the costume designer summer 09
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
The Official Magazine of the Costume Designers Guild
Summer 2009 The Costume Designer 3
COSTUME DESIGNERS GUILD11969 Ventura Blvd., First Floor
Studio City, CA 91604phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
GENERAL CDG [email protected]
COVERThe Academy of Television Arts and Sciences® 2009 Emmy nominees for
Costume Design. Top row left to right:Grey Gardens, Into the Storm, Mad
Men, Pushing Daisies, 2nd row: The No. 1 Ladies’ Detective Agency, House of
Saddam, The Tudors, bottom row: Ugly Betty, The Librarian, Little Dorrit.
For details, see page 14.
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 President’s Letter Executive Director Assistant Executive Director Labor Report
Costumes and Cocktails . . . . . . . . . . . . . . . . 12
Emmy Noms . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Q&A with nominated Designers
CDG at Comic-Con 2009 . . . . . . . . . . . . . . . . 20
The Costume Department . . . . . . . . . . . . . . . 22 Meet the Assistants History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Process: From Sketch to Screen A Look Back at 3rd Rock Creations Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
DEPARTMENTS
26
FEATURES2 LOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Spreading the LOVE one tee at a time
FIDM & ATAS . . . . . . . . . . . . . . . . . . . . . . . . 18 4th Annual Outstanding Art of Television Costume Design Exhibition
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vol. 5, issue 3
4 The Costume Designer Summer 2009 Summer 2009 The Costume Designer 5
ummer has arrived. As Mary Rose points out … a busy time was had by all.
As you will see in this issue, there were so many events and exhibits and parties to share that this became the issue of pho-tos and more photos. Even the cover is graced with a collage
of images from this year’s 10 Emmy-nominated Costume Designers. You won’t find much to read, but instead, page after page of images of colleagues and friends.
Many thanks to our own Associate Editor, Audrey Fisher, for her major multi-tasking on this issue. Not only covering her usual “A Look Back” and editing “Boldface Names” but also for heading the
“Emmy Q&A” team (along with JR Hawbaker and Bonnie Nipar), contributing to “The Process: From Sketch to Screen” and for participating on the Comic-Con Television Panel in San Diego which is covered on page 20. Thank you, thank you!
You may notice that the pages of The Costume Designer are constantly changing. Slowly, gaining our sea legs (this is our 16th issue!), we’ve been trying to keep the magazine as visually interesting as it is informative. We never rest, updating pages and fonts, layouts and columns, even incorporating our new CDG logo; hopefully, putting our best foot forward with each issue.
Which brings me to the following…• we’d love to hear your feedback on what’s working for you and what we can
improve• we’re always looking for new contributors, so remember, if you have a story to
tell, we would love to read it• if you’d like to look back at any of our past issues for research, our advertisers
or pure nostalgia, ALL 16 are available on the CDG website at costumedesignersguild.com. Click on CDG Magazine (the rollover menu makes it easy to see what’s inside).
• we’re hoping to produce a new “Label” cover in 2010; to be included, send your samples to the Guild office.
The best is yet to come,Deena [email protected]
EDITOR’S NOTE
EDITOR/PHOTO EDITORDeena Appel
ASSOCIATE EDITORAudrey Fisher
MANAGING EDITORCheryl Downey
PRESIDENT Mary Rose
VICE PRESIDENT Hope Hanafin
SECRETARY Ann Somers Major
TREASURER Marilyn Matthews
EXECUTIVE BOARDSharon Day
[email protected] Perez
[email protected] Appel
[email protected] Ferry
[email protected] De Armond (Asst. Costume Designers)
[email protected] Sanchez (Illustrators)
BOARD ALTERNATESValerie Laven-Cooper
[email protected] Nininger
[email protected] Blackman
[email protected] Weiss
BOARD OF TRUSTEESJacqueline Saint Anne, Chair
[email protected] Peter Flaherty
[email protected] Froehlich
EXECUTIVE DIRECTORCheryl Downey
ASSISTANT EXECUTIVE DIRECTORRachael M. Stanley
ADMINISTRATIVE ASSISTANTSuzanne Huntington
RECEPTIONIST/SECRETARYCheryl Marshall
PUBLISHERIngleDodd Publishing
ADVERTISING DIRECTORDan Dodd 310.207.4410 x236
JR HAWBAKER(Emmy Q&A, Meet the Assistants) joined the Guild in 2006 and currently works as an Assistant Costume Designer for film and television. Originally from Chicago and the Goodman School of Drama, she calls Los Angeles and the CDG home now. Excited to be writing again, Hawbaker is thrilled to contribute to the magazine. “Our Guild members are all storytellers, on screen and on the page, and I am only to happy to contribute to a magazine that narrates their stories”
SSUZANNE HUNTINGTON(Boldface Names) Came to the Guild in 2005 as the adminis-trative assistant after two years with the Editors Guild as their project event coordinator. Educated and working in the fine arts and entertainment world keeps Huntington in an environ-ment she enjoys most—a creative one. Huntington stays busy with member inquiries, managing special projects, shepherding Awards season info and mailings to members, serving as admin-istrator of the CDG website, among other duties. “It’s a pleasure to stay in touch with the members and make a contribution to The Costume Designer.”
BONNIE NIPAR (Emmy Q&A, What’s On/In, Locations) joined the Guild in 1997 and works as a Designer for TV. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of the CDG magazine, Bonnie happily took over two recurring columns. She adores the process of gathering new sources, thus writing Locations is a great fi t. And for the What’s On/What’s In, “It’s a treat to research the latest accomplishments of our peers.”
ROBIN RICHESSON (History of Dress, Illustrator) joined the Guild in 1992, and works currently as a costume illustrator, a storyboard artist, and an edu-cator. “I trained 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.”
KARYN WAGNER (History of Dress, Copy) A Costume Designer for film and televi-sion, Wagner ran for the CDG Board four years ago. “I wanted to give back a little of what the Guild has given me. I have found the experience to be rewarding and inspiring. I trained as a his-torian, and I love to watch the evolution of culture and clothing, so I volunteered to write the History of Dress column. I always learn something new and have so much fun writing it.”
ContributorsAUDREY FISHER (Associate Editor & A Look Back) joined the Guild in 2000 and is currently the Costume Designer for the new HBO original series True Blood. Fisher was in her second term representing Assistant Costume Designers on the Executive Board when she reclassified to Designer. “Associate editing the CDG magazine allows me to indulge one of my first loves and keeps up my writing chops. I appreciate the creative outlet and the opportunity to learn more about our colleagues and their designs.”
TUESDAYS Tea & Technology from 10 a.m. to noon, CDG officeMONDAY September 14 Executive Board Meeting at 7 p.m., CDG office MONDAY October 5 Executive Board Meeting at 7 p.m., CDG officeMONDAY October 19 General Membership Meeting at 7 p.m., CDG officeMONDAY November 9 Executive Board Meeting at 7 p.m., CDG office
IMPORTANT DATES
Just before the dawn of July 25, not fully recovered from the fabulous FIDM Gala and Emmy Nominees
Reception the night before, I headed to LAX on my way to the IA Convention in Orlando, Florida, where I joined the CDG delegates who’d been there since Friday.
July was quite a month, especially the last two weeks. It just so happened that Saturday, July 25, offered many exciting costume events: the opening gala for the 4th Annual Outstanding Art of Television Costume Design Exhibition at FIDM Museum, the start of the CDG panels at Comic-Con, San Diego, and the first day of the IATSE 66th Quadrennial Convention in Orlando; all on the same day. For those members who look forward to the FIDM Gala every year, this was not a happy combination of events. Maybe some day we’ll figure out how to be in two places at once.
The FIDM & ATAS exhibition itself was quite a success. Some will say that, it was the best ever! Without being coy, I do have to agree. The designers who participated and attended the gala received a tremendous amount of press and Internet coverage. We are being recognized for our work … both Television Costume Design as an art, and the talented, hard-working Costume Designers behind every show. As Curator of this important exhibition for the past four years, that is what I’ve strived for … and it’s working.
Cheryl and Rachael will have more detailed reports on the IA Convention in our upcoming Newsletter, so I will simply share a couple of meaningful highlights. In the spirit of reaffirming and strengthening our relationship with 705, we invited the 705 delegates to dinner and had a wonderful evening over a few glasses of wine and a nice meal! It was great to see so many bright, young 705 members and to discover just much they enjoyed getting to know us too.
A couple of nights later, we proclaimed “Girl’s Night Out,” when we invited a handful of women within the IA to dinner … smart, strong women who know how to get things done, in short, the Achievers. They are union leaders from Canada, the East Coast, and New York. The food was good, the conversation stimulating and many ideas were exchanged from all sides. It was a great and informative evening.
If you think it’s all about socializing, I would say this … we learn from all we experience at this kind of event, only we don’t always enjoy it as much as we did with these two dinners.
I’ll end this report with an Eleanor Roosevelt quote from one of the convention pamphlets: “Learn from the mistakes of others. You can’t live long enough to make them all yourself.”
I’m following her advice!
Have a great summer, Mary [email protected]
Dear Members,
PRESIDENT’S LETTER
UNION LABEL
Summer 2009 The Costume Designer 7
Pat on the Back
This is the time of year when we honor the work of our television design-ers. Four years ago, our President, Mary Rose, created a new exhibit co-hosted by ATAS (The Academy of Television Arts and Sciences) and FIDM (The Fashion Institute for Design and Merchandising) to pres-ent the work of our current televi-sion designers and look back at some
classic TV work. This event introduces the start of the Emmy season with a reception to honor Costume Design Emmy nominees. Each year, the exhibit becomes more spectacular and draws more and more attention to the art of television design. For many years, some considered TV design to be less important than film work. This exhibit puts to rest any implication of TV design’s being the “poor relation” in this industry.
As the cable networks have expanded the scope and type of shows being aired on TV, the opportunities for TV design have expanded as well. The quality of our members’ work increases with each new challenge TV offers. Anyone who has worked in television knows the difficulty of producing costumes on a week-to-week basis. Most hour shows can have upward of 60–80 costumes each weekly cycle. The episodic schedule of a 7- to 9-day shoot requires our members to work at a furious pace. With shorter prep times and faster schedules our members are being pulled thinner and thinner.
We all know the toll those 80-hour weeks can take when they go on month after month. I urge you to be sure to keep a running record of your weekly hours to submit to the Guild office. This is the valuable infor-mation that will help us to negotiate better conditions for our members.
Each year when the fall schedule starts, I spend hours trying to track down who is doing each show. Did you know it is a requirement of membership to call in your work? Please give me a call and let me know what you are doing.
I celebrate the work of all of our members and wheth-er that elusive Emmy ever sits on your mantel or not, know that your work is recognized and appreciated by thousands on a weekly basis.
In Solidarity,Rachael [email protected]
ASSISTANT EXECUTIVE DIRECTOR
In this age of Obama, there is finally hope that Labor issues such as improving and expanding healthcare, funding education, and passing the Employee Free Choice Act will receive the necessary national and state support needed to become reality. We union Designers must make our demand for positive change known. We cannot afford NOT to have a voice.
IATSE Emeritus President Thomas C. Short said, “Until we get the money out of politics, we have to participate.” If Labor’s agenda is to have any hope of passing, we union members need to monetarily support candidates who will vote for issues favorable to Labor, plain and simple.
The most cost-effective way to do so is to establish a political action committee (PAC) just as Locals 600 (Cinematographers) and 80 (Grips, Crafts Service) have done long ago. I am proud to say that the CDG Executive Board, followed by the General Membership on March 2, 2009, voted unanimously to establish the Costume Designers Guild Local 892 PAC, effective July 1, 2009.
Dues will not increase. The PAC will be funded out of our current dues at a modest 50 cents per member per month (just as Local 600’s is). Thus, a total of $6 out of each member’s dues will fund the PAC annually. Separate accounting will assure full transparency.
If the CDG, Local 892, makes any political contributions, it has to file campaign finance reports. If we don’t have a PAC, we still have the cost of filing the reports and must pay taxes on every contribution to a candidate or PAC that supports our candidates, at the highest corporate rate, namely 35%. So, with a PAC, we will actually save money.
This money will be allocated just as any political contributions have been in the past, namely by Executive Board vote. There is no requirement that our PAC expend any specific amount in any year, so we have the ability to save money for when it’s needed most.
Now, when issues of importance for IATSE members are at stake, Local 892 will be ready to join together with our fellow IA Locals in protecting future jobs and benefits for us and for our children.
In Solidarity, Cheryl [email protected]
Dear CDG Members,
EXECUTIVE DIRECTOR
UNION LABEL
Summer 2009 The Costume Designer 98 The Costume Designer Summer 2009
• Please submit your illustrations in advance to the CDG office.• Illustrations should be vertical, horizontal images do not work for the directory.• All illustrations must be designed or illustrated by a CDG member, and they must be
for Guild-covered work, no theatrical or private work.• Illustrations must be for produced work, film, TV or commercial design, etc.• Please bring your illustrations individually, not in your portfolio.• All work must be labeled with the designer, illustrator and project title.• If you are submitting several illustrations from the same project, narrow it down
to your three favorites.• Only one illustration per project will be accepted unless there was more than one
illustrator on the project.• You must have access to the original illustration or a high-quality digital file.
Illustrations will be selected by the Directory Committee and the chosen illustrations will be announced at a later date.
Thank you, Salvador Perez and the CDG Directory Committee If you have any questions, please feel free to contact me at [email protected]
CostumeDesigners
GuildDIRECTORY OF
MEMBERS
2009
Front Cover_F 1 7/30/09 12:43:45 PM
COSTUME ILLUSTRATION SELECTION FOR THE 2010 CDG DIRECTORY Illustrations for the 2010 CDG Directory must be submitted to the CDG office by Friday, August 28, 2009.
Labor & the Healthcare Crisis
The strategies covering workers under the current healthcare system are not working, as wage increases are traded off to pay for diminishing healthcare benefits being cut to the bone.
Why do workers need single-payer healthcare?• Illnesses cast working families into bankruptcy• Health insurance premiums are three times higher than infla-
tion, and workers’ stagnant wages don’t balance the cost of living
• Government leaders enjoy government-financed healthcare and are not turned away for pre-existing conditions or denied care due to insurance company practices.
Single payer means everyone pays into one healthcare fund and everyone gets healthcare coverage paid out of the fund. Care would be provided as it is today by private or public providers with the freedom to choose a provider and not imposed by HMOs.• Single payer is not socialized medicine. Hospitals remain privately owned and doctors
remain in private practice. All workers would have free choice of doctors and providers, and uninterrupted coverage when unemployed. Medicare is a single-payer system.
• Single payer eliminates waste and high profits for insurance companies estimated to cost $350 billion a year. 31% of healthcare spending goes to administration in the for-profit insurance companies.
• No more stalled contract negotiations. Employers will be better able to compete with countries that have universal health coverage.
• The IATSE health benefit plan under single-payer healthcare would be integrated into the single-payer system if (SB 840) the CA Universal Healthcare Act passes. Tell your California representatives of your strong support. www.laborforsinglepayer.com
In Solidarity,Betty [email protected]
LABOR REPORT
UNION LABEL
10 The Costume Designer Summer 2009
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Summer 2009 The Costume Designer 1312 The Costume Designer Summer 2009
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BECKLEY April 9
Store owner Melissa Richardson Akkaway hosted a cocktail party for the CDG at her chic Melrose boutique with champagne and appetizers from Chef Michel Richard and a beautiful gift for all who attended. Melissa has created a VIP program exclu-sively for CDG members to make it as easy as possible to memo clothing and accesso-ries at Beckley. We welcome Beckley as one of our newest CDG Award sponsors.
LOS ANGELES MAGAZINE &BEVERLY CENTER May 14
CDG Award Sponsor Beverly Center, in partnership with its retailers, welcomed CDG mem-bers for a very special soiree on the Center’s rooftop terrace over-looking the Hollywood Hills. Mary Rose and Los Angeles magazine style director Laurie Pike host-ed the event designed to show appreciation of the long-standing relationships between Beverly Center retailers, studio services, and CDG designers. Macy’s and Bloomingdale’s also celebrated the CDG Award–nominated TV shows by interpreting their trend-setting style on display.
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GREY GARDENS Costume Designer: CATHERINE MARIE THOMAS *Assistant Designer: MICKEY CARLETONKey inspiration? The Grey Gardens documentary was our departure point for the two Edies. Because the film spans the 1930s to the 1980s, we developed the characters’ costumes backward in time from when the docu-mentary was shot. Favorite costume? The hooded silk charmeuse gown little Edie wears at the bohemian party: it was both progressive, referencing her life-long experimentation with head coverings, and practical, because of her alopecia. Best advice? Work hard, laugh harder. What keeps you focused? Being fortunate to work with a great team: it’s a communal reality check.
THE LIBRARIAN: CURSE OF THE JUDAS CHALICECostume Designer: KIM MARTINEZCostume Supervisor: JENNIFER KAMRATH*Assistant Designer: BROOKE AIELLO Key inspiration? To represent New Orleans without making it “hokey,” and to show the city’s sultry style. Favorite costume? Stana Katic, who plays a 400-year-old French vampire, was my muse. We see her singing in a smoky little bar wearing a 17th-century bustier. I modernized the corset for this scene, but we also see her wearing it in a vintage photo. Best advice? Take the time to learn all you can about our craft. What keeps you focused? Managing problems efficiently and supporting my colleagues. You can’t do this job without a happy “krewe.”
LITTLE DORRIT Costume Designer: BARBARA KIDD Costume Supervisor: MARION WEISE(Barbara Kidd was not available at press time)
INTO THE STORM Costume Designer: CONSOLATA BOYLECostume Supervisor: MARION WEISE*Assistant Designer: RICHARD SALEKey inspiration? Winston Churchill. The profoundly deep impact and response of a country at war: the clothes they recycled, the materials and shapes they used. Favorite costume? Brendan Gleeson’s costumes as Winston Churchill. It is important not just to replicate, but let a costume have its own essence. Then, step back and give the actor space to move. Best advice? Don’t lose site of the overall, coherent vision. Keep it in your head and heart always. What keeps you focused? Great teams. Lots of laughter and loving what I do!
PUSHING DAISIES Costume Designer: ROBERT BLACKMAN
Costume Supervisor: CAROL KUNZWhat is your key inspiration? Romantic ideals. Color and line. Favorite costume? All the Aquacade costumes, which the actors had to swim in. Those costumes embraced the idea of fantasy as well as practicality. Best advice to the next generation of Costume Designers? Observe the world around you and remember it all. What keeps you calm and focused on the busiest of days? Breakfast and lunch. One has to fuel the engine.
THE NO. 1 LADIES’ DETECTIVE AGENCY Costume Designer: JO KATSARAS
Costume Supervisor: ZURETA SCHULZWhat was your key inspiration? Both the texture and color of the African landscape and all its people. My other great inspiration was Anthony Minghella. He devoured my every idea with his special grace and appreciation, and that really brought the best out in me. Favorite costume? Mma Makusti. Her costumes are delightful and quirky, and always put a smile on my face. Best advice to the next generation? Trust your instinct with an idea. What keeps you calm and focused? Laughing a lot!
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THE TUDORSCostume Designer: JOAN BERGIN
Costume Supervisor: SUSAN O’CONNOR CAVE*Assistant Designer: GABRIEL O’BRIEN
*Illustrators: KELVIN FEENEY, SUSAN SCOTT & LOIS DE ARMONDKey inspiration? The grandeur of the King’s wealth, which is beyond men’s aspirations. Favorite cos-tume? Anne of Cleves’ costume was inspired by the paintings of Lucas Cranach. The world she came from was surreal, exotic and strange to Henry VIII’s court. Best advice? No experience is wasted: live theatre, the circus, hip television shows like Gossip Girl. All the time I learn anew that costume is character. What keeps you focused? The quality of my crew, the inspiration of Michael Hirst’s scripts, and a positive work atmosphere.
HOUSE OF SADDAM Costume Designer: ALEXANDRA CAULFIELDCostume Supervisor: JENNIFER HARVEY*Assistant Designer: LUPT UTAMA
What is your key inspiration? Re-creating a historic figure still fresh in our mind and interpreting those iconic images we have all seen. Your favorite costume? Sajida’s 1980’s applique suit, designed from an original photo of her. It was definitely the most expensive costume we made! Best piece of advice? Realize you will never have the time or money to completely achieve what you envisage. What keeps you focused during the busiest of days? Achieving what has been asked of me, whatever the restrictions and conditions of my workspace.
UGLY BETTYCostume Designer: PATRICIA FIELD
*Assistant Designer: MOLLY ROGERS(Patricia Field was not available at press time)
MAD MENCostume Designer: KATHERINE JANE BRYANT
Costume Supervisor: LE DAWSON*Assistant Designer: ALLISON LEACH
What is your key Inspiration? I’m always inspired by each script. Favorite costume? My favorite is Betty’s aqua blue silk organza and brocade gown. We had to make three because Betty throws up on herself in the car. The pearl trimming was like building jewelry into the dress. I loved it. Best advice? Be positive: it helps the creative process flow. In the end, it’s really about having fun. What keeps you calm and focused? Having an attitude of gratitude, or as we say on Mad Men, “A.O.G., baby!”
Emmy Nominees: Outstanding Costumes for a Miniseries, Movie or a Special
Emmy Nominees: Outstanding Costumes for a Series
*The Academy of Television Arts and Sciences does not include Assistant Designers (Los Angeles) or Illustrators in the Costume Design category.
Summer 2009 The Costume Designer 17
Carol Cutshall, One Tree HillHeifer Project International
Juliet Polcsa, The SopranosDoctors Without Borders
Eduardo Castro, Ugly BettyThe Humane Society
Debra McGuire, HeroesOhr Hatorah Congregation
Jennifer Bryan, VegasSusan G. Komen Fund for a Cure
Brenda Maben, Gilmore GirlsNational Breast Cancer Foundation
Catherine Adair, Desperate HousewivesSusan G. Komen Fund for a Cure
Karyn Wagner, Friday Night LightsHabitat for Humanity New Orleans
Randall Christensen, Dancing With the StarsJeff Griffith Youth Center
Lou Eyrich, Nip/TuckCancer Research Institute
Patricia Field, Sex and the City Lower Eastside Girls Club
2 LOVE is a lifestyle brand whose celebrity-designed clothing endorses a message of love while benefiting
charities that elevate lives. The company inspires young women to love themselves, and in turn, spread the love to others. This unique marketing initiative, designed both to empower women and promote philanthropy, has struck a chord among Hollywood’s A-listers who have enthusiasti-cally signed on to join the 2 LOVE mission.
The company, run by Kristi Kaylor and Shanna Rosen and owned by The LOFT Agency, encouraged celebrities such as Miley Cyrus, Vanessa Hudgens, Jessica Alba, Mena Suvari and Molly Sims (to name a few of their 50 celebrity partners) to express their creativity while bringing aware-ness to their favorite charities. A portion of every shirt sold was donated to countless charities.
We asked several of our CDG members to imagine artwork inspired by the TV shows they designed and the charity of their choice. It’s been 2½ years in the making, which is why you may notice that some designers have moved on and some shows have come to an end; but we wanted to include everyone who participated in this very special project.
16 The Costume Designer Summer 2009
Mimi Melgard, Grey’s AnatomyDavid Sheldrick Wildlife Trust
SPREADING THE LOVE
ONE TEE AT A TIME
2 LOVE
Summer 2009 The Costume Designer 1918 The Costume Designer Summer 2009
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FIDM & ATASRolled out the 4th Annual Outstanding Art of Television Costume Design Exhibition with their opening gala on July 25. CDG members were invited to salute the work of this year’s Emmy-nominated TV designers and supervisors. The exhibit was currat-ed once again by our very own CDG President, Mary Rose. The summer event unspooled with a lovely catered party at the FIDM campus down-town. Open through September 6.
Clockwise from top: Randall Christensen/Dancing With the Stars & CDG President/event curator Mary Rose; Coco Channel costumes designed by Stefano De Nardis and Pierre-Yves Gayraud; Betsey Potter, Mary Rose, actress CCH Pounder, CD Jo Katsaras, 2009 Emmy nominee for The No. 1 Ladies’ Detective Agency; CD Katherine Jane Bryant & supervisor Le Dawson, 2009 Emmy nominees for Mad Men; Castle executive producer Laurie Saks, actress Molly Q. Quinn, CD Salvador Perez, actress Stana Katic, and production manager Joan Van Horn
Clockwise from top left: CD Cynthia Summers/The L Word; CD Van Ramsey. ATAS Governor; The No. 1 Ladies’ Detective Agency costumes; supervisor and CDG member Barbara Inglehart and CD Dorothy Amos/Ghost Whisperer; CD Daniel Orlandi; Without a Trace costumes designed by CD Luke Reichle; CD Kirston Leigh Mann/United States of Tara; Joe Stewart, ATAS Governor, CD Eduardo Castro/The Witches of Eastwick; and John Shaffner, ATAS Chairman & CEO
20 The Costume Designer Summer 2009
CDG at Comic-Con 2009The CDG hosted three outstanding panels in San Diego, one in partnership with the Art Directors Guild
Designing for Feature FilmsModerator/Costume Designer & Comic-Con Committee Co-chairSusan NiningerCDG Panelists: Christine Bieselin Clark (Associate Designer,Tron 2.0), Sanja Hays (The Mummy 3), Ha Nguyen (Priest), and Mary Vogt (Fantastic Four: Rise of the Silver Surfer).
Designing for Television Production Panel Moderator/CDG Illustrator Comic-Con Committee Co-chairPhillip Boutte Jr.
CDG Panelists: Audrey Fisher (True Blood), Amanda Friedland (Terminator: The Sarah Connor Chron-icles), Roland Sanchez (Lost) and Shawna Trpcic (Dollhouse).
Costume Illustrators, Production Illustrators, and Concept & Storyboard Artists Moderator/Director and Storyboard Artist: William David Hogan
CDG Panelists: Phillip Boutte, Jr. (Jonah Hex ), Christian Cordella (G.I. Joe), Robin Richesson (Iron Man) and Brain Valenzuela (Star Trek 2009). ADG Panelists: Dawn Brown (Star Trek 2009), Josh Nizzi (Transformers: Revenge of the Fallen) and James Rothwell (Iron Man 2, Spider-Man 2, Hulk).
1. Comic-Con attendees dress for the occasion
2. (L-R) CDG Costume Illustrators Brian Valenzuela, Christian Cordella, Phillip Boutte Jr., ADG Illustrators Dawn Brown and William David Hogan, CDG Costume Illustrator & ADG Storyboard Artist Robin Richesson, and ADG Concept Illustrators & Storyboard Artists James Rothwell and Josh Nizzi.
3. Deborah Landis and David Copley award a “Rock” of a costume
4. The incredible Hulk took home several awards at the masquerade contest
5. A separate Alice in Wonderland exhibit – costumes design by Colleen Atwood
6. After the show… 1:00 am: Jessica Merizan costumed as a “Dust Man” and CDG Award winner Holly Conrad holding her CDG Award and Certifi cate (designed by CDG Illustrators Brian Valenzuela and Oksana Nedavinaya). (L-R, back row) CDs Susan Nininger, Christine Bieselin-Clark, Mary Vogt, Sanya Hayes, and Illustrator Phillip Boutte Jr.
7. The CDG award goes to: Holly Conrad for “Lady of Pain” based on the ’90s game Planescape
8. CD Film Panel included (L-R) Ha Nguyen, Sanja Hayes, Christine Bieselin-Clark, and Mary Vogt.
9. CD Television Panel (L-R) Audrey Fisher, Amanda Friedland, Phillip Boutte Jr., Co- chair of CDG Comic-Con Committee, Shawna Trpcic, Susan Nininger, Co-chair of CDG Comic-Con Committee, and Roland Sanchez
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22 The Costume Designer Summer 2009
THE COSTUME DEPARTMENT
MEET THE ASSISTANTS
MIC
HE
LE
K.
SH
OR
T
Michele worked five years at the Globe and lived in NYC for four when “Hollywood dreams and hard work” brought her to LA. She extols Casino and Shallow Grave for “inspiring me to be a part of the creation of a film’s visual impact” and credits gracious and unfeigned tutelage from mentors Stacy Sutton, Albert Wolsky, Aggie Rodgers, Robert Blackman, Audrey Fisher, and Danny Glicker.
Short “offers her designers, not the paintbrush, but the camera.” Her artful lenscraft and proficiency in Photoshop presents the designer with “killer fitting photos” and “the ability to quickly adjust an image to an alternate visual reality.”
From the “school of hard knocks” she knows the value of thinking ahead, not taking things personally, and hav-ing a strong sense of humor. Always “remain bucolic, charming, diplomatic, and for chr----’s sake, take no prisoners!” Short loves working with the designer and being part of the discovery of the nuance of each character. Her tetrad of tips: #1. Know your stuff #2. Listen, listen, listen #3. Create a to-die-for orga-nizational system. #4. Don’t require much [email protected]
ER
IKA
WA
LT
HA
LL
Erika received her MFA in costume and scenic design from Florida State University. Her leg up in the industry came while working as an intern for Costume Designer Hope Hanafin. “It opened my eyes to a place I really wanted to be. Once I moved to Los Angeles, CD Amy Stofsky took me under her wing and has been my number one supporter.”
As the ACD, it’s important to keep in excellent communication with all departments. To do this you have to know the vision and goals of the designer so you can communicate and troubleshoot effectively. “Take responsibility and initiative as liaison from the beginning so production is aware you exist!” Each designer has a different method. Sometimes you’re “in it together” and involved in every-thing from meetings to creative deci-sions. Other times, the focus is spe-cialized like swatching or shopping. So be flexible knowing the ultimate goal of an ACD is to take the pres-sure off the designer. Survival tips: be a sponge, computer-savvy, patient, always know what’s going on, and write everything [email protected]
LIS
A E
ISLE
R
can’t live withoutan inspired designer
can’t live withoutcoffee, diet coke, notepad,
& PC wallet
can’t live withoutInternet research,
shopping, blackberry, and pic of my dog
This upbeat ACD import from across the pond was born in the UK, emi-grated, and now calls Los Angeles home. “Lyn Paolo kindly helped me get into the business and has been very supportive,” says Eisler. With 14 years in the industry under her belt, she knows to “get the job done, do it well and take pride in it!” A good attitude is paramount. Lisa prescribes being honest and polite because “you should treat everyone courteously from PAs up to executives. The hours are long and there is nothing worse than working with someone who drags the mood down.”
She has logged countless hours in episodic television including ACD on ER. Eisler says, “episodic has taught me to work quickly and efficiently because you have no other choice!” She loves being in the workroom and “has a great working relationship with the staff.”
Eisler has an EU passport for shooting abroad, runs marathons (“to keep me sane”), and is continuing her education studying for a degree in psychology to [email protected]
THE COSTUME DEPARTMENT
agri-puggree-pugaree: Five to 25 yards of fabric, plain or striped, that is wound into turbans worn by
Hindu men. There are various ways to wrap this headdress including leaving an end hanging down the back. This term also applies to fabric wrapped around a pith helmet.
Pallium: Is the Roman answer to the himation, worn over the himation but a little bigger. Later adopted by the Roman Catholic Church, it has evolved into its current form, a narrow band of fabric that drapes across the shoulders of the Pope.
Paltock: Doublet or jacket worn by pages and knights in 14th and 15th centuries. It is a short-fitted collarless jacket of cotton, silk or wool with long sleeves reaching to the
thumb and laced onto the bodice.
Parta: In Hungary or Cunana in Romania, a tall, crown-shaped ceremonial headdress worn by
brides, made up of spangles; artificial roses in white and pastel colors with silk ribbons hanging down the back.
Passementerie: Heavy embroideries, braids and trim-mings for costumes, church and military, made of cotton,
silver, metal, tinsel, beading and appliquéd embroidery. Usually very ornate.
Pattens: Wooden soles worn in bad weather to protect the delicate slippers of the 18th century. They had an iron ring on the bottom and were fastened to the boot or shoe by leather straps allowing the wearer to walk through the muddy streets.
Pearlies: London Costermongers were the purveyors of the most per-ishable goods: fruit, vegetables and fish. The best vendors were loud and flashy, and over the centuries devel-oped a particular slang, Cockney or “cock’s egg.” They attracted atten-tion by ornamenting their clothing
with cheap but eye-catching mother-of-pearl buttons. As the competition escalated, they copied the fashions of the rich, eventually developing a royalty of their own; the Pearlie Kings and Queens. Part of the Pearlie tradition is to collect charity for the less fortunate.
Polonaise: A dress or coat-like garment with a tight bodice. The upper sleeves are tight and end with a pleated bell or gathered pouf. The neckline is usually low and squared and the back is gathered or puffed to make the front pull away reveal-ing the underskirt. They were first made fashionable by Marie Antoinette but remained in style through the Victorian era.
Pompadour style: The Marquise de Pompadour was King Louis XV’s mistress and a very power-ful influence at court. She preferred a simple coiffure of the hair swept up and away from the face. The Marquise also set the style of that era with a low, square cut décolletage and floral fabrics and adornments.
Poor Boy sweater:
The “boyfriend sweater” of 1960’s fashion.
The poor boy usually refers to a collar-less ribbed pullover sweater in black.
When worn by women, it clung to the figure.
Postiche: Artificial beard or wig worn by male or female Egyptians to
denote royalty. It was made of hair, often interwoven with gold and attached to a gold chinstrap.
P
Illustrations by Robin [email protected] by Karyn [email protected]
24 The Costume Designer Summer 2009
HISTORY OF DRESS A-Z
26 The Costume Designer Summer 2009
IN FOCUS
Materials, final sketch: Boutte starts with a pencil sketch on transfer paper, then draws subsequent pages of the costume on top—like a paper doll. He then scans the image into the computer and paints the final image in Adobe Photoshop and Corel Painter X.
Any designer will tell you that there’s nothing more brutal than the schedule of episodic television. It seems there’s never a moment to breathe; so how does a designer make the time to illustrate their design before it’s actually on the cutting table?
In this scene from HBO’s True Blood, Sookie Stackhouse (Anna Paquin) is taking her first big city trip with her vampire boyfriend Bill. Since she’s an old-fashioned girl, she gets dressed up to travel, because her Gran would have taught her that was ladylike and correct. Sookie has a sunny disposi-tion, so Audrey Fisher dressed her to look like a pretty package, with a Doris Day meets Kim Novak vibe.
Fisher: “Of course, an illustration is the best way to communicate the look and feel of the costume to producers, directors, actors and the cos-tume department, but because of TB’s intense schedule, I rarely have the time to produce a full-scale illustration. We build many of Anna’s costumes in house, and I always make quick but defi nitive renderings so I can dis-cuss costume details with my gifted cutter/fi tter Olga Ishkhanova.
“I was happy to have the chance to ask Phillip to illustrate this cos-tume after meeting him at the CDG Holiday Party last year. I felt we had a great connection, and I love his drawing style. I’m delighted with the results of our collaboration!”
Boutte: “Audrey and I worked on this sketch via email and over the phone to get the look she wanted. I started with Audrey’s research materials, and then sent her the illustration in stages so she could give me notes and feedback. It was great to experience how she’s able to make the macabre characters on True Blood so cool.”
TRUE BLOOD 2009Designer: Audrey Fisher Illustrator: Phillip Boutte
THE PROCESS: SKETCH TO SCREEN
Summer 2009 The Costume Designer 27
True Blood S2 ep 4Sookie Goes to Dallas
IN FOCUS
28 The Costume Designer Summer 2009
IN FOCUS
escribed by creators Bonnie and Terry Turner as “Carl Sagan meets the Marx Brothers,” 3rd Rock From the Sun was an inspired mid-’90s comedy series about four aliens who are sent to Earth on an investigative mission, and land in the fictional “3rd Rate” city of Rutherford, Ohio. Costume Designer Melina Root was tapped by the Turners to design the costumes for 3rd
Rock’s pilot, and she stayed on to design all six seasons with super-visor Johnny Foam by her side.
Melina recalls that designing 3rd Rock was a “joyful job,” and that she had the kind of creative freedom that no longer exists in network television. “Bonnie and Terry were wonderfully mad,” she recalls. “The pilot script was equal parts warm and weird, very high concept for TV, and it made me laugh, so I pretended it was Brecht, not a network sitcom. And a four-week job turned into six years of crazy good fun!” In 1997, Root won the Emmy for Outstanding Costume Design for 3rd Rock; soon after, she took the helm at the Turners’ other hit, That ’70s Show, designing both shows simultaneously, and took home her second Emmy for her ’70s Show designs in 1999.
3rd Rock’s farcical POV is that of an extraterrestrial team (Dick, Sally, Harry and Tommy) that has no otherworldly powers except absolute truthfulness. This alien vantage point creates the frame-work for a piquant satire of the both human condition and American society. Melina had a fun challenge translating this alien/human confusion into her costumes. “Bonnie and Terry wanted me to consider how 1,000-year-old aliens would interpret human time and fashion. Since Terry often referenced the Golden Age of Hollywood, I decided that the aliens’ look should be a misinterpretation of the styles of that era. We came up with the cosmic thrift store concept: the aliens’ mismatched outfits express their complete misread of the history of human dress.” And with a tiny budget of $7K per episode, the thrift-store concept was a necessity for Root and her team.
John Lithgow and his cohorts were on board for this jolly cos-tume trip. Melina reports, “the actors were glorious. We howled with laughter during most of the fittings. We all knew it was as good as it gets, and most days, we couldn’t believe we were get-ting paid!” Melina looked for quirky wardrobe malapropisms in everyday life, and re-created them on the aliens. High Commander Dick dressed like an immigrant still wearing his “old country” clothing, always in suspenders plus a belt. Sally, who in alien reality was a decorated male military officer, made the understand-able error of wearing men’s clothes. Harry looked like a little kid who “dressed” himself, in clashing patterns and colors that almost belong. “Teenaged” Tommy, technically the oldest of the aliens, was dressed in little 1950’s suits with contemporary high-tops.
The real Rutherfordian humans on the show, meanwhile, played a pivotal costume role, balancing the alien madness with very recognizable sartorial types. On one side of the scale: small-town anthropology professor Mary, the “straight man” of the cir-cus, always in tailoring, romantic blouses, and catalogue “ethnic” jewelry. On the other end: Mrs. Dubcek, the aliens’ saucy “mutton dressed as lamb” landlady, an aging showgirl who favored kimo-nos and tarty loungewear. Many other regulars in distinct looks balanced out the scale, creating a familiar backdrop for the aliens’ surprising “what were they thinking?!” creations.
Melina Root happily reminisces that her experience of design-ing the costumes for 3rd Rock From the Sun was “a great gift.” Producers Marcy Carsey and Tom Werner hired smart, talented people who spoke their creative language, gave very specific notes, and left us alone… It was like a Halloween party for six years!”
Audrey [email protected]
Alien Wear: Melina Root’s 3rd Rock Creations
A LOOK BACK
DFine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
West Coast Scott Anderson323-650-8875
East Coast201-708-1600
Toll Free800-227-1724
30 The Costume Designer Summer 2009
IN FOCUS
CD Darryl Levine is designing CBS’ spinoff NCIS: Los An-geles, due this fall and starring Chris O’Donnell and LL Cool J. Also for CBS, CD Rachel Sage Kunin is at work on the series Three Rivers. The medical drama explores the emo-tional world of organ transplants, seen from the viewpoint of the doctors, donors, and recipients. CD BJ Rogers will soon be back to work on season five of Criminal Minds. CD Marissa Borsetto is balancing two new comedy series for ABC: Hank, starring Kelsey Grammer, and Modern Family, starring Ed O’Neill. CD Nicole Gorsuch, along with ACD Alexandra BeCraft, is designing Viper Slap, a new Disney comedy about a boy living his dream as the lead guitarist of his favorite ’80s rock band right when the band attempts to make a comeback. CD Soyon An just wrapped Ameri-can Idol and is now back to work designing the fifth sea-son of So You Think You Can Dance, with a sixth season planned in the fall. CD Vicki Auth is taking the helm of the drama Lie to Me starring Tim Roth. On the WB lot, CD Luke Reichle is designing a new Bruckheimer crime series set
in Chicago called The Forgotten, starring Christian Slater. Laura Goldsmith is on the Universal lot designing NBC’s midseason ensemble drama Parenthood, while Eduardo Castro has taken the reigns of Eastwick for NBC/WB TV.
Over at CBS Radford, CD Rebecca Bentjen is running on the fast track working hard on the feature thriller Columbus Circle, starring Amy Smart and Beau Bridges. Also here in Los Angeles, CD Kym Barrett is designing the sci-fi action film The Green Hornet, adapted from the radio and comic book series. Seth Rogen stars as the film’s super hero Britt Reid. CD Shawna Trpcic is happy to be back on the Fox lot with Dollhouse after wrapping the horror film Cabin in the Woods. CD Rita Ryack is designing the costumes for You Don’t Know Jack, the Dr. Kevorkian bio-pic directed by Barry Levinson and starring Al Pacino; CD Maria Tortu joined her on the project as ACD. CD Betsy Heimann is steeped in action on the feature adaptation of The A-Team with ACD Ann Foley.
CD Jennifer Bryan heads to Atlanta this summer to design the CW’s teen suspense series Vampire Diaries, based on the popular teen novel series about a high school girl torn
BOLDFACE AT WORKBOLDFACE NAMES
32 The Costume Designer Summer 2009 Summer 2009 The Costume Designer 33
between two vampire brothers. Working in Pittsburgh and Miami, CD Ane Crabtree designed the Sony/FX pilot Fire in the Hole, from an Elmore Leonard short story and starring Timothy Olyphant. Karyn Wagner is in New Mexico de-signing season two of Crash based on the Paul Haggis film. CD Shay Cunliffe is working in Philadelphia on a James L. Brooks movie, which stars Reese Witherspoon and Paul Rudd. Durinda Wood is working with Rob Reiner in Ann Arbor, Michigan, designing Flipped. She greatly appreciates her 892 pals and The Costume Designer locations section for all the great sources. Ellen Mirojnick is back in play with Oliver Stone on the sequel to their 1987 Wall Street de-signing Money Never Sleeps in New York and Vancouver.
Boston is bustling: CD Mona May is headed east to design The Zookeeper, starring Kevin James as a Dr. Doolittle of sorts who tries to win the affection of his love interest, played by Rosario Dawson. Adam Sandler, Sylvester Stal-lone and Cher give voice to some of the animals in this live-
action comedy feature. CD Alexandra Welker will also be in Boston through September, filming Furry Vengeance, an eco-themed comedy with Brendan Fraser and Brooke Shields. CD Arianne Phillips will reunite with longtime collaborators, director James Mangold and producer Cathy Konrad, to design an action-packed comedy in Boston. This untitled film, starring Tom Cruise and Cameron Diaz, is about an undercover agent and a beautiful woman who’s had nothing but bad luck with men.
Peter Facinelli & Kristen Stewart (Twilight)
IN FOCUS
BOLDFACE NAMESBOLDFACE AT WORK
34 The Costume Designer Summer 2009 Summer 2009 The Costume Designer 35
in both Germany and England. CD Magali Guidasci is happily working in Puerto Rico until October on Joel Silver’s The Losers, with CD Ernesto Martinez supervising.
CD Maggie Morgan is designing the costumes for The Night Is a Child, starring JoBeth Williams at the Pasadena Playhouse. The show runs from August 28 to October 4. CD Tanya Gill recently designed Breyers’ Smooth & Dreamy webisodes, starring Jane Krakowski, which lovingly spoof both Gone With the Wind and King Kong while Jane eats delicious ice cream. CD Bonnie Nipar assisted. This June, CD Michi Tomimatsu designed a commercial for KGB, the Knowledge Generation Bureau, a service that will text answers to any question that you text them. The commer-cials feature two lead “Agents” at KGB Headquarters, and Michi got to build their costumes and create unique per-sonal styles for each.
Illustrator Felipe Sanchez has been busy: along with il-lustrations for the The Green Hornet and Cirque de So-
leil’s new Vegas show, Sanchez whipped up sketches for CD Mona May’s two current projects. Phillip Boutte and Brian Valenzuela are currently illustrating for CD Ha Nguyen on the locally shot horror Western Priest, an adap-tation of a TokyoPop comic book starring Paul Bettany as a warrior priest who rejects his church and goes after mur-derous vampires who have kidnapped his niece. Boutte is also illustrating for CD Jeffrey Kurland’s next sci-fi thriller Inception, directed by Christopher Nolan and starring Leon-ardo DiCaprio.
BOLDFACE PRESSCD and former CDG President Deborah Nadoolman Lan-dis was interviewed recently by the Wall Street Journal’s online entertainment blog, Speakeasy, about the red leather jacket worn by Michael Jackson in Thriller. When asked if she had any idea back in 1982 what kind of impact the short film would have, she simply said: “You never know!”
Entertainment Weekly’s Style Hunter column caters to fans who want to know where they can get what the stars are wearing on screen. The June 26 issue highlighted CD Louise Mingenbach’s costumes for Bradley Cooper in The
BOLDFACE NAMES
In Canadian news, after prepping in Los Angeles, CD Mi-chael Wilkinson traveled to Vancouver to work on Sucker Punch with ACD Stacy Caballero and new CDG member Keith Christensen illustrating. The thriller stars Vanessa Hudgens as a girl who retreats to a fantasy world set in a 1950’s brothel after being confined to a sanitarium. CD Tish Monaghan just wrapped The Twilight Saga: New Moon, shot in Vancouver and Italy, and featuring familiar faces Robert Pattinson and Kristen Stewart. Monaghan is cur-rently designing the third installment of The Twilight Saga entitled Eclipse, shooting this August in Vancouver and Brit-ish Columbia. This July in Vancouver, CD Denise Wingate will be designing the Universal film The Death and Life of Charlie St. Cloud, starring Zac Efron in his first dra-matic role.
CD Isis Mussenden and CD Kimberly Adams are currently working on the gold coast of Australia on the third installment of the Narnia series, The Voy-age of the Dawn Treader, and they are thrilled to re-port that the show went union. In Berlin, CD Maria Schicker just wrapped Small Lights, starring Franka Potente, and also signed to design an up-coming TV project filming
Maria Schicker & Franka Potente
Franka Potente & Maria Schicker
Red procession scene: The Twilight Saga: New Moon
BOLDFACE AT WORK
36 The Costume Designer Summer 2009 Summer 2009 The Costume Designer 37
612.375.8722 or e-mail [email protected]
CostumeRentals offers year-round access to the Guthrie and The Children’s Theatre Company’s
combined inventory of extraordinary costume pieces.
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
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Hangover and Greg LaVoi’s costumes for Kyra Sedgwick in The Closer. CD Colleen Atwood is having a busy year. Her 1930’s designs for Public Enemy are featured in the same EW issue, where she recounts the historical focus point for the film’s three main characters, and acknowledges the unique qualities brought by the actors. Also, this August in Vanity Fair, a pair of Atwood’s costumes for Alice in Wonderland were beautifully photographed by Mary Ellen Mark and featured in a two-page spread. CD Janie Bryant speaks to the task of a costume designer in the June 5 issue of Variety V Plus. The Mad Men designer quotes one of the most significant factors in her role: “My job as a costume designer is to take into account the intention of character and to tell a story with their costume.”
BOLDFACE FESTIVALS & EVENTSCD Hope Hanafin joined the director, writer and producer of 500 Days of Sum-mer on a panel at the Newport Beach Film Festival. 500 Days was the finale at the Festi-val, and garnered great reviews at Sundance; it opened this July in theaters.
Tuesday Tea & Tech-nology has been a real hit at the CDG. The very casual meeting usually includes between 6-12 members. Together, they’ve learned how to use Skype, snap-n-drag, Wacom tablets, Google’s Picasa (for montages and albums of fitting photos), some Photoshop and even cell phone tips... CD Dan Lester made a web-site, Ellen Ryba uploaded her photos to the CDG website, another designer is working on a blog. “One of the great things has been the camaraderie and support we give each other,” raved Education Committee Chairs Ann Major and Helen Butler.
Compiled by:Suzanne Huntington [email protected] Fisher afi [email protected]
Haley Smith (Hanafi n’s niece) & Hope Hanafi n
BOLDFACE NAMESBOLDFACE PRESS
38 The Costume Designer Summer 2009
SCRAPBOOK
Costume Designer Edward Stevenson holding a poster of Lucille Ball (right) and Vivian Vance, I Love Lucy, 1951–1957
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