The Costume Designer - Spring 2014 by Costume Designers Guild

Spotlight on Assistant Costume Design

In this issue

16th Annual CDG Awards FIDM Film Exhibit

“ Splendid…” THE NEW YORK POST

“ Engrossing…” THE BOSTON GLOBE

“ Not to be missed…” VARIETY

OUTSTANDING DRAMA SERIES OUTSTANDING COSTUMES FOR A SERIES COSTUME DESIGNER - C AROLINE M C C ALL COSTUME SUPERVISOR - HEATHER LEAT ASSISTANT COSTUME DESIGNER - POLI KYRIACOU

AND IN ALL CATEGORIES

vol. 10, issue 2

FEATURES Costume Designers Guild Symposium 2014 . . . . . . . . . .19 CDG Awards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Spotlight on Assistant Costume Design . . . . . . . . . . . . . .22 FIDM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 President’s Letter Executive Director Labor Report

The Costume Department . . . . . . . . . . . . . . . . . . . . . . . . .14 History of Dress COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com COVER ACDs clockwise: Ken van Duyne, Brigitta Romanov, Irena Stepic-Rendulic, and J.R. Hawbaker photographed by Basem Wasef. Makeup by Marsha Shearrill and Lisa Nash Jones, Hair by Connie Kallos. (TOC photo: Stefanie Kennan/Getty Images)

The Reading List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 What’s On/What’s In . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Boldface Names On Location

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Spring 2014 The Costume Designer

EDITOR’S NOTE From quiet hours researching, to the whirlwind of countless production meetings and the camaraderie of awards season, the occupation of Costume Design is a curious combination of solitary and social. Throughout the process, the assistant costume designer (ACD) is colleague and confidant, springboard and stronghold. We are excited to highlight their vital role in our spring issue. Our Executive Board was enthusiastic when we discussed photographing a group of ACDs for our cover. However, executing the task proved much more difficult than one would expect. Because Costume Design is a global enterprise, and our ACDs are dispersed all over the world—from New Orleans to Abu Dhabi—it was challenging enough to photograph a handful of them individually, let alone together. Thank you Brigitta, Irena, J.R., and Ken for the lengths you took to be available, and for sharing your insights. I feel our sense of solidarity is flourishing, from the fellowship and excitement found in the room at our annual Symposium, to the joy and thrill of our CDG Awards. I further considered our esprit de corp after reading the obituary of Michael Travis in the Los Angeles Times. The last line, which said he left no survivors, struck me. Forgive me for disagreeing, but I don’t find this to be true. Perhaps Michael didn’t have survivors in the classic sense, of relatives left behind—but he actually does have a vast family in all of us, dear readers. I couldn’t help but think to myself, we are all his survivors—our entire 800-plus membership. Not one of us has been untouched by Michael’s work, and all of us are honored by the beauty he was able to transcribe into garments, which live on in our imaginations and the imagination of the public. I remember when the Liberace Museum in Las Vegas was closing and our President Salvador Perez made a visit. He was flabbergasted and rendered uncharacteristically speechless by the overwhelming beauty of the costumes, and the skill it took to create them. The work rivaled the famed French couture embroiderer Lesage, but was created here in Hollywood. In a certain way, our own Ellen Mirojnick is Michael’s survivor, as she painstakingly reimagined and re-created Michael’s designs for her Emmy- and CDG award-winning biopic Liberace. We are not alone, dear friends. We are a community united by our occupation, and we are each other’s survivors. Ours is a vital and important art, and we have to fight to preserve it, and to champion our work into the future.

costumedesignersguild.com EDITOR-AT-LARGE

Anna Wyckoff ASSOCIATE EDITORS

Bonnie Nipar Christine Cover Ferro PRESIDENT

Salvador Perez sperez@cdgia.com VICE PRESIDENT

Cate Adair cadair@cdgia.com SECRETARY

Terry Gordon tgordon@cdgia.com TREASURER

Marilyn Matthews mmatthews@cdgia.com EXECUTIVE BOARD

Julie Weiss jweiss@cdgia.com

April Ferry aferry@cdgia.com

Mary Vogt mvogt@cdgia.com

Christopher Lawrence clawrence@cdgia.com

Felipe Sanchez Costume Illustrators Representative fsanchez@cdgia.com

Brigitta Romanov ACD Representative bromanov@cdgia.com LABOR REPRESENTATIVES

Betty Madden Sharon Day BOARD ALTERNATES

Ken van Duyne kvanduyne@cdgia.com

Mona May mmay@cdgia.com

Kristin Burke

Anna Wyckoff awyckoff@cdgia.com

kburke@cdgia.com

Jennifer Soulages jsoulages@cdgia.com BOARD OF TRUSTEES

Jacqueline Saint Anne jsaintanne@cdgia.com

Cliff Chally chally@cdgia.com

Barbara Inglehart bingleheart@cdgia.com ALTERNATE TRUSTEE

A Special Thanks to Connie Furr, coauthor of the book Liberace Extravaganza! for providing the photo for our Scrapbook.

Dorothy Amos damos@cdgia.com EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@cdgia.com MEMBER SERVICES ADMINISTRATOR

Suzanne Huntington shuntington@cdgia.com RECEPTIONIST/SECRETARY

Cheryl Marshall cmarshall@cdgia.com PUBLISHER

IngleDodd Media ADVERTISING DIRECTOR

Dan Dodd 310.207.4410 x236

The Costume Designer Spring 2014

Advertising@IngleDodd.com

CONTRIBUTORS

MARCY FROEHLICH

CHLOE JI YOON

BONNIE NIPAR

(History of Dress, Text)

(Illustration ACD Feature)

(Associate Editor, What’s On/In, On Location)

Fresh from New York and Broadway, Marcy Froehlich joined the Guild in 1992. Her designs have run the gamut from theater and opera to film and TV, from Waiting for Godot to the Miss America Pageant. She also co-authored (with Barbara Inglehart and Pamela Shaw) Shopping LA: The Insiders’ Sourcebook for Film & Fashion. Froehlich has long had an interest in historical costume and research, so she is delighted to contribute to the magazine in this way.

Chloe Ji Yoon is an illustrator and ACD with her whole heart. She came to Los Angeles 11 years ago to study costume, but she worked in the fashion industry following school. She feels her fashion design experience—including understanding garment construction and researching—are an asset to her ACD work. She regularly teams up with CDs Ruth Carter, Trayce Field, and Lizzy Gardiner. Yoon is very proud that her illustrations of Carter’s designs for The Butler will be exhibited permanently at the Smithsonian Museum in Washington DC, alongside the costumes.

A CDG member since 1997, Bonnie Nipar works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of The Costume Designer, Nipar happily took over several recurring columns.

ROBIN RICHESSON (History of Dress, Illustrator)

SUZANNE HUNTINGTON

STACY ELLEN RICH

(Co-contributor to Boldface Names)

With a professional and university background in fine arts and entertainment, Suzanne Huntington became part of the Guild in 2005. Huntington is at home in the Guild’s creative environment and enjoys staying busy with members’ contract questions, new member orientations, shepherding special projects and the year’s film/ TV projects onto the awards ballots, and administrating 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.”

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

In 1992, Robin Richesson became part of the CDG. She currently works as a costume illustrator, storyboard artist, and educator. When the CDG began the magazine, I was pleased to be asked to illustrate for it. The History of Dress column is a great way for me to learn more about clothing and participate in this publication.

CHRISTINE COVER FERRO (Associate Editor, The Reading List) Christine joined the Guild in 2012 after nine years of theatre and indie work in Los Angeles. Previous stops included costume work in her adopted hometown of Miami, as well as Boston and the Twin Cities. She studied theatre design at Brandeis University and Macalester College. She’s looking forward to exploring different facets of Costume Design in the magazine.

The Costume Designer Spring 2014

For Your Emmy® Consideration

OUTSTANDING MINISERIES

OUTSTANDING COSTUMES For a Miniseries, Movie or a Special

STARZ and related channels and service marks are the property of Starz Entertainment, LLC. The White Queen © 2013 Company Television Productions Ltd. All Rights Reserved. Dancing on the Edge © 2013 Ruby Film and Television (DOTE) Limited.

UNION LABEL PRESIDENT’S LETTER I have many duties as the President of the Costume Designers Guild, which I do with pride, but I also have a personal life, and sometimes it makes things more interesting. On March 18, of this year, I had the great honor to escort my mother to the White House, for the Medal of Honor ceremony where my maternal grandfather, Pedro Cano, was posthumously given the award for his heroic acts during World War II. Then, my family and I had a private meeting with President Obama in the Oval Office, where my mother introduced me to the president, as her son, the president of the Costume Designers Guild. I think all mothers are proud of their children, and this was a great day. I am so happy to see the assistant costume designers on the cover of our magazine—along with illustrators, they are the unsung heroes who work tirelessly to enable us do our jobs. I hope that it becomes standard practice for Costume Designers to have an ACD working with them on all shows. Our duties have expanded so much that we need backup just to stay ahead of the game. Don’t forget, when you need day help for shopping and fittings, you can hire an ACD. You get to have an extra hand, and can help a fellow CDG member bank hours. As long as it’s not set work, your day-player can be an ACD. We have a busy summer schedule with the CDG, the Education Committee led by Ivy Thaide and Phillip Boutté, has been very busy with workshops and seminars. There have been several workshops discussing technology. By the way—a note to all members—there are new computers, a MAC and PC, in the CDG office for your use, please come and take advantage of them. Also, sign up for a seminar and improve your computer skills. A large-size flatbed scanner will soon be available to scan illustrations as well. Rachael Stanley moderated the “Know Your Contract” seminar. Sharon Day and the Legacy Committee hosted a brunch celebrating the career of the much deserving CD May Routh at the Sportsmen’s Lodge. The 892/705 mixer was also held at the Sportsmen’s Lodge on May 20. There was a great turnout and it was a wonderful opportunity to meet and mingle with our colleagues. On June 20, we have the “Big Secret, Planning for Your Future” seminar. We spend so much time prepping our design jobs, that our own future can be neglected. We need to know how to start planning for retirement now, while we can make a difference, not when it’s time to retire. We are bringing in representatives from the Motion Picture Fund and investment experts to help guide you and give you financial planning tips. This is a very important seminar, and everyone should attend. Before I was a CDG member, I saw a Costume Designer’s credit on screen with CDG after it, and thought some day I hope to be able to do that. Recently, I was speaking with former CDG President Jacqueline Saint Anne, and she told me that there was once a movement to have all CDG members credited that way, and I think it’s time we show our pride. We are a strong, proud organization that the industry respects and looks up to. To show our solidarity, we should all be screen credited with the initials CDG. I urge you all to tell your agents to write it into your contracts. Going forward, it’s in my contract for all my TV and film credits. Let’s make CDG on screen the industry standard. I look forward to seeing you all, both at the FIDM Television exhibit, opening in July, which is once again being curated by Mary Rose, and at Comic-Con, where our presence continues to grow and make an impact. In solidarity, Salvador Perez sperez@cdgia.com

The Costume Designer Spring 2014

For Your Emmy® Consideration

OUTSTANDING DRAMA SERIES

OUTSTANDING COSTUMES For a Series

STARZ and related channels and service marks are the property of Starz Entertainment, LLC. Da Vinci’s Demons © 2014 Tonto Films and Television Limited. All Rights Reserved. Black Sails © 2014 Starz Entertainment, LLC. All Rights Reserved.

UNION LABEL EXECUTIVE DIRECTOR Dear Members, Spring is always a busy time in our industry. As television gears up, all the hopeful pilots and film debuts for summer are in queue, and ready to burst on the scene. It is also a busy time here in the Guild office, as your staff tries to coordinate and keep you informed of all the exciting things on our calendar. The retirees were in the spotlight on Sunday, May 4, at their Annual Legacy Luncheon. This year’s honoree, May Routh, may have retired from Costume Design but she is far from idle. She teaches at Woodbury College and continues to pursue her work as an artist. Go to our website and check out the article featuring May. We love being able to support our retirees as they transition from one stage of life to another. The Education Committee has an event scheduled for June to help our current members plan ahead for retirement. Members and retirees of all ages are invited to meet the experts from our retirement plans, along with financial advisers from various community organizations, to educate them on how to plan for a successful retirement. Also, in mid-May, we held our annual mixer with sister guild Local 705 and conducted a seminar for members and agents regarding our contracts. I am pleased to report that the events were great successes. As your Executive Director, I continue to work with the other West Coast Locals to promote tax incentives in California. We have had members send letters to their representatives, sign online petitions, and travel to Sacramento to meet with legislators. Hopefully, we will be able to level the playing field and keep Hollywood strong. Comic-Con is just around the corner, and the Committee is busy at work lining up exciting panels and events for the July convention. I encourage you to watch the calendar on the website for more information, while you are there, browse the new and exciting articles that appear on our website weekly. Our talented members are receiving more exposure than ever, and we are proud to partner with them, as we inform and educate the public about the art of Costume Design. We are always open to new stories, so be sure to let us know when you have an interesting project we can feature. A big thank-you goes out to members Ivy Thaide, our Education Committee chair, Marianne Parker, our Comic-Con Committee chair; and Sharon Day, the Retiree Committee chair, for all the long hours they put in as volunteers to bring all these events together. We always look forward to more opportunities to interact with our members and promote their work. In solidarity, Rachael Stanley rstanley@cdgia.com

WE APPRECIATE THE ONGOING SUPPORT OF OUR CORPORATE SPONSORS DIAMOND LEVEL

EMERALD LEVEL

SAPPHIRE LEVEL

The Costume Designer Spring 2014

CALENDAR May 26

Memorial Day Holiday

June 2

Executive Board Meeting

June 21

Retirement Seminar

June 27–29

District 2 Conference

July 4

Fourth of July Holiday

July 7

Executive Board Meeting

July 24–27

CDG at Comic-Con

August 2

General Membership Meeting

August 4

Executive Board Meeting

RUBY LEVEL

UNION LABEL LABOR REPORT

AB 1839, also known as the California Film & Television Job Retention & Promotion Act, is the bill currently making its way through the State Assembly committees in Sacramento. Take action now by going online to learn more and sign your name in support of greater tax incentives to keep film and television jobs in California. Here are a few reasons why this bill is vital: • Tens of thousands of film and television jobs are lost to other states with greater tax incentives every year. • From 2005 to 2013, California’s share of one-hour television series declined 36%, as a result, 8,500 jobs were lost. • In 2013, only 39 of 137 one-hour television series were filmed in California. • From 2001 to 2006, San Francisco film and television production jobs fell by 42%. While the national economy has recovered and unemployment in California is back to where it was before the recession in 2008, 46% of full-time workers in Los Angeles earn wages at the national poverty level. It is important to support Los Angeles living wage efforts. We cannot afford to wait for the partisan politics in Washington to raise the national minimum wage. On other fronts, the ACA, or Affordable Care Act, has successfully been implemented and millions are benefiting, for the first time some are receiving healthcare coverage. It is a step toward Americans being healthier, which also lowers the cost of healthcare. Presently, healthcare costs American taxpayers eight times more than healthcare in any other industrial nation in the world. The rollout of the ACA is a beginning but doesn’t go far enough. In California, more than 40 like-minded organizations are working to achieve single-payer universal healthcare for all Californians, cradle to grave, Medicare for all. How you may ask? Go online to www.laborforhealthcare.org to learn more. Activism is growing in the CDG. Our political efforts to improve the quality of life for working families in the film and television industry in California and in Los Angeles County through awareness and activism also promote our universal need for a more civil society. Thank you to all of our members for continued volunteer efforts and your activism to make the CDG better for all of us. In solidarity, Labor Delegate, Betty P. Madden CDG Organizer/Labor Rep bmadden@cdgia.com

Spring 2014 The Costume Designer

THE COSTUME DEPARTMENT

Hats Off to the Fedora!

e think of it as a man’s hat, but the fedora made its debut with Sarah Bernhardt’s character Princess Fedora in the late 1800s. Adopted by men, the crowns and brims have changed in size with each decade’s fashions: tall crown and wide brim in the 1930s, short crown narrow brim in the ’50s and ’60s. Thanks to Costume Designers, the hat has reached iconic status through characters like Dick Tracy, Rick Blaine, Indiana Jones, and Don Draper.

Illustration by Robin Richesson rrichesson@cdgia.com Text by Marcy Froehlich mfroehlich@cdgia.com

The Costume Designer Spring 2014

I C O N I C F A B R I C S A N D A C C E S S O R I E S F O R S TA G E A N D S C R E E N

Gladson Ltd. | 1-800-227-1724 | sales@gladsonltd.com | www.gladsonlegends.com | www.gladsonltd.com

The Reading List By Christine Cover Ferro

The Designs of Ann Roth In conjunction with honoring CD Ann Roth with a Distinguished Achievement Award, the United States Institute for Theatre Technology (USITT) has released The Designs of Ann Roth, a monograph of Roth’s 50-year career in film and stage Costume Design. The book opens with a tour of Roth’s legendary Costume Depot, chronicles her creative life and influences, and includes over 100 photographs and renderings from the haunting 1930s costumes for The Day of the Locust (1975), the wartime elegance of the Academy Award®–winning The English Patient (1996), to the game-changing contemporary realism of Midnight Cowboy (1969). Recent examples of Roth’s legendary eye for detail include The Hours (2002) and Julie & Julia (2009). Longtime friend and collaborator, director Mike Nichols, provided the book’s foreword.

Costume Design and Illustration In the upcoming Costume Design & Illustration: For Film, Video Games and Animation, CDG Illustrators Phillip Boutté Jr., Keith Christensen, Christian Cordella, Anthony Francisco, Jerad Marantz, and Constantine Sekeris, along with a group of concept artists have teamed up with Design Studio Press to offer an in-depth look at the different approaches to concept art and design across different media platforms. The book has an educational focus, covering everything from the fundamentals of proportion and composition, to high-tech solutions like 3D ZBrush, to the more pragmatic challenges of transforming artwork into realized costume pieces. The range of genres represented is equally broad, with fairies and Butoh-inspired witches sharing space with Mayan spacesuits and futuristic military armor. (Release date: June 14, 2014)

The Costume Designer Spring 2014

Spring 2014 The Costume Designer

Photo: Stefanie Keenan

Costume Designers Guild

Symposium 2014

MODERATOR Tom Broecker PANEL April Ferry RoboCop Daniel Orlandi Saving Mr. Banks

hink of our Symposium as a gentle exhale following awards season. The vibrant white walls and elegant minimalism of Siren Studios in Hollywood provided a fresh backdrop to the intriguing conversation. Moderator and award-winning CD Tom Broecker brought an insider’s eye and fascination to his questions, and the energy in the room was perceptible and electrifying as each designer described the intricacies of their process. From Daniel Orlandi’s description of re-creating vintage Disney characters, to Caroline McCall revealing the reality of her modest budget and small staff, to Jennifer Bryan’s adventure in Pantone colors, which even viewers were tuned into—we were riveted.

Ellen Mirojnick Behind the Candelabra Michele Clapton Game of Thrones Caroline McCall Downton Abbey Jennifer Bryan Breaking Bad Lyn Paolo Scandal Michael Wilkinson American Hustle Trish Summerville The Hunger Games: Catching Fire Leesa Evans This Is 40 Spring 2014 The Costume Designer

CDG Awards 16th Annual Costume Designers Guild Gala

he 2014 Costume Designers Guild Gala was held on a Saturday for the first time in years and the mood was relaxed and ebullient. The feeling of revelry was contagious, and sheathed in gowns, or clad in tuxedos, everyone was wearing a smile. Host Joshua Malina charmed, the stars gushedâ&#x20AC;&#x201D; as they bestowed statuettes, and an eternally sultry Raquel Welch nearly stole the show. But the enthusiasm that accompanied the work represented by our Guild and the world of Costume Design took center stage. We cheered, we swooned, we sighed, and we took home the joy of being conspirators in creating the dream.

Award Winners: Excellence in Contemporary Film

Blue Jasmine, Suzy Benzinger Excellence in Period Film

12 Years a Slave, Patricia Norris Excellence in Fantasy Film

The Hunger Games: Catching Fire Trish Summerville Outstanding Contemporary Television Series

House of Cards, Tom Broecker Outstanding Period/Fantasy Television Series

Downton Abbey, Caroline McCall Outstanding Made for Television Movie or Mini-Series

Behind the Candelabra, Ellen Mirojnick Excellence in Commercial Costume Design

Call of Duty: Ghosts Masked Warriors Nancy Steiner Career Achievement Award

April Ferry Distinguished Collaborator Award

Judd Apatow Distinguished Service Award

Sharon Day LACOSTE Spotlight Award

Amy Adams

The Costume Designer Spring 2014

Clockwise: Ellen Mirojnick, Kiernan Shipka, Nancy Steiner, James Wolk, Bill Hader, Judd Apatow, Jonah Hill, Raquel Welch, Guillermo Diaz, Darby Stanchfield, Dan Bucatinsky, Tony Goldwyn, Lyn Paolo, Kerry Washington, Katie Lowes, Bellamy Young, Joe Morton, Scott Foley, President Salvador Perez, Michael Wilkinson, Amy Adams, and Jeremy Renner. (Photos: Stefanie Keenan/Getty Images)

Spring 2013 The Costume Designer

Spotlight on

Assistant Costume Design Background

The Costume Designer Spring 2014

Photo of Michelle Obama: Derica Washington

he profession of Costume Design is a tightrope walk not limited to the creation and construction of hundreds or thousands of pieces for a film, television series, or commercial. In the present landscape, the job description also includes diplomacy, negotiation, sales, media relations, and psychology. It is not an occupation contained in an hourly week. It is something one takes to bed and wakes up to in the morning. In the gauntlet which they call work, the Costume Designer needs one person who always has their back—a Robin to their Batman, a collaborator, an accomplice. The assistant costume designer assumes this crucial, vast, and sometimes unrecognized role. We spoke to four of our ACDs: Ken van Duyne, J.R. Hawbaker, Brigitta Romanov, and Irena Stepic-Rendulic, to reveal the truth regarding the complexity and breadth of their position. With backgrounds as varied as their personalities, one experience all the ACDs have in common is time spent in the trenches. Also, they are all members of our sister, Local 705.

Van Duyne took an interest in fashion and a degree in apparel manufacturing to New York and then Miami. Following a stint in corporate buying, he made the leap to Los Angeles, and happened into a production assistant job for CD Louise Mingenbach. While working as a PA for Julie Weiss, she landed the film Blades of Glory. Van Duyne says this was an “incredible opportunity.” He was accepted into Local 705, while working for Elizabeth Courtney Costumes and eventually joined Local 892. He also currently serves as an alternate for our Executive Board. Van Duyne notes, “I thought I loved clothing, but it turned out I love why people wear what they do, the psychology of it. And that’s what I call us—a bunch of sociologists. What Julie taught me is the five W’s: who, what, where, why, and when are people getting dressed?” Hawbaker also has a heart for social anthropology and a lifelong interest in storytelling through characters. After pursuing several different majors during college, she discovered a conservatory program for Costume Design in the Theatre School at DePaul University in Chicago, and found it to be her winning combination. While in school, Hawbaker worked on many films as a PA, then came to Los Angeles after graduation. She credits CD Deborah Scott and former CDG President Mary Rose with helping her join our Guild. Rose served as a mentor during an internship at the Academy of Television Arts & Sciences. Hawbaker then joined

By Anna Wyckoff

Local 705 and worked at American Costume and Muto Little. Following a stint as a fitter for CDs like Danny Glicker and Audrey Fisher, Hawbaker found her way to an ACD position and recently has been working alongside CDs Jacqueline West and Michael Wilkinson. Romanov has a bachelor of fine arts from the University of Nevada, Las Vegas. Her major was acting, but she became well versed in all aspects of stagecraft from lighting, to sound and set design. Through acting, she found her way to California and a friend invited her to become a PA in the costume department. The show was Entourage and Romanov remained there on and off for nearly five years, spending the last two as the ACD. It was a trial by fire. Afterward, she volleyed back and forth, assisting CDs Roemehl Hawkins and Olivia Miles, among others. When CD Bob Blackman interviewed 15 people including Romanov by phone for the acclaimed television series Glee, she never thought she would get the job, but did. Romanov is honored to be the ACD representative to the Executive Board. Originally a successful stage actress, Stepic-Rendulic fled a war in her native Yugoslavia and moved to Los Angeles with her husband in 1991. She met CD Sanja Hays while Hays was ACDing for CD Joseph Porro on the film Stargate. StepicRendulic calls Stargate her most difficult film to date. She recalls that in those days a film would often start non-union, and become union upon the commencement of filming.

Stepic-Rendulic worked first as a fabric distresser and PA on Stargate and entered 705 as a costumer. Eventually, she teamed up with Hays and has remained her ACD and right hand for decades. Because of her theatrical background, she always puts herself into the character, and works from the inside out. She brings that unique vantage point and understanding to all of her ACD work.

Spring 2014 The Costume Designer

good ACD has to have the aplomb of a “Adiplomat, the steadiness of a bomb defuser, and the flexibility of an acrobat. ”

–J.R. Hawbaker

Outside of the industry, the question “why do you need an assistant costume designer,” seems common. Romanov explains, “Costumers support the costume supervisor, the supervisor handles the financial aspect of the department and takes care of the background. You need someone directly supporting the designer, and that person is the ACD. We facilitate the designer’s vision. I have done it all for a designer— shopped, helped design, and assisted with made-to- order costumes.” “I’ll tell you something that opened up my eyes to how some producers view the ACD role,” adds Hawbaker, “A UPM [unit production manager] friend once told me, ‘When the costume department wants to hire an assistant designer, what a lot of producers believe that means is there will be two designers on staff, and therefore, they’ll spend twice as much money.’” To which Hawbaker replied to him, “Well, I am here to say if you have a good ACD, the exact opposite effect happens.” The process differs from designer to designer, every job and person is unique. “Some are very forward about how they want you to support them,” says van Duyne, “others are more vague, and you have to discover what they need. There is often a trial period. When you first work with a designer, fabric shopping or visiting the costume houses together can help the ACD learn the designer’s eye and adapt to it. This can make or break a relationship. If you’re bringing in clothing or fabrics that are not getting used, not only will you be distrusted by your designer, but by your vendors as well. On American Horror Story,

The Costume Designer Spring 2014

CD Lou Eyrich has also taught me a lot about working with kindness, and how it’s a collaborative job—not only between the director and the actor, or the show runner or the creator— but it’s also a collaborative process with the crew.” Hawbaker reinforces this approach. “When you’re working with different designers, you find that element in yourself that helps them, and you take that personality trait and ramp it up. For another designer you might choose another trait. So much of the job is identifying what the Costume Designer needs. Also, I think it’s about good matches. If you’re not a good match, that doesn’t mean that there is something wrong with a designer or assistant, they may just be a bad match.” Once the dialogue has been initiated, there is nearly no substitute for the rapport that forms between the CD and ACD. “I think that is the most important thing actually,” Stepic-Rendulic says, “because with a shorter prep time, it helps that Sanja can tell me, ‘Do you remember the silk we had for that dress in The Mummy?’ And I know exactly what she means. Referring to something that we have already done as a team, is important. Time isn’t the only pressure, often producers try to make sequels for less money. Each time you achieve something, you know you will have to do it again, because they push the boundaries further and further. We take it step-by-step and prioritize.” Romanov feels the ACD also can magnify a designer’s vision. “Some designers are so broad and their vision is so big, you fine-tune them. But with another type of designer you might amplify their vision, bringing to

the table something they might have overlooked. Every designer requires something distinct. At first it may be difficult to find your rhythm, but the longer you work together, the more you become like a fine-tuned machine.” Hawbaker elaborates, “I feel like my biggest role is to make sure the full scope of the Costume Design is what ends up on camera, not waste or inefficiency. To make room for that vision to soar also requires being vigilant with the budget and savvy with the resources. A good ACD has to have the aplomb of a diplomat, the steadiness of a bomb defuser, and the flexibility of an acrobat.” “When I first meet a designer,” says van Duyne, “I always want them to know that I’m not after their job— I’m after their recommendation. They have worked hard to get where they are and when I work on a production, I am there to completely serve the purpose and vision of the designer.”

Conclusion “The difference between a CD and an ACD is the Costume Designer has so much more ground to cover. I often feel for them,” says StepicRendulic, “because they are on the front line.” Romanov concurs, “The difference for me, is what rests on their shoulders.” “I feel very fortunate,” says van Duyne, “I wouldn’t be where I am today if it wasn’t for each designer that I’ve met along the way. It is such a rewarding experience, this line of work is like oxygen to me.” Stepic-Rendulic agrees, “I’m so happy where I am, and I wouldn’t change it, I’m very grateful.” Hawbaker says, “I feel privileged to be in a position where I’m working under the people who inspire me.”

Illustrations by Chloe Ji Yoon (ACD) chloejiyoon.blogspot.com

COSTUME CO-OP

Custom made and Alterations for the Entertainment Industry

om costumeco-op.c

11501 N. Chandler Blvd., North Hollywood, CA 91601 Tel: 818 752-7522 Fax: 818 752-7524 mail@costumeco-op.com

COSTUME | CONTEMPORARY | MADE-TO-ORDER | FOX

The 22nd Annual Art of Motion Picture Costume Design

When placed within the walls of a museum, removed from the charisma of the actor, Costume Design demonstrates its power. Through silhouette, texture, and detail alone, the garments assert themselves. Magically, in the static silence, the characters still convince and compel.

The Costume Designer Spring 2014

Clockwise: Saving Mr. Banks/CD Daniel Orlandi; 47 Ronin/CD Penny Rose; American Hustle/CD Michael Wilkinson; The Butler/CD Ruth E. Carter; Oz the Great and Powerful/CD Gary Jones; The Great Gatsby/CD Catherine Martin; 12 Years a Slave/CD Patricia Norris; Anna Karenina/CD Jacqueline Durran

FIDM

Retirement Planning Doesn’t Start at 65! Find out all you need to know about: • How to begin investing for your future from First Entertainment Credit Union’s Robert Helm.

•

The requirements for your Motion Picture Pension Plan. Expert George Palazzo explains the essentials.

• How to become a “wealthy crew member.” Author and fellow IATSE member Andre Ramirez gives us tips on how to manage our money from his book The Wealthy Crew Member.

THE BIG SECRET With guest speakers from: • Will Rogers Foundation • Woodland Hills Retirement • Motion Picture Pension and Health plans This seminar will be moderated by Executive Director Rachael Stanley. A light lunch will be served.

Join us June 21st 2014 from 11am-2pm at Local 80 2520 West Olive Avenue, Burbank, CA 91505 Please RSVP by June 11th 2014 at TheBigSecretIA@gmail.com

Because you don’t slow down to retirement, you speed up!

WHATâ&#x20AC;&#x2122;S ON The Normal Heart Costume Designer:

DANIEL ORLANDI Assistant Designer:

MARIA TORTU

Extant Costume Designer:

The Bridge

APRIL FERRY

Costume Designer:

Illustrator:

ELAINE MONTALVO

About a Boy Costume Designer:

ROEMEHL HAWKINS Assistant Designers:

NICOLE SCHOTT CLAIRE PARKINSON

Crossbones

Undateable

Costume Designer:

CAROLINE HARRIS

CAREY BENNETT

The Costume Designer Spring 2014

Extant/CBS; The Normal Heart/HBO; The Bridge/FX; Undateable/NBC; About a Boy/NBC; Crossbones/NBC

FELIPE SANCHEZ

Compiled by: Bonnie Nipar

Salem Ray Donovan

Costume Designer:

JOSEPH PORRO

CHRISTOPHER LAWRENCE

Assistant Designer:

ANETTE CZAGANY

Assistant Designer:

ANITA CABADA

Illustrator:

CHRISTIAN CORDELLA

Ray Donovan/SHOWTIME; Chicago PD/NBC; Salem/WGN; Penny Dreadful/SHOWTIME; Halt and Catch Fire/AMC; Outlander/STARZ

Chicago PD Costume Designer:

SUSAN KAUFMANN Assistant Designer:

ERIKA WALTHALL

Outlander

Penny Dreadful

Costume Designer:

TERRY DRESBACH

GABRIELLA PESCUCCI

Assistant Designers:

Assistant Designer:

ELLE WILSON NADINE POWELL

GIOVANNI LIPARI

Halt and Catch Fire Costume Designer:

KIMBERLY ADAMS

Spring 2014 The Costume Designer

WHATâ&#x20AC;&#x2122;S IN Million Dollar Arm Costume Designer:

KIRSTON LEIGH MANN ALEXIS JACKS

Deliver Us From Evil

Begin Again Costume Designer:

Costume Designer:

ARJUN BHASIN

CHRISTOPHER PETERSON

Assistant Designer:

DEIRDRE WEGNER

CAROLINE QUIROGA

Godzilla Costume Designer:

SHAREN DAVIS Assistant Designer:

JODIE STERN, SUMMER DEITZ Illustrator:

GINA FLANNAGAN

Guardians of the Galaxy Costume Designer:

ALEXANDRA BYRNE Assistant Designers:

RICHARD SALES, ALISON MITCHELL, SHARON LONG Illustrators:

DARREL WARNER, JACK DUDMAN, WARREN HOLDER, MAGDA KUSOWKA 30

The Costume Designer Spring 2014

A Million Ways to Die in the West Costume Designer:

CINDY EVANS Assistant Designer:

JO KISSACK Illustrator:

LOIS DEARMOND

Begin Again/Weinstein Co.; Million Dollar Arm/Disney; Deliver Us From Evil/Screen Gems; A Million Ways to Die in the West/Universal; Godzilla/Warner Bros.; Guardians of the Galaxy/Disney

Costume Supervisor (892):

Compiled by: Bonnie Nipar

The Immigrant

If I Stay

Costume Designer:

PATRICIA NORRIS

MONIQUE PRUDHOMME

Assistant Designer:

PATRICK WILEY

If I Stay/Warner Bros.; Jersey Boys/GK Films; The Immigrant/Radius-TWC; Tammy/New Line; Dawn of the Planet of the Apes/20th Century Fox; Jupiter Ascending/Warner Bros.

PAULA PLACHY

Jersey Boys Costume Designer:

DEBORAH HOPPER Assistant Designer:

MICHAEL CROW Illustrator:

ROSI GABL

Jupiter Ascending

Tammy

Costume Designer:

KYM BARRETT

WENDY CHUCK

Assistant Designers:

Assistant Designer:

SERENA FIUMI STACY CABALLERO

MARGARET ROBBS

Dawn of the Planet of the Apes Costume Designer:

MELISSA BRUNING Assistant Designer:

ALISON FRASER Illustrator:

CHRISTIAN CORDELLA Spring 2014 The Costume Designer

IN FOCUS BOLDFACE NAMES

BFN - WORK Pilot season welcomes a flurry of work here at home and beyond. CD Maya Lieberman hopes to see her recent (still untitled) Kevin Williamson pilot for CBS get picked up for the season. The crime drama was shot locally and features Dylan McDermott and Maggie Q for director Liz Friedlander. CD Trayce Field is at the helm of the sharp, satirical HBO series The Comeback—a revival of a 2005 show-biz mockumentary that generated a loyal and large-enough fan base to revive it 10 years later, starring the original lead, Lisa Kudrow. She is also the show’s co-creator with Michael Patrick King.

CD Lou Eyrich is enjoying a small break before heading to New Orleans this June on the fourth installment of Ryan Murphy’s American Horror Story or AHS anthology titled Freak Show, set in 1950s Jupiter, FL, with Jessica Lange as a German ex-pat rescuing a group of performers to headline the last freak show in the United States. CD Julia Schklair finished the recent Darren Star pilot, HR, with Peter Fonda, Peter Jacobson, and Alicia Silverstone, cast as an uptight director of HR who radically changes her hardline corporate practices after suffering a serious head injury.

Lisa Kudrow The Comeback

ACD Hannah Jacobs was off in Baltimore assisting CD Johanna Argan on the hit series House of Cards between seasons of Aaron Sorkin’s HBO series The Newsroom for CD Hope Hanafin. The second feature adaptation of the YA Divergent trilogy, Insurgent, begins filming this month through summer with CD Louise Mingenbach designing and her illustration team of Phillip Boutté and Christian Cordella lending their artistic magic. CD Keri Smith put the finishing touches on her two projects— Bambi Cottages, an ABC single-camera comedy pilot, set in the ’70s, starring Molly Shannon in a tale lifted straight from the show creator’s real-life story of a family road trip turned into a family business.The second project, Cuz-Bros for CBS, is an odd-couple comedy pilot, starring Geoff Stults and Parker Young (Enlisted), along with Andrea Anders (Better Off Ted, Joey).

Monique Long’s creation of

Daft Punk costumes for Luke Bryan and Blake Shelton on the Academy of Country Music Awards this April, whipped up in under 24 hours, were a huge success, lighting up Twitter and social media. Daft Punk costumes for Luke Bryan and Blake Shelton

The Costume Designer Spring 2014

Randolph sketches for Wada’s Constantine ACD Liuba Randolph just finished illustrating CD Christine Wada’s recent NBC pilot shot in Georgia, Constantine, based on the popular Hellblazer graphic novels with the lead character as a chainsmoking British Occult expert. Fans of this DC Comics’ antihero and his trademark trench have something to look forward to! CD Carol Ramsey was in NYC designing the pilot episode of The Mysteries of Laura for WB/NBC with ACD Liz Shelton assisting on the remake of the Spanish TV series, starring Debra Messing as a quirky, brilliant detective/mom, wrangling the most hardened criminals (think NYPD) but baffled by managing her own two rascally twin boys. CD Mary Vogt’s new 10-episode miniseries Wayward Pines for Fox, credits its origins from the Blake Crouch novel, Pines, and has echoes of Twin Peaks. Matt Dillon, Terrence Howard, Melissa Leo, and Juliette Lewis star in the series, shot in British Columbia, and produced by M. Night Shyamalan, who is no stranger to suspenseful storytelling. CD Dorothy Amos recently returned from Vancouver where she designed David Marshall Grant’s untitled pilot, starring Jamie Lee Curtis as a chief of medicine in an upscale Los Angeles hospital and co-starring Mario Van Peeples. Directed by Gavin O’Connor, Curtis’ character has a set of 29-year-old quadruplets, one of whom has a mysterious gene passed on from the father.

Sinister and historical have become prevalent themes of current television, and CD Gabriella Pescucci’s new Showtime period series Penny Dreadful, takes this cue and revives with vigor classic horror characters from Dracula and Frankenstein, to Dorian Gray—all lurking in Victorian London, now reimaged into a gruesome gothic tale under the skill of director Sam Mendes, now shooting in Dublin. CD Joseph Porro along with ACD Anette Czagany aren’t close enough to the 892 assemblage in and around New Orleans, but they’ve got a village of their own outside of Shreveport on the set of the new WGN America series Salem, set in the 1690s and centered around the witch trials of Salem, Massachusetts. After the successful release of her recent design project with Oculus, new member CD Lynn Falconer has rolled into designing the feature Pacific Standard Time last month at the beautiful Hercules Manor in Hollywood’s Mount Olympus for the collaborating sibling directors Benjamin and Orson Cummings, with ACD Kim Ngo supervising.

Cake’s Adriana Barraza with Karyn Wagner

CD Karyn Wagner is home in LA designing the comedy-drama Cake, for director Daniel Barnz, with Jennifer Aniston as a woman who becomes obsessed with the suicide of another woman (Anna Kendrick) in her chronic-pain support group. Adriana Barraza will play Claire’s confidant.

Susan G. Komen Foundation commercial CD Julie Vogel just wrapped up a commercial for the non-profit Susan G. Komen Foundation®—Breast Cancer Awareness Foundation featuring four singer/dancers performing a clever song about breasts. The spot ended up being a mad one-day dash of transforming zoot suits into stunning fuchsia tuxedos. CD Shoshana Rubin is presently in town designing the Universal feature The Veil, a supernatural thriller starring Jessica Alba, Lily Rabe (American Horror Story), and Thomas Jane (Hung) for director Phil Joanou. CD Ariyela Wald-Cohain is also home in LA designing the WB thriller, Crawlspace, for New Line and director Phil Claydon, starring JoBeth Williams, Erin Morarty, Michael Vartan, and Nadine Velazquez. The dynamic duo of CD

Kari Perkins and CD Stephen Chudej are at it again, this time designing a football feature about the University of Texas football legend, Freddie Steinmark, entitled My All American , written and directed by Angelo Pizzo (Hoosiers and Rudy). The film takes place between 1956 and 1970, shoots in Austin, Texas, and wraps mid-July.

CD Greg La Voi (The Closer and Major Crimes) donned a new hat as executive producer and director of the short film Catholic School Girls, with CD Terry Salazar designing. La Voi is looking to expand the short into a series he can produce, direct, and costumedesign. The cast includes character actress Marianne Muellerleile, Joel Brooks, Eddie Mills, and Sosie Bacon.

Designers Perkins and Chudej in costume.

Greg La Voi behind the scenes of Catholic School Girls

We’ve got a congregation of 892 designers calling Louisiana home for the summer; CD Shay Cunliffe and ACD Ken van Duyne are busy with what can only be comedic with Will Ferrell cast in Get Hard as a wealthy investment baker enlisting the services of his car washer (Kevin Hart) to toughen him up for an upcoming incarceration in prison. Will Ferrell and Kevin Hart in Get Hard

Spring 2014 The Costume Designer

IN FOCUS BOLDFACE NAMES

BFN - WORK

BFN - ENTREPRENEURS

CD Deborah Hopper and ACD Michael Crow have launched into Clint Eastwood’s American Sniper—a feature adaptation of the autobiographical novel from Navy SEAL Chris Kyle, the legendary rifleman known to be the deadliest military sniper Eastwood and Cooper in US history. Bradley Cooper assumes the role of Kyle, who was not fatally shot during war, but at the hands of a fellow veteran at home. Hopper and Crow will be shooting in LA and Morocco, and are due to wrap this June.

CD Janie Bryant ’s new legwear line, Janie Bryant Leg Couture, was recently announced in WWD. Janie’s vision is to offer high-fashion legwear women will enjoy wearing so that every woman can step out looking glamorous and feeling like her own leading lady.

Our CDG President, CD Salvador Perez, packed up last month for Baton Rouge on his latest feature through summer, teaming up once again with the same cast for Pitch Perfect 2, and bringing CD Ivy Thaide on board as costumer.

ICONHOUSE is the brainchild of Los Angeles-based British stylist and CD Tanya Gill.The site brings fashion, art,

Janie Bryant Leg Couture

CD George Little along with CD Dan Lester assisting, have made themselves at

Jennifer Falls, Jaime Pressly

home in Baton Rouge for the summer on the sci-fi feature The Fantastic Four, starring Kate Mara, Jamie Bell, and Tim Blake Nelson—so to any others heading down to the area: don’t be a stranger, say hello!

After completing Fox pilot Cristella and Last Man Standing for ABC, CD Liz Bass now shifts into her summer job on Jennifer Falls for TV Land, starring Jaime Pressly, Jeffrey Tambor, Jessica Walter, Ethan Suplee, along with her stellar crew from 705. CD Chrisi Karvonides Dushenko reports in from the new Fox series Hieroglyph, set in ancient Egypt and presently shooting in Morocco at some amazing locations and thankfully, with a terrific team. The conditions are extremely primitive, but Dushenko has been able to create unique costumes on the fly for hundreds of background. Thus far, the Berber people have been the most fascinating to dress. Dushenko’s only wish would be to shoot the series home in LA.

ICONHOUSE technology, and music to a cultured, inquisitive audience by turning the spotlight on iconic contributors to the global community that continue to provoke thought and inspire. CD Oneita Parker is proud to release the first pieces of her electrifying outerwear and accessories line under her own name. Parker incorporates vibrant colors that are unexpected yet familiar, combining avant-garde yet wearable jackets, gloves, and blankets in natural fabrics.

Background actors on Hieroglyph 34

The Costume Designer Spring 2014

Oneita Parker’s clothing line

CD Allison Leach just formed a new company called RoboUnicorn INC, which as a lifestyle brand, brings her talents from working in blockbuster movies, television shows, and with celebrities, restaurants, and corporations.

BFN - PRESS

CD Allison Leach ACD Diana Orr has created the couture label, Capstone Couture. Orr dressed actress Kristen Kerr for Sonoma Film Festival’s red carpet for her movie, The Fourth Noble Truth.The gown is based on a steelboned corset, constructed by Orr.

ACD Diana Orr and Capstone Couture

Sandy Powell’s Young Victoria sketches

Three-time Academy T A Award® winner and UCLA-Swarovski C Costume Designeri Sandy in-residence P Powell led a f fascinating discussion, D Designing Victoria: Vis sual Sources for Hist torical Costume, at t the Getty Center on A April 27. This event w was presented in c conjunction with the e exhibit, A Royal Pass sion: Queen Victoria and Photography, currently on view at the Getty Museum.

Come See Our Expanded Specialty Department Universal Studios Costume Department 818.777.2722 / 818.777.7OPS (7677)

filmmakersdestination.com

Find Us

DOWNLOAD FROM APPLE APP STORE AND GOOGLE PLAY STORE

Spring 2014 The Costume Designer

IN FOCUS BOLDFACE NAMES

BFN - PRESS

Neil Patrick Harris as Hedwig CD Arianne Phillips’ Broadway debut designing Hedwig and the Angry Inch, starring Neil Patrick Harris, was the subject of a recent article in The New York Times. Phillips originally designed the film in 2001. Her costuming mantra, borrowed from Sir Laurence Olivier, is to build a character from the shoes up—Hedwig’s gold foil boots were a good place to start.

ACD Kim Ngo’s film Break Point, starring Jeremy Sisto, David Walton, and Amy Smart premiered at SXSW 2014. The film was well received and continues to play at film festivals across the country. At the Q&A, Ngo answered a costume question at every screening.

BFN - AWARDS CD Dr. Deborah Nadoolman Landis, the founding director of the UCLA School of Theater, Film and Television, is the recipient of the 2014 Professional Costume Designer/Technologist Award from the Costume Society of America (CSA). Landis will receive a certificate, an invitation to present an overview of her work at the CSA National Symposium in 2015, and an honorarium. CD Arianne Phillips was nominated for a Tony Award for her Costume Design for Hedwig and the Angry Inch on Broadway.

Costume Designers at Magic Market Week At Magic Market Week last February, top Hollywood Costume Designers shared how they procure the clothing and materials they need to custom create costumes for film, television and Web characters. CDs Janie Bryant, Audrey Fisher, and Jill Ohanneson participated in this symposium titled Town Hall: Crafting Hollywood—How Costume Designers and Wardrobe Stylists Source Character. ACD Diana Orr is organizing a couture collection for the RAW Artists Showcase in Orange County.

The Costume Designer Spring 2014

Arianne Phillips The Costume Designers Guild would like to extend a warm congratulations to CD Catherine Martin for winning the 2014 Academy Award for Costume Design for The Great Gatsby. Catherine Martin Compiled and written by: Suzanne Huntington, shuntington@cdgia.com Stacy Ellen Rich, lastace@mac.com

IN FOCUS ON LOCATION

Atlanta with Frank Helmer …everything, I mean EVERYTHING, moves just a little bit slower and at a much more relaxed pace.

THRIFT AND VINTAGE There is some great vintage shopping in Atlanta, especially OTP (outside the perimeter, meaning outside the 285 freeway that circles the metro area). A few in-town stores that are particularly worthy are:

tlanta is truly a gem in the South—a big city with a friendly, small-town vibe. It’s the largest and most liberal city in the region and draws folks from all over the area. While it may not be the most cosmopolitan, it has pretty much everything you need, and is an easy town to live and work in. Also, stories of southern hospitality and friendliness are completely accurate.

Rag-O-Rama The Wasteland of Atlanta, with a great selection of vintage and contemporary in the Little Five Points neighborhood. 1111 Euclid Ave. NE Atlanta, GA 30307 (404) 658-1988

Like Los Angeles, Atlanta is a collection of distinct neighborhoods … but unlike LA, it’s strung together with some of the most confusing streets, sudden ‘turn-only’ lanes, and about 1,000 streets named Peachtree. It’s an incredibly green and beautiful city covered in trees, and the people are so kind that sometimes just asking for directions or getting a haircut will get you a new life-long friend in the process. Just remember, it is the South and everything, I mean EVERYTHING, moves just a little bit slower and at a much more relaxed pace.

MALLS Lenox Mall The biggest and busiest mall in Atlanta—a giant Macy’s, big Bloomingdale’s, and Neiman Marcus, along with the usual suspects of better mall stores, all call Lenox home. 3393 Peachtree Rd. NE, Atlanta, GA 30326 (404) 233-6767

House of Majeure Boutique and Consignment

Phipps Plaza

Also located in Little Five Points, this shop carries vintage and consignment clothes.

Across the street from the Lenox Mall is a gentle, more upscale mall with Saks Fifth Avenue and Nordstrom as anchors. As a general rule, most stores do not offer studio service, yet strangely, most of the retail staff is excited about ringing up a big purchase for a “movie set.” Saks, Neimans, and Bloomingdale’s all offer studio service through their personal shopping departments, but everywhere else it’s a regular transaction. 3500 Peachtree Rd. NE, Atlanta, GA 30326 (404) 261-7910

Sugarloaf Mills® Outlets

1118 Euclid Ave. NE, Atlanta, GA 30307 (404) 481-5563

MEN’S CLOTHING Menswear in the ATL leans heavily toward Brooks Brothers and Ralph Lauren polo shirts tucked into chinos with loafers. I love the regional style but if you are looking for something a little more fashion forward, you have two great choices:

The only outlet mall worth trekking to (and it’s a bit of a trek) is the Sugarloaf Mills® Outlets for Off 5th and Neiman Marcus Last Call. Don’t bother with anything else.

Bill Hallman

5900 Sugarloaf Pkwy. Lawrenceville, GA 30043 (678) 847-5000

792 North Highland Ave. NE, Atlanta, GA 30306 (404) 876-6055

The Costume Designer Spring 2014

Located in the Virginia Highland neighborhood, it has well thoughtout mens and womenswear, and great sales.

Donesse Monique union member

JUST BECAUSE YOU’RE UNION. Travel discounts from Union Plus were created to give hard-working union members like you extra savings when you travel. Whether you’re driving or ﬂying, Union Plus has negotiated travel and entertainment discounts to deliver more vacation for less money, including: , Save up to 25% on car rentals , Save up to $19 per ticket at theme parks, including Disney , Discounts on Broadway shows, Vegas attractions, museums, more , Save 15% on condo rentals Discover great vacation savings at

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WARNER BROS. STUDIO FACILITIES

COSTUME DEPARTMENT Wish

Phase One Now Open!

A fantastic store—my favorite for menswear and shoes in the city. Showcasing urban street style, Wish carries interesting brands like Y-3, Joyrich, and Hood by Air, but the best thing is their shoe room! A fantastic array of sneakers and shoes from Rick Owens to Nike and Jeremy Scott for Adidas, a collector’s heaven. 447 Moreland Ave. NE, Atlanta GA 30307 (404) 880-0402

FABRIC STORES Gail K. Fabrics This is like a mini-International Silks & Woolens, packed to the rafters with better quality fabrics and notions. Be sure to check their hours, as they close early. 2216 Cheshire Bridge Rd., Atlanta, GA 30324 (404) 982-0366

Fine Fabrics In nearby Norcross, it is more of a remainders-type, giant warehouse of fabric and is well organized and filled with surprising finds.

The Collection

6624 Dawson Blvd., Ste. 11, Norcross, GA 30093 (678) 894-2067

RENTALS Southeast Costume

High-End Specialty

Shoes,Boots & Purses 818.954.1297 www.wbcostumedept.com

Altanta’s only full-service costume rental facility. Laundry services, stock pulls, and alterations are available. 650 Hamilton Ave. SE, Atlanta, GA 30312 (678) 973-2632

EXPLORE Jungle Atlanta Atlanta is known for its drag scene (it is Rupaul’s hometown after all) and the nightclub’s weekly “The Other Show” features some of the best performances I’ve seen anywhere. 2115 Faulkner Rd. NE, Atlanta, GA 30324 (404) 844-8800

The Tabernacle A former Baptist church turned live music and performance venue, it’s the best place in town to see a show. 152 Luckie St. NW, Atlanta, GA 30303 (404) 659-9022

The Costume Designer Spring 2014

The Drunken Unicorn THE place to see local bands and smaller acts, in what was once an underground parking garage. 736 Ponce De Leon Ave. NE, Atlanta, GA 30306

Piedmont Park The Central Park of Atlanta. Piedmont Park is big and beautiful with summer concerts series, movie screenings, a huge dog park, and an amazing public pool. The BeltLine starts at the top and its miles of bike and pedestrian paths circle much of the city. 1320 Monroe Dr. NE, Atlanta, GA 30306 (404) 875-7275

DINE There is SO much good food here. From Top Chef winners to internationally known chefs, it’s a foodie heaven. These are some of my very favorites:

Fat Matts Rib Shack A local legend and a true southern BBQ joint, there is often a live blues quartet playing. 1811 Piedmont Rd. NE, Atlanta, GA 30324 (404) 607-1622

Miller Union A really creative farm-to-table restaurant, it has an ever-changing modern Southern menu. 999 Brady Ave. NW, Atlanta, GA 30318 (678) 733-8550

Empire State South Chef Hugh Acheson takes a modern approach to Southern food. 999 Peachtree St. NE, Atlanta, GA 30309 (404) 541-1105

Parish Foods & Goods My favorite brunch spot features a $1 oyster happy hour and $2 beers on Sundays. 240 North Highland Ave. NE, Atlanta, GA 30307 (404) 681-4434

Octane Amazing coffee, astounding pastries and baked goods, the location on Memorial makes it my favorite coffee shop to meet friends, or to sit and work for hours. 437 Memorial Drive, Atlanta, GA 30312 (404) 815-9886

Little’s Food Store This tiny neighborhood bodega has the best burgers in town. 198 Carroll St. SE, Atlanta, GA 30312 (404) 963-7012

What’s old to you might mean new life and a second chance for an animal in need. DONATE YOUR VEHICLE to American Humane Association Specialists are available 7 days a week to assist you with any questions you have. Donate a car, boat, RV, or other vehicle! Call our toll free number at

877-7-HUMANE (877-748-6263) or Visit us online at

www.americanhumane.org

Spring 2014 The Costume Designer

SCRAPBOOK Michael Travis (1929–2014) Michael Travis was one of the first designers I met and worked for at CBS in the early 1980s. He was designing Tony Orlando and Dawn, and Laugh-In across town at NBC. I consider Michael Travis a true Picasso of Costume Design and one of my mentors. He designed Liberace’s show costumes, and I got the chance to create Liberace’s personal appearance clothing. Through the years, we continued to stay in touch through email. He loved good jokes and sharing them. Michael, you are truly one of a kind and I’ll cherish our friendship and time together forever.

Photo from the book Liberace Extravaganza!

Jim Lapidus

The Costume Designer Winter 2014

The Official Magazine of the Costume Designers Guild

Costume Designers Guild Local 892–I.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604

Non-Profit Org. U.S. Postage Paid Santa Ana, CA Permit No. 450

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“COVEN REVAMPED THE LOOK OF THE MODERN WITCH, GIVING FEMALE SORCERESSES SOME SERIOUSLY

SUPREME STYLE” THE HUFFINGTON POST

OUTSTANDING MINISERIES OUTSTANDING COSTUMES FOR A MINISERIES AND ALL OTHER CATEGORIES

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