the costume designer winter 08

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Winter 2008 The Costume Designer 3

FEATURES

vol. 1, issue 5

COSTUME DESIGNERS GUILD

11969 Ventura Blvd., First Floor

Studio City, CA 91604

phone: 818.752.2400 fax: 818.752.2402

email: [email protected]

COVER

Gown design by 2008 CDG

Career Achievement Award Honoree

Ray Aghayan and Bob Mackie for

Anjelica Huston, CDG Awards

Mistress of Ceremonies.

Illustration by Bob Mackie

CDG 10th Anniversary AwardsHonorees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Career Achievement recipients . . . . . . . . . . . . . . . . . . . . 21Hall of Fame: Marit Allen . . . . . . . . . . . . . . . . . . . . . . . 22Swarovski: A story in pictures. . . . . . . . . . . . . . . . . . . . . 24

Award Nominees

Q&A with this year’s nominees . . . . . . . . . . . . . . . . . . . . 26

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 10President’s Letter

From the Desk of the Executive Director

Assistant Executive Director’s Report

Labor Report

The Costume Department. . . . . . . . . . . . . . . 35History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 A Look Back at L.A. Confidential

Boldface Names

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

DEPARTMENTS

12 24 26

1st Annual CDG Holiday Party. . . . . . . . . . . 12



EDITOR/PHOTO EDITORDeena Appel

ASSOCIATE EDITOR Audrey Fisher

MANAGING EDITORCheryl Downey

PRESIDENTMary Rose

[email protected]

VICE PRESIDENTHope Hanafin

[email protected]

SECRETARY Ann Somers Major

asomersmajor@costumedesignersguild

TREASURERKaryn Wagner

[email protected]

EXECUTIVE BOARDSharon Day

[email protected] [email protected]

Deena [email protected]

Cliff [email protected]

BOARD ALTERNATES Valerie Laven-Cooper

vlavencooper@costumedesignersguildSusan Nininger

[email protected] Van Broughton Ramsey

[email protected] Butler

[email protected]

ASST. COSTUME DESIGNER REP. Audrey Fisher

[email protected]

COSTUME ILLUSTRATOR REP.Dana [email protected]

COMMERCIAL COST. DESIGNER RETanya Gill

[email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Saint Anne

[email protected] Matthews

[email protected]

LABOR REPRESENTATIVEBetty Madden

[email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected]

ASSISTANT EXECUTIVE DIRECTORRachael M. [email protected]

ADMINISTRATIVE ASSISTANTSuzanne Huntington

shuntington@costumedesignersguild.

RECEPTIONIST/SECRETARYCheryl Marshall

[email protected]

GENERAL CDG [email protected]

PUBLISHERIngleDodd Publishing

ADVERTISING DIRECTORDan Dodd 310.207.4410 x236

[email protected]

6 The Costume Designer Winter 2008

inally, a sketch on the cover of The Costume Designer !

We’ve been imagining a sketch on the cover for a year now

and what better inaugural sketch than a gown in the making

for the past 10 YEARS! What, you don’t recognize it? Well

that’s because the dress hasn’t been made yet. This one-of-a-kind

dress has been designed for our returning Mistress of Ceremonies,

Anjelica Huston, for our 10th Awards Anniversary by none other than

the fabulous design team of Ray Aghayan and Bob Mackie.Yes we’ve

been talking about this dream for 10 YEARS and it’s finally a reality.

Anjelica Huston will walk the red carpet for us in a gown designed

exclusively for her by this year’s Career Achievement in Television honoree Ray

Aghayan and Bob Mackie (honored at our first award presentation in 1998).This one-

of-a-kind gown will hopefully tour the country before making its home with a lucky

bidder from Clothes Off Our Back founded

by 2007 CDG Awards host Jane Kaczmarek.

More than 500 celebrities have participated

in Clothes Off Our Back auctions since its

inception in 2002,helping raise more than$2 million for various children’s charities.

This issue celebrates our CDG Award

nominees and 10th anniversary honorees.

Enjoy the Q&A with the nominees. It’s very

interesting, the minds of some of our most talented designers; how varied and yet

similar we all are.We also mourn the tragic and untimely loss of Costume Designer

Marit Allen. CD Christine Peters shares her personal thoughts on Marit that will make

you wish you’d known her.The Swarovski photo journal will remind you just how

extensively Swarovski has been collaborating with Costume Designers for more than

70 years.

Deena Appel

[email protected]

EDITOR’S NOTE

F

“

”

Attempt theimpossible in

order to improveyour work.

— BETTE DAVIS

The Kobal Collection Tanya Gill, Christine Peters, Louise de Teliga

THANK YOU




Contributors

AUDREY FISHER

(Associate Editor) joined the

Guild in 2000 and is currently

working as an Assistant

Costume Designer on film and

television projects. Fisher is

also the ACD representative on

the CDG Executive Board.

“Associate editing the CDG

magazine allows me to indulge

one of my first loves and keep

up my writing chops. I appreci-

ate the creative outlet and the

opportunity to learn more

about our colleagues and their

designs.”

ROBIN RICHESSON

(History of Dress, Illustrator)

joined the Guild in 1992 and

works currently as a costume

illustrator,a storyboard artist,and

an educator.“I trained for work

as an illustrator for print (pub-

lishing) 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 col-

umn is a great way for me to

learn more about clothing and

participate in this publication.”

JACQUELINE SAINT ANNE

Emmy Award–winning Costume

Designer and former CDG

President now serves as a

Trustee.Saint Anne has designed

a range of media from IMAX to

Opera for which she is currently

designing at USC.“I am prepping

a new column to introduce the

Assistant Costume Designers—

their art and craft. I am pleased

to be able to bring my writing to

the Guild membership in hopes

of increasing jobs for them.”

Saint Anne is a frequent

contributor and writes for The

Beverly Hills Times magazine.

KARYN WAGNER

(History of Dress, Copy) A

Costume Designer for film and

television, Wagner ran for the

CDG Board four years ago and

is now the newly elected CDG

Treasurer. “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 historian,

and I love to watch the evolu-

tion 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.”

I r v K e r s h n e r




Holiday Committee Chair

Tanya Gill Venice Carnivale designed by

Robert Turturice

White Fantasy (trompe l’oile)

designed by Jude Orlando.

Generous volunteers:

Bill Barton, Cliff Chally,

Sharon Day, Bonnie Nipar,

Jacqueline Saint Anne

and Brittany Trusler

Clockwise from top left: Anna Bae & Eduardo Castro;Vikki Barrett & Jacqueline Saint Anne; Carlos Brown & Francine Lecoultre;

Mark Beall & Christopher Lawrence; Rachael Stanley, Astrit Daku & Wendy Benbrook; Alison Schmidt, Gail McMullen, Robert

Cron, Maritza Garcia-Roddy, Melissa Lizardo; Mona May & Brittany Trusler.




UNION LABEL

Strike Survival

s we head into the third month

of the writers’strike, I thought it

might be helpful to share some

ideas from myself and fellow

members about financial survival in this

difficult time. Below are a few sugges-

tions that you might find helpful.

• Write down your monthly financial obligations and organ-

ize them by the due date each month.This helps to pay

things on time.

• File your tax return early if you expect a return.You can do

it electronically and increase your immediate cash needs.

• Call your cable company and ask if they have any special

offers that will lower your bill. Cancel all extra-pay channels.

• Call all your credit cards and ask for a lower interest rate.Ask

if there are any balance transfer rate specials and then trans-

fer balances from higher rate cards. This will lower your

monthly payments.

• Contact the Actors Fund (323-933-9244) or MPTF (818-876-1888)

if you need financial assistance to meet mortgages and

household bills.• The Musicians Inter-Guild Credit Union is now offering unse-

cured loans in increments of $5,000 at the credit union rate

with no payments due until after the strike has settled.

• For any member with overdue DWP, Edison, or The Gas

Company bills, you may apply for up to a $150 rebate on

your bills.This can be done each Friday at Local 80 from 10

a.m.to 3 p.m. Call our office for further instructions.

• Be sure to call creditors if you are having trouble making

bills and try to work out a payment plan with them. If you

just ignore things, you may ruin your credit rating.

• Have a garage sale or sell items on eBay.You’ll be surprised

how much you have that you really don’t need.• Lower your cell phone rates by eliminating all the extras dur-

ing this period.You can always add them back later.

• Make your entertainment low-cost by inviting friends for a

game night or dinner.

In Solidarity,

Rachael

[email protected]

Assistant Executive Director’s Report

A



Marit Allen1941–2007

Costume Designer Christine

Peters shares her mostpersonal thoughts and

memories about a colleague

and dear friend.

“Working with Marit

Allen was like being sur-

rounded by fairy dust 24 hours a day. Slight of figure,

speaking with her ethereal, English-accented voice, she

enthralled directors, actors and crew with her infectious

enthusiasm. Marit had the ability to turn the mundane

into a magical event. Whether it be morning tea, the

sewing on of a button,or searching high and low through

the aisles of a thrift store for that perfect piece—every-

thing was an adventure. Much has been said of her keen

eye, her discriminating taste and her enthusiasm. More

than anything else, it was her ability to have it all, to live

every day like a precious moment, and to stop and smell,

not just the roses, but every freesia,orchid,marigold, cac-

tus or tumbleweed,you might pass (in between setups of

course!). She missed nothing. Marit’s zest for life infected

everyone she worked with—she could enthrall an actor

with the tiniest accessory that became the essence of

their character, as easily as she would convince the most

dour of Khazak seamstresses to “please, please, please do

that seam by hand—the garment demands it!” No one

could say no to Marit, and ultimately, who wanted to any-

way? She rewarded everyone with a “hooray,” “goodo,”

“outstanding” or other congratulation. Translators and

drivers the world over were smitten by her charms. She

loved life and all its imperfections.

Her talent was a unique blend of skills—intuition,

appreciation for the beautiful and unusual, and a true love

of creating characters, bringing the directors’ visions to

the screen with grace and ease. She strove to create char-

acters that were real, imperfect and nuanced. She never settled for the ordinary. For those who had the pleasure

of working with her,we all are the richer for seeing a true

master at work, teaching us all to appreciate every tiny

detail—even the buttons on the “lady in the back, last

row, to the right of the portly man. You see her, don’t

you?” Of course we did.“She will be sorely missed.”

Costume Designer Marit Allen died of a brain aneurism

on November 26 in Sydney, Australia. She was working

with director George Miller on the Warner Bros.’ superhero

adventure, Justice League of America.

HALL OF FAME



Enchanted /CD Mona May

I'm No Angel /CD Travis Banton

Gentlemen Prefer Blondes /CD Travilla

Marie Antoinette 1938/CD Adrian Moulin Rouge /CDs Catherine Martin& Angus Strathie

The Wizard of Oz /CD Adrian

Phantom of the Opera / CD Alexandra Byrne

Blades of Glory /CD Julie Weiss

Elizabeth:The Golden Age / CD Alexandra Byrne

Angel/Paramount/Kobal,BladesofGlory/Pa

ramount,TheWizardofOz/MGM/Kobal,Gentlem

enPreferBlondes/20thCenturyFox/Kobal,Elizab

eth:TheGoldenAge/StudioCanal/WorkingTitle/Kobal/LaurieSparham,

P h a n t o m o f t h e O p e r a / W a r n e r B r o s . P i c t u r e s / K o b a l



THE DIVING BELL AND THE BUTTERFLYCostume Designer: OLIVIER BÉRIOTAssistant Designer: CAMILLE JANBON

What new lesson did you learn on this project? Because of director Julian Schnabel’s painterly eye,I discovered last-minute,on-set inspiration to use costumes based on color more than shape.One thing youcouldn’t live without? I always referenced my research books for ideas and insight. What surprisedyou most? Julian Schnabel’s very particular perception of colors and patterns.Your favorite costume? Iloved Empress Eugenie’s costume because it was so out of time in this contemporary film.Her green silk taffe-ta dress echoed the green of the hospital’s walls.

INTO THE WILDCostume Designer: MARY CLAIRE HANNANWhat did you learn on this project?Traditional filmmaking methods were replaced with an organic flow:nature and artistic instinct drove this project.Couldn’t live without? I relied on Chris McCandless’ person-al journal and photographs to create authentic costumes to represent Chris’ journey. What surprised youmost? Because of the majestic Alaskan mountains’ bright white blankets of snow, the costumes required amore vivid level of distress. Your favorite costume? Marcia Gay Harden’s first outfit was a little ceriseMaggy London suit abandoned in a local thrift store for $3.50.

JUNOCostume Designer: MONIQUE PRUDHOMMEAssistant Designer: CHRISTINE COUTTS

What new lesson did you learn on this project? Costume Design is collaborative: clothes shape thecharacter and actors give it life. One thing you couldn’t live without? My personal directory of thriftand vintage clothing shops in Vancouver.What surprised you most? Ellen Page’s intensity beneath her non-chalance—heartbreaking and funny at the same time.Your favorite costume? Juno’s attempt to look girliewhen she discusses fatherhood and the impending divorce with adoptive Dad Mark (Jason Bateman).The littlefluttery skirt hanging on below her big belly is endearing and pathetic at the same time.

OCEAN’S THIRTEENCostume Designer: LOUISE FROGLEYIllustrator: JAMIE RAMA

What new lesson did you learn on this project? I learned all about tuxedos.One thing you could-n’t live without? A fabric called mohair tonic, a ’60’s men’s suiting that I happily rediscovered.What sur-prised you most? George Clooney and Steven Soderbergh became even funnier than usual.Your favoritecostume? Elliott Gould’s tuxedo.

BLADES OF GLORYCostume Designer: JULIE WEISSAssistant Designer: MICHAEL CROW

What new lesson did you learn? If an extra claims to be a professional skater, never dresshim in a pointed headdress for a crowd scene without seeing him skate first. And never lose a crystalon the ice. One thing you couldn’t live without? Band-Aids for the fingers burned during after-midnight

crystal applications surrounded by hot plates in a dark room. What surprised you most? That surely ournext U.S.National Skating Champions will be in the category of same-sex doubles. Favorite costume? Thepeacock costume, if Jimmy MacElroy had accessorized himself with pieces borrowed from the rap costumes.

Excellence in Contemporary Film



ENCHANTEDCostume Designer: MONA MAYAssistant Designer: MIRENA RADAIllustrator: ADAM FORMAN

New lesson ? Creating costumes with slightly cartoonish,animated proportions for live-action bodies is crit-ical. I navigated between media, starting with costumes for two-dimensional animated characters, then translat-ed the flat designs to three-dimensional actors. It was especially challenging transforming Queen Narissa into

a CGI dragon while keeping her design consistent. Biggest surprise? Disney’s archived artwork from the’30s and ’40s.The character and set designs were both innovative and inspiring. Favorite costume? QueenNarissa: I gave this iconic Disney character a sexy high-fashion makeover.

THE GOLDEN COMPASSCostume Designer: RUTH MYERSAssistant Designer: CAMILLE BENDER

What new lesson did you learn on this project? I learned not to be intimidated.Even the largest proj-ect can be achieved if you don’t panic. One thing you couldn’t live without? Passion—from the entirecrew—and support. What surprised you most? Nicole Kidman’s complete dedication to beauty. Yourfavorite costume? Naturally, the Gold Dress worn by Nicole Kidman as Mrs.Coulter.

HARRY POTTER AND THEORDER OF THE PHOENIXCostume Designer: JANY TEMIMEAssistant Designer: SARA MEEKIllustrator: MAURICIO CARNEIRO

What new lesson did you learn? Although this was my third Harry Potter film, the biggest challengeremains the same:visualizing JK Rowling’s masterpiece and giving it a modern touch without upsetting her fans.Couldn’t live without?The book! All the answers are in it.What surprised you most? Ralph Fiennes

ability to be even more devilish than in the last Harry Potter ; he is a perfect Voldemort.Favorite costume?Bellatrix:she is so bad and so sexy!

PIRATES OF THE CARIBBEAN:AT WORLD’S ENDCostume Designer: PENNY ROSEAssistant Designer: JOHN NORSTERIllustrator: DARRELL WARNER

What new lesson did you learn on this project? Collaboration with CGI live-action blue screen char-acters. One thing you couldn’t live without? Global Textile Collection, our computerized embroiderymachine,massive braid,ribbon,buttons and accessories. What surprised you most?The amazing talent of my ageing and dyeing department.Your favorite costume? Captain Sao Feng’s costume,worn by Chow Yun-Fat, combined metal application (duplicated in plastic), embroidery,leather, and bizarre accessories.

300Costume Designer: MICHAEL WILKINSONAssistant Designer: CHRISTINE BIESELIN

What new lesson did you learn on this project?To create something that looks unique, you need tostick to your vision with 200% commitment.One thing you couldn’t live without?Two things:Moldable

leather and heat-set gold foil! What surprised you most? The passion and talent of the Québécois cos-tume craftspeople. Your favorite costume? Xerxes—equal measures of majesty and audacity.

Excellence in Fantasy Film



DANCING WITH THE STARSCostume Designer: RANDALL CHRISTENSENAssistant Designer: STEVEN LEE

What did you learn on this project? Nothing is more important than putting together the right team.My colleagues are phenomenal. What surprised you most? The incredible freedom the producers gaveme, which translated into trust. Humbling and empowering at the same time. Favorite costume?We haveonly three days to make incredible dance costumes—no time for changes or mistakes.My great crew and goodresearch have saved me many times.Anything my muse Edyta Sliwinska wears is a favorite! Also, the VienneseWaltz costumes for Julianne Hough and Helio Castroneves.

ENTOURAGECostume Designer: AMY WESTCOTTAssistant Designer: ROEMEHL HAWKINS

What new lesson did you learn on this project? I learned to be very careful about what you say tothe press. What surprised you most? The on-going creative ambition of the cast and crew. Entourage isalways striving to be better,not shifting to autopilot,and each season tops the next.Your favorite costume?Aquaman for Vince (Adrian Grenier).It was a great opportunity to reinvent the original comic book characteras a muscle-bound blue avenger, even though the costume never made it to the screen.

THE SOPRANOSCostume Designer: JULIET POLSCAAssistant Designesr: LORRAINE CALVERT and LAUREN PRESS

What did you learn on this project? No matter how long you’ve worked on a project or how manytimes you feel like you’ve solved the same design problem, there is always something new to inspire or baffleyou. One thing you couldn’t live without? My actors’ trust.Their faith eliminated my second-guessing.What surprised you most? That creator David Chase ended the series so unconventionally. Yourfavorite costume?When Christopher’s baby is baptized,Carmela,Kelli and the child are dressed beautiful-ly.But Christopher and Tony’s sharp outfits belied their simmering mistrust.

UGLY BETTYCostume Designer: EDUARDO CASTROWhat did you learn on this project? I learned to have patience—without it I would never gottenthrough the show.One thing you couldn’t live without? Our fabulous workroom,which handled manydaily challenges.What surprised you most? How cutter/fitter Lynda Arnold gained the confidence of ourmore challenging cast members,and consistently delivered gorgeous work with a smile. Your favorite cos-tume? Vanessa Williams’ white silk crepe dress with faux panda skin belt and iridescent black coque feathercollar.

BIG LOVECostume Designer: CHRISI KARVONIDES–DUSHENKOWhat new lesson did you learn on this project? How to make three fashionistas look like dowdymiddle Americans.One thing you couldn’t live without? Calico and plaid western shirts. What sur-prised you most?The subject matter and the scripts.Every week there was a phenomenon about polygamy

that surprised me.Your favorite costume?Two hundred people in white fundamentalist baptismal garb atpatriarch Roman’s family reunion.

Outstanding Contemporary TV Series



ROMECostume Designer: APRIL FERRYAssistant Designer: GIUSEPPE AVALLONE and ROSSANO MARCHIIllustrator: BOB FLETCHER

What new lesson did you learn on this project?That a team effort is more important than anything.One thing you couldn’t live without? My espresso in the morning because it jump-started my day.What surprised you most? My entire crew:they are terrific craftsmen but always went above and beyondmy expectations. Your favorite costume? Probably Cleopatra’s six-layered silk organza peacock cape. Ittook many days and a lot of experimenting to accomplish the final product.

THE TUDORSCostume Designer: JOAN BERGINAssistant Designer: GABRIEL O’BRIEN

What new lesson did you learn? An old lesson driven home.To reinvent period costumes for modernsensibilities,your inspiration has to be deeply rooted in endless research.Couldn’t live without?Workshopon site. What surprised you most? Michael Hirst’s writing inspired both the actors and the entire cos-tume department in this journey. Favorite costume? Anne Boleyn’s turquoise bodice, hand-embroideredwith wildflowers copied from a 16th-century sampler, worn with a skirt of bronze and gold. I like to think thecostume adds to Cardinal Wolesley’s disquiet at his miscalculation of Boleyn’s rise to power!

PUSHING DAISIESCostume Designer: ROBERT BLACKMANWhat new lesson did you learn? This project gave me enormous license to collaborate with creatorsBryan Fuller and Barry Sonnenfeld,production designer Michael Wylie,and my great costumers Carol Kunz andTom Siegel.One thing you couldn’t live without?The Internet—getting instant research images is essen-tial in this fast-paced creative process. What surprised you most?The commitment of every crew mem-ber to do their best work. Your favorite costume?The Dandelion Showroom Gals,Kristen Chenoweth’s

4th of July Mermaid outfit and almost any of Anna Friel’s disguises, particularly her red dress and hat.

Outstanding Period/Fantasy TV Series



JANE EYRECostume Designer: ANDREA GALERWhat new lesson did you learn on this project? An inspiring script and director leads to a uniqueexperience: every project is a learning curve. One thing you couldn’t live without? The appropriatebudget to make the principal costumes I had envisioned from both the book and the script.What surprisedyou most? Our location which Charlotte Bronte actually wrote about in the novel … and Ruth Wilson’s per-fomance as Jane Eyre. Your favorite costume? So many I made for the movie!

THE STARTER WIFECostume Designers: Marion BoyceCostume Designer for Debra Messing: DEBRA MCGUIRE

What new lesson did you learn on this project? DM: I learned that miracles can happen! I didDebra’s 80+ changes here in L.A. and shipped clothes and boards to Australia so that the costumers could fol-low the changes and could have a palette guide. What surprised you most? DM: I am thrilled when col-laboration with another CD works out so flawlessly. I was delighted to be included in the nomination for boththe Emmy and the CDG Award. Your favorite costume?DM:Too many! Debra is beautiful in everything.

BURY MY HEART AT WOUNDED KNEECostume Designer: MARIO DAVIGNONAssistant Designer: MICHELINE ROUILLARD

What new lesson did you learn? The real way to control your creation is to manufacture your cast’scostumes and much of the background actors’ looks.Couldn’t live without?A huge capacity to adapt! Wehad to fight with the weather and be ready for sudden shooting schedule changes. What surprised youmost?The light in Alberta kills standard ageing. Favorite costume?The burgundy dress Anna Paquin wears

the first time we see her: she is the only color in a sea of Victorian black.

Outstanding TV MOW,Miniseries or Special



THE COSTUME DEPARTMENT

Ihram: Garment

worn by Muslims

on the pilgrimage

to Mecca; it con-

sists of two pieces

of white cotton without

any needlework. One is worn

wrapped around the loins, the

other is thrown over the left

shoulder, leaving the right arm

and shoulder free.

Incroyable: Coming from the

French word meaning incredible, it

came to stand for the French dandies of the Directoire period

(1795–1799). They wore highly elaborate waistcoats, cravats

and cut their hair in a ragged, so-called Dog’s Ears fashion.Their

knee breeches were decorated with buttons, ribbons and loops

and they wore silk stockings and jewelry. It was also quite com-

mon for them to wear makeup and to go heavy on the amber

perfume.

Intaglio: Design carved in a hard

material, usually semiprecious stone.

Settings in rings and fobs are most

common and these were pressed

into hot wax as a kind of signature.

Jabot: Frill or ruffle

fastening at the neck-

line and worn down the

front of the bodice or

shirtfront, intended to

hide the fastening at the neck. They were most commonly

made from lace or from fine lawn trimmed with lace. The style

originated in the Louis XIV period and survived until the middle of

the 19th century. Since then, this style has most commonly beenrevived in women’s wear.

Jellaba: A hooded woolen robe,

worn by natives of Northern

Africa, most commonly referred

to in Morocco. Usually full length,

they also wear a three-quarters-

length version in the

rainy season.

Jodhpurs: Created for equestrian

pursuits, jodhpurs are a form of

breeches which are cut tightly

from the knee down and more

loosely above the knee.Depending

on their use,they fit inside a riding

boot for hunt or polo seat, but

outside the boot for hacking.

Hacking jodhpurs may alsohave a cuff and a strap that

goes under the boot. Both

forms are usually padded inside

the knee.

Jouy Print or Toilede Jouy: Usually cotton

or linen fabric with mon-

otone prints of land-

scapes or groups of

figures on a white

background. This

type of print originated in 18th-century France.

Jumper: In the U.S.,this garment commonly refers to a

sleeveless dress worn over a sweater or blouse.In Great

Britain and most of Europe, however, a jumper refers

to a heavier over-sweater.

HISTORY OF DRESS A-Z


Illustrations by

Robin Richesson

[email protected]

Karyn Wagner

[email protected]




BOLDFACE PRESSThe New York Times did a piece about Debra McGuire’s costumes for Walk

Hard titled “The Clothes That Make the Man, and the Movie”! Diana Tenes

was recently interviewed by Chris Isaak on his newly-revived Showtimeseries about her sense of style. Colleen Atwood ’s designs for Sweeney Todd

were showcased with character portraits by Mary Ellen Mark in USA Today:

“Sweeney Todd cuts a fine figure, thanks to Costume Designer Colleen

Atwood.” Read an article about Michael Wilkinson ’s costumes for 300 in

Variety magazine at www.variety.com. Type VR1117978509 in the search

engine. CD Mona May ’s fantasy costumes for Enchanted were featured in

California Apparel News along with an interview with the designer.

Deborah Nadoolman Landis’ book Dressed: A Century of Hollywood

Costume Design was fea-

tured in the Image section

of the L.A. Times entitled

“The woman with the whip” just before her sign-

ing at Barnes & Noble in

Century City. Time maga-

zine online did a poll

recently to identify the Top

10 “Movies’ Best Loved

Costumes.” The gallery

includes photos and

thoughtful mentions of

each designer.With nods to

both legendary films and

newer classics such asGone With the Wind :

Walter Plunkett, Grease:

Albert Wolsky, Titanic :

Deborah Scott to name a

few. To view the complete

list, visit: time.com.

BOLDFACE HONORS Audrey Fisher won LA Stage

Alliance’s 2007 Ovation Award for Best

Costumes in an intimate theater for Tryst at the Black Dahlia Theatre. The

Academy of Motion Picture Arts and

Sciences held a cocktail party in

November to honor major donations of

unique material in the past year or two.

“Great Contributions: A Celebration of

Recent Acquisitions” by the Margaret

Herrick Library featured sketches from

this year’s CDG honorees Ruth Myers

and Ray Aghayan from the CDG

BOLDFACE NAMES

Sharon Day and Deborah Landis

Audrey Fisher




SCRAPBOOK

Ray Aghayan and Doris Day, Do Not Disturb, 1965.

the costume designer winter 08

Documents