG14737 or call 866-835-3243
and mention reference #CDG14737.
BID NOW!
Doug Norwine, 800-872-6467 ext. 1452
WE PAY FINDERS’ FEES
MUSIC & ENTERTAINMENT MEMORABILIA
TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Mike Sadler 16129; Andrea Voss 16406. • This auction is subject to a 19.5% Buyer’s Premium.
Gone with The Wind Screen-Used Arm Chair
Sold! $22,108
WE AUCTION
ENTERTAINMENT HISTORY
HERITAGE ACHIEVES STAR-STUDDED PRICES for stage/screen-used costumes and props.
Contact us TODAY to consign!
WHY DO SO MANY COLLECTORS CHOOSE HERITAGE AUCTIONS?
Huge base of collectors in Music, Film & Television Memorabilia
Low sellers’ fees
Generous cash advances
Over $7 million per year spent on marketing alone
Entire collections bought outright
Over $3 billion in collectibles sold since 1976
35 years in business with the same owners
Annual sales over $600 million
Sellers paid on time… every time
Janis Joplin’s
Knit Dress
Sold! $14,340
Jimi Hendrix Stage-Worn Boots
Sold! $21,510
James Dean’s Screen-
Worn Jacket from
East of Eden
Sold! $28,680
SCRAPBOOK
In memory of Adele Palmer 1915–2008 Costume Designer Adele Palmer and Myrna Loy, The Red Pony, 1949
Ph
oto
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