the costume designer winter 06

© 2006 Twentieth Century Foxwalk the line

TWENTIETH CENTURY FOX

PROUDLY CONGRATULATES

ARIANNE PHILLIPSCOSTUME DESIGNERS GUILD AWARD

NOMINEE

Winter 2006 The Costume Designer 3

FEATURES

DEPARTMENTS

Collaborations . . . . . . . . . . . . . . . . . . . . . . . 14Gale Anne Hurd: Producer, Writer

Q&A with a distinguished collaborator

Award Nominees . . . . . . . . . . . . . . . . . . . . . 16Q&A with this year’s nominees

CDG Presidents Award . . . . . . . . . . . . . . . . 24International President Thomas C. Short

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6President’s LetterFrom the Desk of the Executive DirectorAssistant Executive Director’s Report

The Costume Department. . . . . . . . . . . . . . . . 27Meet the IllustratorsDesigners ExpressHistory of Dress A-Z

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Boldface Names

In Remembrance . . . . . . . . . . . . . . . . . . . . . 38

vol. 2, issue 1

COVER: The work-of-art silver statuettes weredesigned by Costume Designers Guildmember David LeVey and created in sterling silver by Bulgari. A woman’s form draped in silver fabric, thesebeautiful awards convey the magicalcreation of costume.Cover image by Line 8 Photography

COSTUME DESIGNERS GUILD4730 Woodman Ave., Suite 430Sherman Oaks, CA 91423-2400

phone: 818.905.1557 fax: 818.905.1560email: [email protected]

GENERAL MEMBERSHIPMEETING:

February 13 at 7 p.m. at the Studio City Library,

12511 Moorpark St. at the corner of Whitsett.

EDITOR-IN-CHIEFDr. Deborah N. Landis

EDITORSharon Day

ASSOCIATE/PHOTO EDITORDeena Appel

MANAGING EDITORCheryl Downey

PRESIDENT Dr. Deborah N. Landis

[email protected]

VICE PRESIDENT Pamela Shaw

[email protected]

SECRETARY Barbara Inglehart

[email protected]

TREASURER Mary Rose

[email protected]

MEMBERS AT LARGEDeena Appel

[email protected] Hanafin

[email protected] Saint Anne

[email protected] Ramsey

[email protected]

BOARD ALTERNATESValerie Laura-Cooper

[email protected] Day

[email protected] Wagner

[email protected] Malin

[email protected]

ASST. COSTUME DESIGNER REP Anette Czagany

[email protected] ILLUSTRATOR REP

Robin [email protected] COSTUME DESIGNER REP

Susan [email protected]

LABOR REP Betty Madden

[email protected] OF TRUSTEESPeter Flaherty, Chair

[email protected] Chally

[email protected] Mathews

[email protected] Cunliffe, Alternate

[email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected]. EXECUTIVE DIRECTOR

Rachael [email protected]

PUBLISHERThe Ingle Group

FOR ADVERTISING INQUIRIESCONTACT

Dan Dodd [email protected]

Member Rewards

ow do we love thee? Let me count the ways!During the Awards Season,Costume Designers are

front and center and being taken seriously. Receivingfree seats at screenings is just one of the many perkswe receive during

the most wonderful time ofthe year.

With the benefit of avigilant executive board,

this union is zooming into the new millennium. OurPresident, Dr. Landis, and her officers are hard atwork and delighted to present all members withour latest achievement—this publication!

But the CDG is honored to provide memberswith other, truly exceptional benefits, which affectour everyday lives.

1. Medical benefits for members and family 2.A retirement account safe from the hands

of politicians 3. Fair wages and safe working conditions4. Handling work-related grievances, such as

pay disputes, health and safety concerns,discrimination, and harassment

5.The IATSE provides representation at thestate and national level by professional unionlobbyists who advocate for workers’ rights

The CDG is proud to bestow the Presidents Award to IATSE International PresidentThomas C. Short. Please join us on Saturday, February 25, at the Beverly Hilton Hotel tohonor the man who fights for our dignity and protects our future every single day.Sharon Day

EDITOR’S NOTE

H“The subjective

actress thinks ofclothes only as they apply

to her; the objective actressthinks of them

only as they affectothers, as a tool

for the job.”

Swarovski is pleased to invite you to attend our 2nd Annual CrystalInspiration and Application Workshop! We are happy to announcethree workshops for your convenience: Sunday, February 26, at 2 & 5 p.m., and Monday, February 27, at 2 p.m. at Ace Gallery BeverlyHills located at 9430 Wilshire. We are extremely enthusiastic aboutreturning as the Presenting Sponsor of the Costume Designers GuildAwards, and look forward to seeing you at one of our workshops.For more information or to RSVP, please contact Brianne Walker at212-935-4200 x192 or [email protected].

– Edith Head(1897–1981)

Corrections Fall 2005:THE CHRONICLES OF NARNIA — Associate Designer: Kimberly AdamsMEMOIRS OF A GEISHA — Assistant Designers: Colleen Kelsall & Christine Cantella,Illustrator: Felipe Sanchez

buenavistapicturesawards.com THE CHRONICLES OF NARNIA, NARNIA, and all book titles, characters and locales original thereto are trademarks and are used with permission. ©DISNEY ENTERPRISES, INC. and WALDEN MEDIA, LLC. All rights reserved.

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

Walt Disney Pictures and Walden Media thank the Costume Designers Guildand congratulate our CDG nominee

Isis MussendenEXCELLENCE IN FANTASY FILM

“Carnaval!” November 6, 2005,through April 23, 2006, UCLA FowlerMuseum of Cultural History, LosAngeles, (310) 825-4361.”Explore the revelry of Carnival festivalsas they are enacted today in eight differ-ent geographic and cultural regions.This lavish exhibition presents approxi-mately 50 elaborate costumes andnumerous masks reflecting a range ofmasquerade and performance themesthat represent traditions in these sites:Laza, Spain; Venice, Italy; Basel,Switzerland; Oruro, Bolivia; Tlaxcala,Mexico; Recife/Olinda, Brazil; Port ofSpain, Trinidad and Tobago; and NewOrleans.” http://www.fowler.ucla.edu

The 14th Annual Art of MotionPicture Costume Design Exhibition,February 6 through April 29. FIDM Museum, (213) 624-1200, 919South Grand Avenue, Los Angeles. Incooperation with the Costume DesignersGuild, Local 892, costumes from the

work of our members and recent motionpictures will be on display. Opening-night cocktails for CDG members andguests only, Saturday, February 4, from5 to 8 p.m. www.fashionmuseum.org

“Fashion in Colors” Cooper-HewittNational Design Museum, 2 East91st Street, Manhattan, throughMarch 26, (212) 849-8400. “For a ravishing, eye-bending, mind-altering experience of color as color, try‘Fashion in Colors’ with its superblyselected and presented array of 68 gar-ments and ensembles. Each design is astandout in one regard or another, andeach rewards extended study… Thisshow transcends the usual fashion exhi-bition because color has been allowed toreign supreme. Rather than style, tech-nique or chronology, the installation isordered according to the spectrum.”“Sartorial Brilliance Before All WasBlack” By Roberta Smith, The New YorkTimes, December 9, 2005. The fabulous

catalogue is available on Amazon.http://ndm.si.edu/

“A Perfect Fit: The Garment Industryand American Jewry, 1860–1960”Yeshiva University Museum, throughApril 2, 15 West 16th Street, (212)294-8330.“JEWISH immigrants who arrived in theUnited States in great numbers in the mid-dle of the 19th and 20th centuries did so, bycoincidence, at moments of majoradvancement in apparel manufacturing. Asan exhibition that opened at the YeshivaUniversity Museum in Manhattan this weekdemonstrates, it was a convergence thatshaped both the fashion industry and theJewish experience for more than a century.”“Stitches in Time” Eric Wilson, The NewYork Times, December 8, 2005. This exhibitfeatures gowns from such renowneddesigners as Arnold Scaasi (nee Isaacs, hespelled his last name backward), and NutyaKotlyrenko, also known as Norman Norell.www.yumusum.org

Going for the Silver

Dear Friends,ompetition is not for me.Whether it’s tennis or scrabble, I’m there for the fun of it.The CDG Awards isfirst and foremost a joyous celebration of the art of costume design and a cheerful appreciation ofCostume Designers. It is a party held annually in your honor.Leaving with a prize is nice,but come to relaxand enjoy the evening with friends and colleagues.We are all lucky winners on February 25.

We have expanded our Award categories, yet again, to split fantasy and period film and television. As all of youalready know, there is a vast difference between the two. Designing any period, whether in the near or distant pastis most often based in historic or primary dress research. Our collaborators, directors, actors and productiondesigners have expectations based on a general knowledge of the time. Fantasy can be anything, a director’s heart’s

desire. The invention required for fantasy film and television requires a designer with a broad understanding of history, art,international culture, and a boundless curiosity of the world. The inspiration for the best designs comes from any and everywhere.

Ironically, the most difficult period for a Designer to create is modern. Contemporary subjects demand authentic characters.Producers,directors and actors find modern dress painfully confusing,perplexing and bewildering.Costume Designers are caught in aweb of mixed messages from collaborators hoping to be stylish (when stylish is not appropriate for the character) or expensive (whenMervyn’s would serve the story better than Barney’s).Fashion can kill characters.Modern productions are a minefield with executives,print stylists,wives,daughters and girlfriends weighing in on every accessory,while sabotaging the characters and ultimately the story.People think everyone gets dressed in the morning,so why is this so hard? Our message to our producers and the press is;whether thecostumes are period, fantasy, or modern, the Designer’s pivotal role is the same—to support the story by creating truthful characters,and to balance the frame with color, texture and silhouette.

“The soul of a man is in his clothes.” –William Shakespeare

In Solidarity and Good Luck,Deborah [email protected]

6 The Costume Designer Winter 2006

PRESIDENT’S LETTER

C

UNION LABEL

NOTEWORTHY EXHIBITIONS — Winter 2006

Buena Vista Pictures Distribution thanks the Costume Designers Guild

and congratulates CDG nominee

NANCY STEINER

Excellence in Contemporary Film

F o r Y o u r C o n s i d e r a t i o n

buenavistapicturesawards.com

© Buena Vista Pictures Distribution and Hyde Park Entertainment, Inc.

“A serene luminescence surrounds Claire Danes...Dressed in breathtaking

vintage ensembles while displaying a heart-crushing vulnerability.

Director Anand Tucker portrays the City of Angels as a haven of spare elegance and urbane stylishness.”

Susan Wloszczyna, USA Today

...MIRAMAX FILMS THANKS THE

COSTUME DESIGNERS GUILD &

PROUDLY CONGRATULATES

OUR NOMINEE...

NINA PROCTOREXCELLENCE IN FANTASY FILM

Artwork © 2006 Dimension Films Corp. All Rights Reserved.

opefully you heard the good

news that in December the

IATSE successfully concluded

early negotiations for our next

three-year contract, beginning August 1,

2006. International President Thomas C.

Short led the charge to keep the producers

from eroding our excellent health and pen-

sion plans. It is phenomenal what he

achieved on behalf of all our IA Local mem-

bers in these days of dwindling benefits for workers across the

country. Among the triumphs President Short championed is the

continuation of 13th- and 14th-month checks for our retirees! In

addition, President Short and our negotiating team persuaded the

producers not only to remove their take-back demand from our

Local, but also to break the ice in recognizing the Costume

Designers’ creative contribution to their films (details in our next

newsletter). On behalf of all of our membership, thanks go out to

President Short for his stellar efforts, to President Landis for her

equally fearless leadership, and to James Acheson, Cate Adair, Ellen

Mirojnick,eboard members and officers,whose presence impressed

upon the producers the seriousness of our mission.Speaking of raising our profile in the industry, the more design-

ers, assistants and illustrators who attend the 8th Annual CDG AwardsDinner on February 25 at the Beverly Hilton, the more prestigious wewill be perceived. Honoring the great President Thomas C. Short willbring a show of support from our sister locals and industry notables.Our CDG member tickets are ever more affordable thanks to a gener-ous subsidy by our outstanding event producer, JL Pomeroy.We lookforward to seeing you all there—be bright and beautiful!

Cheryl

P.S. We thank you for the generous time our volunteers havegiven to our membership: Haley Terris-Feldman, Hope Hanafin,Wendy Greiner, Susan Nininger, and Mary Rose.

H


UNION LABEL

From the Desk of the Executive Director

NBC Universal

818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION

WWW.NBCUNI.COM/STUDIO

Costume Rentals, Manufacturing,

Alterations, Alterations,

Fitting Rooms & Offices

UNIV

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NBC

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NBC

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COSTUME

REGENCY ENTERPRISES

PROUDLY CONGRATULATES OUR

COSTUME DESIGNERS GUILD AWARD

NOMINEE

MICHAEL KAPLAN

EXCELLENCE IN CONTEMPORARY FILM

© 2006 Regency Entertainment, Inc.


t’s pilot time again. Please remem-ber to protect yourself with the fol-lowing advice.• Every day, members call usbecause they do not receive what

they were originally promised.Without adeal memo, there is no documentation ofwhat was promised to you; and withoutdocumentation, Local 892 will not beable to help. Get a signed deal memo!

• No matter how much you would like to be the “good guy”by work-ing yourself into the ground, remember that our weekly contract isa five-day contract. If you need to work a sixth or seventh day,emailyour UPM for overtime approval and keep a copy of their approval.

• Our contract provides that if you work any four days in a week,you’re automatically paid for the fifth day. This means if they startyou on Tuesday and you work the rest of the week, then the pro-duction needs to pay a full five-day week. Likewise, if you workMonday through Thursday, the week cannot be prorated.

• Hire an Assistant Costume Designer to help support you on what isusually the hardest work in the industry.You don’t have to do it alone.

• Stand up for yourself and get the best possible deal. Don’t be bul-lied. Remember—they chose you to design their pilot.

• Work safely. Don’t go without meals or sleep. No job is worthdying for.

Rachael Stanley

Assistant Executive Director’s Report

UNION LABEL

I

The holidays were a little brighter for the lucky children whoreceived toys generously donated by Local 892 members.Thank youfor your time and your kindness. Union brothers and sisters lefthomeless after Hurricane Katrina found shelter in L.A. due to thegreat efforts of the construction unions who remade warehousespace into living units.One of our own members has taken his fam-ily home to New Orleans to put his children back in school.In 2006,an important election year, our votes present the choice of rebuild-ing our state’s infrastructure or continuing at risk with weakeninglevies, deteriorating highways and failing bridges. The LA CountyFederation of Labor COPE Committee interviewed the candidatesand we can expect their recommendations for nominees later thisyear. The 892 Political Action Committee will get that importantinformation to our membership as soon as it becomes available, soyou can make an informed decision in the coming elections.

Betty Pecha Madden

Labor Report January 2006

COSTUME DESIGNERS GUILD DUES RATES FOR 2006 Costume Designer $212/quar-

ter $848/yearCommercial Designer $212/quarter $848/year

Assistant Costume Designer $173/quarter $692/year

Copyright ©2005 by Paramount Classics, a division of

Paramount Pictures. All rights reserved.

WINNERSUNDANCE FILM FESTIVAL

AUDIENCE AWARD

FOR YOUR CONSIDERATIONBEST COSTUME DESIGNEXCELLENCE IN CONTEMPORARY FILM PAUL SIMMONS

Excellence in Period Film

Aggie Guerard Rodgers

Excellence in Period Film

Colleen Atwood

COLUMBIA PICTURES, DREAMWORKS PICTURES,SPYGLASS ENTERTAINMENT

and REVOLUTION STUDIOS

Proudly Support

The Costume Designers Guild

And Congratulate Our Nominees

© 2006 Columbia Pictures Industries, Inc. and DreamWorks L.L.C. and Spyglass Entertainment Group, LLC.

Motion Picture © 2006 Revolution Studios Distribution Company, LLC. All Rights Reserved.

16 The Costume Designer Fall 2005

CAPOTECostume Designer: Kasia Walicka-MaimoneAssistant Designers: Cara Czekanski & Patti Handerson

What was your most rewarding moment designing this project? After research, prep, fittingsand discussions, actually filming was the moment when I stopped and thought—it’s comingto life, let’s hope it works. How did your costumes help define the characters and the story?Costumes were part of the characters’ discovery. Process of elimination created a timelesslanguage based in the late ’50s and early ’60s.We, the creative team, were discovering thenuances of our work, becoming responsible for a piece of the puzzle of each frame.

GOOD NIGHT, AND GOOD LUCK.Costume Designer: Louise Frogley

How did your costumes help define the characters and the story? We had to reallyexamine period photographs and film that existed and interpret it as accurately as possibleto make sense to the audience. What do you love about being a Costume Designer? Ilove access to people and places that I wouldn’t otherwise have. I love the amount ofinformation of every conceivable type that one has access to.The people and the actorsI work with. I imagine how each character would feel and work from there.

MEMOIRS OF A GEISHACostume Designer: Colleen Atwood

Assistant Designers: Colleen Kelsall & Christine CantellaIllustrator: Felipe Sanchez

What was your most rewarding moment designing this project? The most rewardingmoment was the first day of shooting. It was the spring dance scene and we had theelements of theatricality combined with all the background in formal kimono … amazinglighting and sets, it truly gave me goose bumps. How did your costumes help define thecharacters and the story? In a story about women who define themselves by their styleand wit, we had an amazing time collaborating.We defined character through dramaticcolor and textural choices.

WALK THE LINECostume Designer: Arianne Phillips

Assistant Designer: Carlos RosarioHow did your costumes help define the characters and the story? By defining the “on stageor public” persona juxtaposed with the “private life” of John and June.To provide intricatepuzzle pieces to help create the “arc” of their lives; to “underscore” their emotional lifeonscreen, working in a subtle way to assist in the actors visual and visceral experience withtheir costumes, and hopefully, transport them and ultimately the audience. What do youlove about being a Costume Designer? Being imaginative, making believe, making theseemingly impossible—possible.

RENTCostume Designer: Aggie Guerard Rodgers

What was your most rewarding moment designing this project? The most rewardingmoment was the opening number of the New York street scene shot in L.A. at WarnerBrothers with over 300 dancers and specialty performers. What do you love about beinga Costume Designer? I like the connection with the director.That is my favorite thing,the director is always “king.”

Excellence in Film Period

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BATMAN BEGINSCostume Designer: Lindy Hemming

Asstant Designer: Guy Speranza & Gabriella LoriaIllustrator: Simon McGuire

What was your most rewarding moment designing this project? OK. There are two.Christian Bale, Chris Nolan, and my other collaborators screen tested the new Batsuitand pronounced it beautiful in all respects. I was also moved to a teardrop as the “createdfrom scratch” Himalayan village and costumes unveiled themselves from the Icelandicmists and snowstorms. What do you love about being a Costume Designer? I love theconstant exploration of different situations and creation of different characters, and all theplaces that takes me.

CHARLIE AND THE CHOCOLATE FACTORYCostume Designer: Gabriella Pescucci

Assistant Designer: Massimo Cantini ParriniWhat was your most rewarding moment designing this project? I have very beautiful memoriesof Charlie and the Chocolate Factory. I was so excited to see each new room especially the choco-late room. How did your costumes help define the characters and the story?Tim Burton’s cast-ing was 80% of the work. I just helped the actors to enter into the characters. What do youlove about being a Costume Designer? The thing that I love most about my job is that in everymovie or lyric opera I’m in contact with different moments and times in history.

THE CHRONICLES OF NARNIACostume Designer: Isis Mussenden

Associate Designer: Kimberly AdamsWhat was your most rewarding moment designing this project? When I sold the conceptof the White Witch to the director, after 97 conceptual drawings that he had rejected priorto my arrival.That was the most challenging and rewarding moment, once accomplished.What do you love about being a Costume Designer? The process. I love to see a costumego from concept to final product, to see it morph through fabric, fittings and the finedetailed finishes. It’s a beautiful thing.Then I love time off to regenerate.

SIN CITYCostume Designer: Nina Proctor

What was your most rewarding moment designing this project? When I saw our character,Nancy Callahan (Jessica Alba) performing on stage, lit perfectly, I knew everything had cometogether beautifully. How did your costumes help define the characters and the story? Ourgoal was to stay true to Frank Miller’s Sin City. The choice of color, fabrics and textureshelped refine my design, which was critical in defining the movement of the characters andthe story.

STAR WARS IIICostume Designer: Trisha Biggar

Assistant Designer: Michael MooneyIllustrators: Sang Jun Lee & Iain McCaig

What was your most rewarding moment? The FIDM exhibition beautifully displayed manyof the principle Star Wars costumes together for the first time. It was a great highlight,a really memorable and satisfying experience. How did your costumes help define thecharacters and the story? I had to visually connect the evolution of personal histories;like developing Padme Amidala’s character from reserved, regal, ceremonial queen in Episode1, to the feminine, flirtatious, seductive mood of Episode 11 and the muted colors andsecretive, darker times of Revenge of the Sith.

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HUSTLE & FLOWCostume Designer: Paul Simmons

What was your most rewarding moment designing this project? I enjoyed designing thewhole job, and being in agreement the director. Once you sync up there, everything elseis pretty smooth. How did your costumes help define the characters and the story? Thefact that the story was based in Memphis, you could find the characters living there. Whatdo you love about being a Costume Designer? I find joy in working with people, creatinglooks for characters, and the travel. Bringing “a look” into reality.

MR. & MRS. SMITHCostume Designer: Michael Kaplan

Assistant Designer: Tim WonsikWhat was your most rewarding moment designing this project? What? Besides gettingthrough it? When Angelina jumps off a terrace wearing a coat, which I had to engineer withmetal wires for a cobweb effect to prevent it from flying over her head.Angelina’s jacket,which had a pink lining, performed beautifully. How did your costumes help define thecharacters and the story? The characters were playing other characters so it was a bitmore complicated: Mr. and Mrs. Smith had a particular look, then as spies they becamedarker, edgier.

SHOPGIRLCostume Designer: Nancy Steiner

Assistant Designer: Christie WittenbornWhat was your most rewarding moment designing this project? Every moment was arewarding moment. I really loved working with the director Anand Tucker and thewhole cast. And I LOVED dressing Claire in all the vintage clothes. How did yourcostumes help define the characters and the story? I think as a Costume Designer youare always trying to find the essence of the character … so if I did, I’m satisfied.

SYRIANACostume Designer: Louise Frogley

What was your most rewarding moment designing this project? In every country weportrayed different ethnicities of “Arab” to those we were dressing; middle-class Arabmen in Dubai as Bedouin shepherds, others as Pakistanis and Moroccan women asIranian. Researching and designing it was rewarding. How did your costumes help definethe characters and the story? George Clooney’s character, Bob Barnes, was defeated bythe system and the CIA, I felt his clothes should be crushed and beaten looking as well.We distressed his clothes to match his state of mind.

TRANSAMERICACostume Designer: Danny Glicker

What was your most rewarding moment designing this project? When Felicity Huffman,dressed as Bree, entered a room full of real trans actors, and their collective responsewas familiar recognition! I exhaled for the first time in weeks. How did your costumeshelp define the characters and the story? The costumes provide a visual guide to theever-changing locations as well as a counterpoint to the journey. Initially, Bree’s clothingis hyper-pseudo-feminine and armour-like.As the story progresses, this facade is graduallychipped away, presenting a more complex reality.

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ALIASCostume Designer: Laura Goldsmith

Assistant Designer/Illustrator: Steven LeeWhat was your most rewarding moment designing this project? Designing for a sexypregnant superstar provided me with my most challenging season yet. Keeping JenniferGarner comfortable and glamorous was very rewarding. How did your costumes helpdefine the characters and the story? The costumes are such an integral part of letting youknow where and what the mission is. I used a cool palatte with a sleek modern edge forIceland, and for Majorca, rich color and bohemian touches to heighten the storytelling.

ARRESTED DEVELOPMENTCostume Designer: Katie Sparks

What was your most rewarding moment designing this project? In a production meeting,the executive producer asked how I was going to make a shirt match the intricatewallpaper, I smiled and said, “no problem.” Little did he know I had no idea how I wouldpull it off. What do you love about being a Costume Designer? I enjoy the spontaneity ofworking with so many different actors. It’s a tremendous high when the work is fluid andthat collaboration produces something magical.

DESPERATE HOUSEWIVESCostume Designer: Catherine Adair

What was your most rewarding moment designing this project? I have a rewardingmoment every week; it’s on Friday when I know they cannot do more re-shoots, scenes,inserts, or changes before airing on Sunday. They’ve finally run out of time! It’s on tothe next! How did your costumes help define the characters and the story?The clothesare expressions of each character’s personality. I spend time isolating colors, texturesand silhouettes for each personality. It’s rewarding to hear, “Oh, that’s so Bree!” or “Ilove Susan’s look!”

NIP/TUCKCostume Designer: Lou Eyrich

What was your most rewarding moment designing this project? When Ryan Murphy, thecreator/director/producer, said, “It’s perfect. I love it!” How did your costumes helpdefine the characters and the story? I design by using specific silhouettes and colorpalettes for specific characters, i.e. using strong, clean lines for a confident character. Ialso take into account what the character is going to go through in an episode when Imake those choices.

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SIX FEET UNDERCostume Designer: Jill Ohanneson

Assistant Designer: Nadine Haders Illustrator: Jacqueline WazirWhat was your most rewarding moment designing this project? Nate and Brenda’s weddingand the grande finale episode.Wait! I can’t forget the petunia costume! How did yourcostumes help define the characters and the story? My costumes help define the charactersby revealing their physical and emotional state, both for the actor and the audience. What doyou love about being a Costume Designer?When all the characters come together and youhave individual stories going on and those stories are playing off each other.


CARNIVALECostume Designer: Chrisi Karvonides-Dushenko

Assistant Designer: Devon AndersonWhat was your most rewarding moment designing this project?When our carnival encounteredanother carnival, it gave me the opportunity to create two competing carnivals by referringto their different ethnic origins and using different color palettes. How did your costumeshelp define the characters and the story? Every aspect of the costume helps to define thecharacter.The Carnivale costumes are a patchwork of gathered and then distressed clothesthat reflect the harsh conditions of the Dust Bowl in the ’30s.

COLD CASECostume Designer: Patia Prouty

Assistant Designer: Erin EllisonWhat was your most rewarding moment designing this project?When a costume sparks amemory for an audience member. How did your costumes help define the characters andthe story? Tom McKinley taught me the value of making up a back-story for a character. Itis easy to make choices once the back-story is established. What do you love about beinga Costume Designer? Everything but the politics.

DEADWOODCostume Designer: Katherine Jane Bryant

Assistant Designer: Beth MorganWhat was your most rewarding moment designing this project? The first time I saw thecast and 200 extras all in costume on the set. It was a moment when it all came together.My department and I just looked at each other and said,“Wow.” What do you love aboutbeing a Costume Designer? The process of creating characters through costume and thenseeing the end result on screen is such a thrill. It is an amazing gift to work in a creativeenvironment. I love it!

ROMECostume Designer: April Ferry

What was your most rewarding moment designing this project? When Caesar drove hischariot into the forum and the thousand extras cheered. It was so real. How did yourcostumes help define the characters and the story? I think the audience is more qualifiedto answer that question. I hope the research and the choices I make define the charactersin a clear way. What do you love about being a Costume Designer? Almost everything.

THAT ’70s SHOWCostume Designer: Melina Root

Assistant Designer: Audrey FisherWhat was your most rewarding moment designing this project? The pilot episode. I hadto create believable 1976 characters that appealed to a contemporary audience.To thisday I juggle the realism with palatability. What do you love about being a CostumeDesigner? I live for that moment when a character comes alive in the fitting room, whensuddenly the costume has an added visual depth and a whole new emotional layer to thestory. It’s magic and everyone in the room recognizes it.

Excellence in TV Period/Fantasy

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ELVISCostume Designer: Eduardo Castro

What was your most rewarding moment designing this project? With over 125 costumesfor Elvis alone, many of them custom made, Johathan Rhys Meyers who played “Elvis”rewarded me by making me feel like a “King.” How did your costumes help define thecharacters and the story? By remaining as true to the research as possible, yet maintainingcertain glamour that was always “Elvis.” What do you love about being a CostumeDesigner? It is exciting being in a career that offers so much diversity.

EMPIRE FALLSCostume Designer: Donna Zakowska

How did your costumes help define the characters and the story? Costume is aboutchoices; the characters’ clothes have to clarify those choices. Collaboration is the key todigging deeper into those subtleties in a profound way. What do you love about being aCostume Designer?Tuning in to the psychology of a person forces you to develop a senseof human psychology and develop the humanity of the character.

LACKAWANNA BLUESCostume Designer: Hope Hanafin

Assistant Designer: Dana WoodsDesigner for Nanny & Pauline: Paul Tazewell

What was your most rewarding moment designing this project? The “1940s” themeparty set in the mid-1960s was tricky. I think we found a good mix of period reference,exuberance, invention and style. How did your costumes help define the characters andthe story? The challenge was to design 34 recurring characters over a period of almost30 years in a way that let them mature and evolve while visually connecting them to theirpast so that the audience could track them.

THEIR EYES WERE WATCHING GODCostume Designer: Eduardo Castro

What was your most rewarding moment designing this project? Gaining the totalconfidence of Halle Berry and director Darnell Martin. How did your costumes helpdefine the characters and the story?The richness of the characters allowed me to exploremany facets of social division, from the very humble and poor to the well heeled. HalleBerry’s character required that her costumes reflect not only her standing in society butmore importantly, her expression of a woman’s journey.

WARM SPRINGSCostume Designer: Hope Hanafin

How did your costumes help define the characters and the story? I hope the costumeshelped a 21st-century audience understand the differences in class and region in the1920s that so affected FDR’s outlook and policies. What do you love about being aCostume Designer? I love the spirit of collaboration and the dynamic between what ourideal of the work is and what is actually possible to accomplish.That seeming friction isthe source of endless creative solutions.

Excellence in TV Movie of the WeekE

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AMEX—KATE WINSLETCostume Designer: Tanya Gill

How did your costumes help define the characters and the story? Finding a complimentary,authentic costume for Kate to sum up her classic, individual and ‘of the moment’ look wasa key element of the commercial. What do you love about being a Costume Designer?Taking a project from script to searching costume houses and markets for that perfectpiece and final detail. Creating characters from reference or pure imagination, it’s alwaysa challenge and a joy to bring a character off the page to life.

CAPITOL ONECostume Designer: Christopher Lawrence

Associate Designer: Lisa TomczeszynHow did your costumes help define the characters and the story? For the spa, Idesigned uniforms and client robes/loungewear to be crisp, clean and tranquil; goingdarker and heavily aged for the Visigoths. The director shot in slow-motion so Iadded tied and hanging pieces so he would have greater movement for those shots.What do you love about being a Costume Designer? Whether designing a Koreanstreet gang, steel workers in Philly or teenagers in Florida, I love transporting theactors and audience to another place and time.

ORBITCostume Designer: Mary Zophres

Assistant Designer: Jenny EaganWhat was your most rewarding moment designing this project? It was more a sense ofrelief than anything else. We designed and built the Orbit Gum Girl’s three ensemblesand dressed about 20 principals in less than three days. What do you love about being aCostume Designer? I love those moments in a costume fitting when you know you helpedthe actor discover his character. I love a healthy collaboration with my fellow filmmakersand doing my part to help tell the story.

Excellence in Commercials

Revolution Studios

Proudly Congratulates


2006 Costume Designers Guild Nominee

Excellence In Period Film

Revolution Studios

Proudly Congratulates


2006 Costume Designers Guild Nominee

Excellence In Period Film


As he would be the firstto tell you, InternationalPresident Short grewup in a union householdin Cleveland, Ohio, andhas been a member ofthe IATSE since 1968,when init iated intoStagehands Local No. 27.His gift for leadershipwas impressive from thestart of his career. In

1971 he was elected to the Executive Boards of Local27 and Studio Mechanics Local 209, and was electedas Local 27’s President in 1978. Short served asInternational Vice President of the IATSE from 1988until 1994 when the General Executive Board unani-mously elected him to the position of GeneralSecretary-Treasurer of the Alliance.That year, Mr. Shortwas elected to the position of International President,and continues to be re-elected to this office by theprudent delegates to each subsequent IATSEConvention.

Under his guidance, the union has been restruc-tured, modernized, and streamlined to include fiveDivisions—Stage Craft, Motion Picture and TelevisionProduction, Organizing, Trade Show & Display Work,and Canadian Affairs—and his dynamic forward- think-ing administration has seen a membership increasefrom 65,000 to more than 105,000. President Short isa member of the Boards of Directors of the MotionPicture Industry Pension and Health Plans and theMotion Picture & Television Fund and works tirelessly

to protect those benefits for all IATSE members. In theaftermath of Hurricane Katrina, the IATSE andPresident Short were quick to respond with financialassistance from the Walsh/DiTolla/Spivak Foundationto enable members and their families to get back ontheir feet after the tragedy.President Short exemplifiesthe spirit of solidarity in his care for each and everyunion member whether negotiating a contract orreaching out in times of crisis.

President Short also represents the IATSE as aVice President on the Executive Council of the AFL-CIO. His recent election marks the return of theIATSE to the Executive Council after a 31-yearabsence. International President Short declared,“We, in the labor movement, are facing some of thegreatest challenges in our history and it is criticalfor us to take a strong, aggressive and united stand ifwe are to survive.” President Short’s many recentaccolades include the Directors Guild of America“Honors Award,” the “Lew Wasserman Spirit ofDemocracy Award” from the Los Angeles Federationof Labor, and “The Actor’s Fund Medal of Honor” forhis dedication and outstanding leadership through-out the entertainment industry and in the communi-ty. Concluding 2006 negotiations on the HollywoodBasic Agreement, the IATSE membership secured sub-stantial wage and benefit gains including increasesin the Individual Account Plan (IAP), and additionalpension income for retirees including “13th and14th” checks. In a political environment hostile tolabor, expensive for health insurance, and precari-ous for pensions, President Short has once againproven himself to be our hero.

International President Thomas C. Short

Executive Producer, JL Pomeroy at The jLINE Group For tickets, please call 310.601.3200 or email [email protected]

We hope you’ll be a part of the annual celebration of Costume Design!

8TH ANNUAL COSTUME DESIGNERS GUILD AWARDS

Saturday, February 25, 2006

Beverly Hilton Hotel

Swarovski

ANJELICA HUSTON

Show DateLocationPresentingSponsorHosted by

Costume Designers Guild Presidents Award

Warner Bros. Picturesand

Warner Independent Picturesproudly congratulate our

2006 Costume Designers Guild nominees

LOUISE FROGLEYExcellence in Contemporary Film

Syriana

and

Excellence in Period FilmGood Night, And Good Luck.

LINDY HEMMINGExcellence in Fantasy Film

Batman Begins

GABRIELLA PESCUCCIExcellence in Fantasy Film

Charlie and the Chocolate Factory

capotecapote©2005 SONY PICTURES ENTERTAINMENT INC.

2006 COSTUME DESIGNER AWARDS NOMINEE

EXCELLENCE IN PERIOD FILM

Kasia Walicka Maimone

elipe Sanchez, self-made man, passionateartist and illustrator. Felipe was working the grave-yard shift at a gas station when he won the“Designer of Tomorrow” scholarship to F.I.D.M.

After graduating, Felipe had a hand in designing every-thing from jewelry to fabric colors but the fashion indus-try seemed creatively restrictive. The notice given hisdrawings compelled him to develop as an artist with astrong, clever design sense.

Switching over,Felipe began to illustrate films with his for-mer classmate,Mona May (Clueless),followed

by an impressive list of films with busy, cre-ative designers, Deena Appel (AustinPowers), Ruth Carter (Four Brothers) andColleen Atwood (Memoirs of a Geisha).

Designers squeeze creative time withan illustrator out of moments stolen

from the swirling vortex of pro-duction, so Felipe packs thosemoments with exciting options,choices and directions gleanedfrom his understanding of thedesigner’s vision. He counts hissuccess as a combination of

proactive sketching and using hiseye to unite the masculine worldof the director with the feminineworld of the designer.He suggeststhat a “dead on”visually impacting

presentation that inspires withdemonstrating the ability to relate,

color balance and true art places thedesigner in a position of gaining the pro-ductions’ confidence there by freeingthe designer to move forward,and oftenloosening the purse strings as well.

Currently, Felipe is illustratingDreamgirls for Sharen Davis. You can see his illustrations at the Guildand on our website and you will befascinated when you speak tohim. 323-854-7409 [email protected]

THE COSTUME DEPARTMENT

ablo Borges was born in Caracas, Venezuela,and educated in Miami, Florida, at the InternationalFine Arts College. He began his career as a FashionDesigner both in Miami and New York. After five

years with Natori, Randolph Duke, Melinda Inge,The Gap andOld Navy in New York, Pablo designed wedding gowns withMonique L’huillier in Los Angeles. He took his first job in themotion picture industry as an in-house assistant with John

David Ridge.Pablo then joined the CostumeDesigners Guild, Local 892, as a CostumeIllustrator. For the last year Pablo hassketched and illustrated for ColleenAtwood for the Ringling Brothers’Circus,for commercials,as well as for Ringwood’s

Mission Impossible 2, for RuthCarter for White Chick, and forGary Jones’ Princess Diaries 2,and Lady Luck starring LindsayLohan.

Pablo feels that part of histalent is his capacity to under-stand what designers want,read-ing their minds about the cut

and drape of a costume.Pablo feelslucky to have had so many differentexperiences to contribute to thecreative process. He knows what ittakes to make the costume actuallyhappen.Currently,Pablo is in Mexicowith Carol Oditz where he is work-ing as the Assistant Designer on Inthe Tunnel.pabloborges74 @yahoo.com

MEET THE ILLUSTRATORS

Jacqueline K. Saint Anne

F P


Illustrated ByPABLO BORGES

Gary Jones costume design

for Two Weeks Notice

Illustrated ByFELIPE SANCHEZ

Ruth Carter costume designfor Four Brothers

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rady Hunt was born on a farmin 1921 in Lone Oak, Texas.He was a loner and averagestudent in school and his

first brush with show biz wasreceiving a Shetland pony fromthe circus. He briefly attendedSouthern Methodist Universityand recalls designing andbuilding a period play for acostume project—the direc-tor of which was a youngAaron Spelling. Grady’s dreamwas to design costumes for themovies and after serving two years in theU.S. Navy during WWII, he opened hisown couture shop in Dallas where hedesigned clothes for the city’s elite. ButHollywood was calling, and he moved toLos Angeles where he eventually foundemployment at NBC Studios. At NBC hedesigned many lavish variety showsincluding The Milton Berle Show and Gradyfondly recalls the costume collections ofUncle Miltie. Berle stored all of his sketch com-edy costumes in hundreds of different trunksbut could always (off the top of his head)remind Grady which trunk number to pulland then ship from NYC to LA.

With his impressive list of credits,Grady will be best remembered forhis costumes on many classic TVseries, including international favorites:Columbo, Ironside, Night Gallery,Fantasy Island, Police Woman, and formemorable TV movies such as TheOther Side of the Mountain. HisEmmy nominations include FantasyIsland (’80 and ’82), Beulah Land(’81), Ziegfeld: The Man and HisWomen (’78), The Quest (’77), andColumbo: Dagger of the Mind (’73).Among Grady’s favorite actors areDana Wynter, James Garner, AnneBaxter, Joan Crawford, and Eartha Kitt.

He has also designednumerous gowns forhis dear friend, RutaLee. Among Grady’sgreatest joys havebeen traveling, and

remodeling his charm-ing home in Studio City, wherehe has lived since 1958. Shouldhe be met at the Pearly Gates bySt. Peter—he hopes to hear thewords, “I’ll give you a front-rowseat.” Grady, you’ve come a longway from Texas and thosefarm chores!

DESIGNERS EXPRESSJoe Tompkins Interviews Grady Hunt

G



for your consideration

EXCELLENCE IN

CONTEMPORARY FILM

DANNYGLICKER

“DANNY GLICKER’s costumes are a major assist: at once fluffy yet proper.”– Kevin Thomas, LOS ANGELES TIMES

TRANSAMERICA

Sydney:Try this one. It’ll be like

“Showgirls” on the Ice Capades.

Bree: I’m a transsexual, not a transvestite.

Sydney:But it’ll really freak Mom out.

Artwork © 2006 The Weinstein Company. All Rights Reserved.


Balmacaan: Loose flaring overcoat ofScottish origin.Usually made of tweed,gabar-dine or water-resistant raincoat fabric.Barathea: Fine, soft fabric, closelywoven in small diaper or bird’s-eye design,often with silk warp and silk filling. Usedfor dresses, lightweight suits.Batik: Method of resist dying with waxpopular in Indonesia and aroundthe world.Beauty Patch: A smallcolored patch, usually of blackvelvet attached with glueapplied to the face to enhancethe beauty and complexion ofthe wearer, originally created tocover small pox scars.

Beefeaters Costume: Created byHenry VII in 1485, the British Yoeman of theGuard still wear what is essentially the Tudoruniform.Today, Beefeaters guard the BritishCrown Jewels at the Tower of London.

Betsy: Named after QueenElizabeth I, a small neck ruff worn

during the early 19th century,originating in England.Bloomers: Named afterAmelia J. Bloomer whoattempted women’s dress

reform beginning in 1851, byintroducing full gatheredtrousers tight at the anklewith a very short skirt.These

met with some success in the1880s when women began to

ride bicycles.Bois de rose:

Dull shade of softly grayedred. French term forrosewood.Bolero Jacket:Short jacket originatingin Spain, originally wornby the toreros in thebull ring.

Bombards: Loose, baggy, paddedbreeches worn by American colonists.Bouclé: Woven or knitted fab-ric with a looped, knotted or“nubby” appearance.Bowler or Billycock: Ahard round hat with a straightbrim and low round crown wasthe product of new hat-makingadvances in the industrial agecirca 1850.

Brogues: Heavy,trimmed oxford shoe oftenwith a decorative tongue.Broigne: Medieval gar-

ment consisting of metal ringsor plates sewn on leather or fabric.

Worn as part of defensive armor.Burnoose: Cloak with hood origi-

nating in Arabia.Bustle: Pad or frame worn below the waistat the back of body to enhance the derriere.

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S O N Y P I C T U R E S S T U D I O S C O S T U M E S

1 0 2 0 2 W E S T W A S H I N G T O N B O U L E V A R D , C U L V E R C I T Y , C A 9 0 2 3 2N i c k P o l l a c k , M a n a g e r • W W W . S O N Y P I C T U R E S S T U D I O S . C O M

W A R E H O U S E :3 1 0 . 2 4 4 . 5 9 9 5• Modern and upscale contemporary clothes• Ethnic costumes• Selections from various eras• Accessories

S T U D I O L O T :3 1 0 . 2 4 4 . 7 2 6 0• Full service workroom• Made to order, fittings and alterations• Washers, dryers, dyeing facilities• Fitting rooms

Karyn WagnerIllustrations by Robin Richesson

WARDROB EC L O T H I N G R E N T A L S E R V I C E

An Open Invitation to Join Us

for a Cocktail and a Viewing of Our Collection

2 1 2 4 3 0 5 0 8 3 • 9 17 3 6 5 70 9 9W W W. WA R D R O B E - NYC . C O M • I N F O @ WA R D R O B E - NYC . C O M

Wardrobe carries a range of designer wear that includes, but is notlimited to: gowns, cocktail dresses, suits, jackets, blouses, shirts,

sweaters, t-shirts, jeans, swimwear, handbags, shoes, and sunglasses.Wardrobe is the only company that has built designer relationshipsfacilitating receiving merchandise at the same time as department

stores. We rent at approximately 10% of retail pricing.


Costume Designer/Novelist Jean-Pierre Dorleac hasreturned from the UK where he was honored at the 12th Annual Cult TV Festival as All-Time Best CostumeDesigner for his body of work: Battlestar Galactica,Buck Rogers in the 25th Century, Quantum Leap,

Max Headroom, Knight Rider and Somewhere in Time.Withthe recent release of his best-selling comedy caper novel,Abracadabra Alakazam,hundreds of fans queued for hours toreceive an autographed copy.

Daily Variety’s January 16 publication included an articleon the Costume Designers from the past year who are up forconsideration for an Academy Award nomination.Aggie Rodgerswas interviewed for her sexy 1980’s designs for Rent. Lookmagazine’s recent issue showcases the multi-era designs ofBeth Pasternak, in Where the Truth Lies, and DeniseCronenberg’s designs in A History of Violence. The article“Dressing Egoyan and Cronenberg”includes photos and sketch-es highlighting each designer’s work. The San Diego UnionTribune recently ran an article about the lead players in thecrime drama Veronica Mars,and spoke extensively with Sal Perez,the show’s versatile Costume Designer, about the characters’bulging closets. Gilmore Girls designer Brenda Maben has aninterview coming out in the March edition of Jane magazine.

April Ferry is back in Rome starting the second seasondesigning the riveting cos-tumes for the ground-breaking HBO hit drama,after spending the sum-mer in L.A. on RichardKelly’s gritty SouthlandTales. Louise Frogleyjust finished The GoodGerman, directed bySteven Soderbergh withCate Blanchett, TobeyMaguire and GeorgeClooney, set in WWIIBerlin and filmed in grit-ty black and white.

On January 27, NBC’sdaytime soap Passions,aired their big Bollywoodproduction number.Diana Eden’s designs are on the front page of the TV Guidewebsite, and there will be an interview with her on theshow’s website next month. Diana’s work on Passions isinfluencing fashion, and she is receiving international recog-nition for her part in the success of the show.

The Miss America Pageant aired on January 21 from LasVegas, and Marcy Froelich designed the costumes. NiklasPalm designed Melanie Griffith’s gown for The GoldenGlobes as well as her gown for The Academy Awards. Awardsseason is definitely here!

IN FOCUS

BOLDFACE NAMES

Jean-Pierre Dorleac, Gloria Martell, John Saxon

April Ferry & Ciaran Hines on the set in Rome.

COSTUME DESIGN CENTERCostume Rentals • Manufacturing • Prep Spaces

818.954.1297 • [email protected]

WARNER BROS. STUDIO FACILITIES4000 Warner Boulevard • Burbank, California 91522

© and ™ 2005 Warner Bros. Entertainment Inc. All rights reserved Kimberly [email protected]

2006 CDG/Local 892 Gold Card honoree Moss Mabry & Lana Turner review sketches for The Sea Chase.

IN REMEMBRANCE


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The Costume Designers Guild mourns the passing of our dear colleague, Moss Mabry,January 24, 2006

Prsrt StdU.S. Postage

PaidSanta Ana, CAPermit No. 450

Costume Designers GuildLocal 892–I.A.T.S.E.4730 Woodman Avenue, Suite 430Sherman Oaks, CA 91423-2400

Dear Costume Designers,

I’M BACK!

And ready to work for you.

Make your professional life apleasure again by putting a wealthof experience to work on your nextproject. You don’t have to look forknowledgable cutters, tailors and

fitters. My team is at your service with over 27years of experience.

Whether it’s for television or film, our tailoringknowledge and proficiency with fashion from1900 to 2006 is unmatched. Let us bring yourdesigns to life for the world to see – let us workfor you.

At Susanna Beverly Hills you’ll find our attentionto detail, quality and prompt, professional serviceare unsurpassed.

SUSANNA BEVERLY HILLS9647 Santa Monica Boulevard • Beverly Hills, CA 90210

(310) 276-7510 • fax (310) 275-8948www.susannabh.com • [email protected]

the costume designer winter 06

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