FOCUS FEATURES PROUDLY CONGRATULATES
KURT and BART
ON THEIR WELL-DESERVED NOMINATION AND SALUTES THEM FOR THEIR OUTSTANDING WORK BRINGING THIS EXTRAORDINARY, TRANSFORMATIVE STORY TO THE SCREEN.
COSTUME DESIGNERS GUILD NOMINEE
EXCELLENCE IN PERIOD FILM KURT AND BART
AC A D E M Y AWA R D
®
N O M I N AT I O N S
INCLUDING
BEST PICTURE H BEST ACTOR MATTHEW McCONAUGHEY BEST SUPPORTING ACTOR JARED LETO
DALLAS BUYERS CLUB WINNER
WINNER
WINNER
CRITICS’ CHOICE AWARD
SCREEN ACTORS GUILD AWARD
BEST ACTOR MATTHEW McCONAUGHEY BEST SUPPORTING ACTOR JARED LETO
BEST ACTOR MATTHEW McCONAUGHEY BEST SUPPORTING ACTOR JARED LETO
*DRAMA
GOLDEN GLOBE® AWARD
BEST ACTOR* MATTHEW McCONAUGHEY BEST SUPPORTING ACTOR JARED LETO
For more on this extraordinary film, go to www.FocusGuilds2013.com
vol. 10, issue 1
28
FEATURES 16th Annual CDG Award Nominees . . . . . . . . . . . . . . . . 16 Distinguised Collaborator: Judd Apatow. . . . . . . . . . . . . 30 Distinguished Service Award: Sharon Day . . . . . . . . . . . 32 Rome Was Built in 5 Months: April Ferry . . . . . . . . . . . 34
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Contributors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Union Label. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com
President’s Letter Executive Director Labor Report
GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
History of Dress
COVER CD April Ferry with a handful of her costumes from HBO’s Rome photographed by Victoria Pearson. Make-up by Debbie Zoller and Hair by Connie Kallos.
The Costume Department. . . . . . . . . . . . . . . . . . . . . . . . . 14 In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Boldface Names
Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Winter 2014 The Costume Designer
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EDITOR’S NOTE In case you haven’t noticed from the barrage of advertising, screeners, and screenings, we are in the thick of awards season. I’m certain you are diligently watching shows, forming opinions, and making the difficult decisions that will lead you to choose our CDG Award winners. It occurred to me you might wonder about the mechanics of your magazine, why we cover one project but not another. I would like to address this question directly and transparently: The Costume Designer is a union publication. First and foremost, we represent all of our membership. As a result, we do not feature any Costume Designers that are not part of Local 892, except during our awards issue. Once a year, we widen our spotlight to feature excellence in Costume Design, globally. We interview all of the designers who have been nominated for our awards, whether or not they are members. Also, we try to present the nominated designers on an equal footing, striving to allot them the same visual real estate and word count, in an attempt to level the playing field while still celebrating their work. As an editor, these guidelines can be rather painful to enforce; unlike other publications, we cannot feature a show just for being deliciously newsworthy, because we cannot single out one designer over another. During awards season, we simply feature our nominees and award recipients. As a result, we walk a bit of a tightrope, particularly during this time of year. We ask for your understanding, as we seek to do that which is rather extraordinary: to try to showcase the most outstanding examples of our art, without partiality. This season is the public culmination of a year of private work. It is an exciting time because we can communally, as a union, recognize and award preeminent examples of our craft. Excellence is a universal language. Regardless of budget, there are moments in Costume Design where the garments transcend being costumes, and simply speak to the truth of the narrative. It is these moments we seek out. When authenticity informs fiction and its veracity is so captivating, we are completely transported. We congratulate our nominees.
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
“
I think we are finally getting more recognition, and the public is realizing that costumes are an integral part of filmmaking and television.
”
—April Ferry
Barbara Inglehart
bingleheart@cdgia.com ALTERNATE TRUSTEE
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
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The Costume Designer Winter 2014
Advertising@IngleDodd.com
WARNER BROS. PICTURES THANKS THE COSTUME DESIGNERS GUILD OF AMERICA AND CONGRATULATES OUR NOMINEES
EXCELLENCE IN PERIOD FILM
CATHERINE MARTIN
EXCELLENCE IN CONTEMPORARY FILM
CASEY STORM
EXCELLENCE IN FANTASY FILM
FROM THE DIRECTOR OF ‘THE LORD OF THE RINGS’ TRILOGY
ANN MASKREY RICHARD TAYLOR BOB BUCK W W W . WA R N E R B R O S 2 0 1 3 . C O M
CONTRIBUTORS
Your motto or words to live by.
Christine Cover Ferro (Associate Editor, Nominees)
“It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change.” –Charles Darwin
Bonnie Nipar
Stacy Ellen Rich
Robin Richesson
IVY THAIDE
(Associate Editor, Nominees)
(Boldface Names)
(History of Dress, Illustrator)
(Nominees)
“If you were born without wings, do nothing to prevent them from growing!” –Coco Chanel
As designers, we have moments— euphoria and despair (insert dramatic hand gestures here). This is how the magic happens.
“Anyone who lives within their means suffers from a lack of imagination.” –Oscar Wilde
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” –Dr. Seuss
Winter 2014 The Costume Designer
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union label PRESIDENT’S LETTER Awards season is upon us, a time when Hollywood comes alive celebrating their best and brightest. From January until the Oscars®, it is a blur of nonstop galas. If I may be so bold, I believe our very own Costume Designers Guild Awards has become the go-to party for Hollywood glamour. It’s an evening where we can commune with fellow members and guests and honor the artistry of Costume Design. It gives us an opportunity to recognize the phenomenal characters that have been created during the past year, and celebrate excellence in our peers. This year, we are honoring April Ferry with our Career Achievement Award. April is an inspiration, with an amazing career that is still going strong. We are also recognizing Sharon Day with our Distinguished Service Award. Sharon has worked hard to promote and further our organization. She has served on the CDG Board, working on many committees including the original CDG Awards gala and Website Committee, she also started our newsletter and magazine, and is currently serving as a delegate and co-labor organizer with Betty Madden. Our Distinguished Collaborator Award recipient is Judd Apatow, whose body of work includes such classic films such as The 40-Year-Old Virgin, Bridesmaids, and Superbad. Judd is presently the executive producer on the HBO hit TV show Girls. Amy Adams is being honored with our Distinguished Actor Award. Amy’s career is so diverse, she has worked with many great Costume Designers and she brings so much life to the characters she portrays. The CDG Awards would not be possible without the generous support of our presenting sponsor Lacoste. We have all used Lacoste clothing on our actors for decades, they are a timeless brand which suits so many of the characters we create. Our gala is brought together through the herculean efforts of JL Pomeroy and her staff at Jumpline events. JL starts working on the next awards the day after we finish the current event. We are fortunate to have such a tireless ally to keep the awards running smoothly year after year. This year’s gala will be on a Saturday, February 22, 2014, at the Beverly Hilton Hotel in Beverly Hills. I hope to see the full membership, so pull out your tuxes and gowns, polish your tiaras, and come have a wonderful time! This is our 16th awards, I wish good luck to all of our nominees, I know this will be the best CDG Awards to date. In solidarity, Salvador Perez sperez@cdgia.com
We appreciate the ongoing support of our corporate sponsors Diamond Level
Sapphire Level
EMERALd Level
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DREAM BIG DIRECTED BY
ALEXANDER PAYNE
WRITTEN BY
BOB NELSON Winter 2014 The Costume Designer
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union label executive director Dear Members, 2013 was a busy and productive year for the Guild and 2014 is already shaping up to be a match to last year. The Executive Board which was voted in last fall led by President Salvador Perez, has been busy at work for our members. Several new ideas for The Costume Designers Guild Awards have already been incorporated such as the very successful online voting and the use of CDG Illustrators as part of the event. Although there has been a change in the leadership at LACOSTE, they happily remain as our corporate sponsor and we look forward to their participation again this year. Our education program is well under way with ideas for classes covering simple to advanced computer training, negotiating skills, and other tools to enhance our members’ work skills. The Comic-Con Committee has already begun its race to the July event, and we can once again expect to enjoy the work of our members at the FIDM exhibits in February and July. President Perez is committed to our financial security and is on the lookout for a new permanent home for the Guild. This is just the tip of the iceberg we are tackling. I am pleased to say that I am busy working with the West Coast Locals to promote better work prospects by supporting legislation to help California compete with states offering tax incentives. This has become the primary focus of every Local in this state. I hope that each of you has taken the opportunity to fill out volunteer forms to help with this effort. It is important to our future to stop the flow of job loss and keep work in California. Last year, attendance at General Membership Meetings grew to more than double our past numbers. I hope you will all continue to be excited to participate in your Guild and have your voice heard. It is important to our future that we continue to evolve and explore new ideas that members bring to us in these meetings. Your voice is important. I am proud to lead this organization and hope that you will all be healthy and prosperous in 2014. In solidarity, Rachael Stanley rstanley@cdgia.com
-Janie Bryant, MadMen Costume Designer to Orlando Magazine
CALENDAR
407-599-7225 2117 West Fairbanks Winter Park, FL 32789 |
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The Costume Designer Winter 2014
February 4
Executive Board Meeting
February 8
Know Your Contract Seminar
February 17
Office closed on Presidents’ Day
February 22
CDG Awards
March 3
Executive Board Meeting
March 29
General Membership Meeting
April 7
Executive Board Meeting
April 18
Office closed for Easter holiday
LABOR REPORT
In this award season we are asked to vote for excellence in motion picture and television Costume Design with thoughts about what Costume Design brings to telling a story. Congratulations to every member of the Costume Designers Guild, all are winners; whatever story you design, a job well done is its own best award. Motion pictures tell a story that gives viewers the opportunity to reflect, observe, and question—to experience through the eyes of others—realities which are different to one’s own. Like a two-way mirror looking in and out, back and forth, an alternate experience can move the viewer to reflect, and can inspire new thought. Can films change us as a society to overcome oppression and violence in a non-violent way? I for one would like to think so. This year, we celebrate 50 years of the Civil Rights Movement. I attended the MLK Breakfast January 16, that celebrated the music that inspired a movement in the 1960s. Executive Director of the Grammy Museum Robert Santelli spoke about songs that raised social consciousness, then and now.
“There is some good in the worst of us and some evil in the best of us. When we discover this, we are less prone to hate our enemies.” –Dr. Martin Luther King, Nobel Peace Prize acceptance speech Stockholm, Sweden, December 11, 1964
Labor Delegate, Betty P. Madden CDG Organizer/Labor Rep bmadden@cdgia.com
AHA Car Donation Quarter DGA_Layout 1 1/28/13 12:31 PM Page 1 CDG_CostumeDesignAd_4.indd 1
11/21/12 6:00 PM
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
Winter 2014 The Costume Designer
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THE COSTUME DEPARTMENT
History Of Dress Bell-bottoms
D
reamed up by sailors, bell-bottoms were easily rolled at the knee, or pulled off over boots to avoid pesky occupational hazards like getting waterlogged or drowning. The Navy absorbed them into their uniform in the mid-19th century. The sixties made the silhouette popular, and the seventies made it ubiquitous. Synonymous with the hippie movement, the sexed-up version was low slung at the waist and spray-painted at the thigh. The bells were often huge, and hem dragging was acceptable, if somewhat treacherous. Cher, Janis Joplin, and John Travolta were global emissaries, and the look has remained beloved by the rock ’n’ roll set. A sleek version resurfaced in the nineties and quietly remains a wardrobe staple.
Illustration by Robin Richesson rrichesson@cdgia.com Text by Anna Wyckoff awyckoff@cdgia.com
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The Costume Designer Winter 2014
16th Annual CDG Award Nominees Inspiration is elusive. Sometimes it shouts, other times it whispers. So much of Costume Design is the unique interpretation of the script and research channeled through the prism of personal experience. A designer must be open to inspiration in whatever guise it takes, and follow its lead or listen to its whim; that is when the magic alchemy of Costume Design happens, and characters come to life.
Gary Jones and Michael Kutsche Oz the Great and Powerful
Photo: Merie Weismiller Wallace/© Disney Enterprises, Inc.
Jones: Much of our inspiration came from period research and the circuses of the time of the story, along with a few nods to the 1939 film. Evanora’s world took a great deal from Hollywood Golden Age glamour. There was a great deal of Art Deco influence in her dresses, with her green feather dress in particular, having a very Erté feeling to it. Oscar’s suit very much had the feel of the suits in the original; here we chose a classic turn-of-the-century three-piece suit. Michael’s drawings picked up the colors that Sam Raimi and production designer Robert Stromberg had laced all through the world, that really helped ground who the characters were. The circus imagery was of course present in the Kansas scenes, but also carried over into Oz. In my mind, the different lands are little circus vignettes, and, when Oscar and Theodora return to the Emerald City, the people greeting them had stylized elements of Vaudeville and a bit of circus. Kutsche: We looked at Art Nouveau and Art Deco architecture, because that was the inspiration for the Emerald City and it was important to have a link between the environment and the costumes. I was also definitely inspired by the work of Alexander McQueen and Eiko Ishioka. I looked at fashion history as well. In its own way, this is a period piece within a fantasy world. For example, there was an evening dress from a Madeleine Vionnet collection in the 1920s with interlinked rings that served as an inspiration for an evening dress worn by Theodora. We knew the costumes had to be grounded in real world fashions to make the world more plausible, but, in the end, it’s a crazy mix of things to visually emphasize the fantasy world. ACD Jessica Peel Scott ACD Gali Noy ILL Alan Villanueva
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The Costume Designer Winter 2014
Excellence in Fantasy Film Trish Summerville
Catching Fire has such a vast array of worlds to create, I drew inspiration from a great many resources. The characters and their environments differ economically, in color, texture, function, and fashion. From each of the 12 Districts, impoverished, struggling, and blue collar to the lavish, gluttonous, exaggerated world of the Capitol. I began making boards for each of these worlds using influences of what each District provides or manufactures for the Capitol reflected in their clothing, fabrics, and accessories. Often, I focused on function over fashion, making use of what would be available to them. For example for the fishing district I tried to incorporate netting, fish pelts, shells, and colors drawn from the ocean, sand, and the sun. In the world of the Capitol, it was completely fashion over function. There is an insatiable appetite for excess, from color palettes, to textures, and accessories. Bold colors, extreme shapes, and prints lend themselves to the extravagant Capitol looks. I drew on everything from the animal kingdom, to ethnic fashions, and certain artists, specifically Camille Rose Garcia, Irving Penn, and Mathew Barney. There is the meeting and merging of these worlds through Katniss and Peeta as they transcend from District 12 to the Capitol. As they begin the journey to the Capitol, their clothing is a more modern version of their District attire: denims, modern work wear, work boots, and knits. As they enter into the realm of the Capitol, their clothing becomes heightened, while always staying true to who they are.
Photo: Lionsgate.
The Hunger Games: Catching Fire
ILL Phillip Boutté Jr.
Ann Maskrey, Richard Taylor, and Bob Buck
Photo: Warner Bros. Pictures.
The Hobbit: The Desolation of Smaug Maskrey: My inspiration often forms around textiles. For the Master of Laketown, it was a combination of beautiful embossed leathers from Italy and an old tarnished sari piece. Thranduil came to life in my favourite London fabric shop, when I found a silver cloque and a stunning purple/ orange shot lurex. The Mirkwood elves grew out of a tree bark textured fabric and a blotched dyed silk with ragged leaf-like scraps attached. Bard’s shirt was a rough linen woven in the Hebrides which I labelled for him as soon as I saw it, and his daughters’ coats made from faded quilted kantha cloth I bought in Soho. Shopping the world for fabrics is huge fun, but everything takes time to get to New Zealand. I was always impatient for orders to arrive so I could begin combining fabrics. Taylor: We are encountering a new Elven culture, so we needed to design an aesthetic that was both Elven yet new and unique to the Silvan Elves. Like our previous Elvish designs, forms found in nature became the primary inspiration. As Wood Elves, it made sense to have the Silvan designs be even more grounded in elements found in the forest. This can be seen in the use of lacquered and treated wood for their armour, and shields and scale mail-based on leaf shapes. Unlike other Elves, Mirkwood is a wilder and more dangerous culture. They needed to be initially intimidating to the Dwarves, so the organic forms of Rivendell and Lothlorien were retained, but the aesthetic became more thorn-like and at times lethal looking.
Winter 2014 The Costume Designer
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Patricia Norris
Photo: Fox Searchlight.
12 Years a Slave
As I do on any project, I started looking for inspiration in my own extensive personal library, then, moved to Western’s research library, gleaning bits and pieces from a dozen or so books on slavery. I was able to find information for city dwellers living in the North, the southern plantation owners, and even a hand-painted portrait or two of a favorite house slave, but I found nothing on field slaves. Knowing that all garments were made on the plantations and that slaves wore hand-me-downs from their owners and the better dressed house slaves, I purposely looked for clothes that were made a decade before our script, then passed down until they were rags. I had conversations with director Steve McQueen where we discussed each plantation’s resources and productivity, to make subtle differences in how each owner dressed their slaves. Small details like having boots on slaves at the lumber mill to protect their feet, became design choices. I found myself relying heavily on my imagination, instincts, and information remembered from a lifetime as an avid reader of American history. It only made sense to me that once someone spent several hundred dollars on a slave that there would be some sense of responsibility to their upkeep, if for no other reason than to keep them fit to work. My ultimate conclusion was to make the owners look as rich as possible, and the slaves as poor. ACD Patrick Wiley
Michael Wilkinson When I read the script for American Hustle, I knew my challenge was to make the costumes as wildly imaginative and as wholly original as the characters that David O. Russell had created on the page. I found my inspiration in a wide array of resources. I scoured through magazine shoots from the ’70s, both high-brow (Helmet Newton, Guy Bourdin, Richard Avedon) and low-brow (Long Island mail-order catalogs, New Jersey community newspapers). I looked at street photographers like Allan Tannenbaum, whose photos capture the amazingly expressive nature of how real people present themselves to the world, the complex and contradictory daily costume choices that are made. I also felt comfortable letting go of the pressures of being “period correct.” At the end of the day, American Hustle is a movie about ideas, and the complexity of being a human being and what we all do to hustle and survive. I worked more intuitively with my costumes choices, going deep in my exploration of the characters’ psychology, and using colors, silhouette, and textures to underscore and illuminate these ideas. For example, I chose plummeting necklines in lightweight fabrics for Amy Adam’s character—they create a sense for the audience that she is hovering between supreme confidence and raw vulnerability. For Jennifer Lawrence, I chose awkward, contradictory clothes (from frumpy muumuus to provocative eveningwear) to capture the dangerous, unsettling quality of a woman on the edge. I was inspired by the actors’ fearlessness—I wanted to match their bold performances with bold, expressive clothes.”
Photo: Francois Duhamel/Columbia Pictures.
American Hustle
Excellence in Period Film 18
The Costume Designer Winter 2014
Photo: Warner Bros. Pictures.
ACDs JR Hawbaker and Meghan Kasperlik ILL Warren Manser
Daniel Orlandi
Photo: Francois Duhamel/Walt Disney Pictures.
Saving Mr. Banks
Our most glorious day was re-creating Walt Disney guiding P.L. Travers through Disneyland in 1961. We combed through hundreds of snapshots, photos and even home movies of the park at that period … a daunting task. People looked and dressed so differently then. Going to Disneyland was an event and people dressed up. We costumed over 800 extras as guests, ticket takers, balloon vendors, ride operators as well as the Disney walk-around characters. Mickey looked quite different back then. When re-creating the beloved Disney characters, many people have to approve the process each step of the way. Many of our crew members sent their families to Western Costume to be fit so they could share this day with their kids. Everyone who had grown up in Southern California said on the day it was “Just like the first time they went to Disneyland with their folks!” We started dressing extras at 2 a.m. so we could be ready to shoot the moment the sun came up and get as much done before the park was open. We wanted P.L. to be a formidable presence so I dressed Emma for her walk through the park in a sharply tailored wool houndstooth suit, accented with alligator trim and she carried her large alligator handbag that she referred to as her shield. We had decided that P.L. would probably have had her clothes made in London by a dressmaker, which was the custom of a woman of means during that era. All in all, it was a fantastic two-day shoot that all of us involved in will never forget.
Kurt and Bart
Dallas Buyers Club was first pitched to us as “Texas, rednecks, rodeo, and gay bars circa 1985.” We were in! Growing up gay in Denver during that same period, we felt an immediate personal connection, even before reading that incredible, unsentimental script that showed how life connects all of us, even polar opposites. Because it was a period film, shy on both time and resources, we pulled period snap-front shirts and boots from our own closets, and dug out yearbooks and photo albums as research. We incorporated some seventies pieces in both characters wardrobes, remembering that in the mid-’80s the thrift [stores] were full of it. One of the most challenging things was playing with fit and sizing to highlight Matthew’s shifting weight and health. Interestingly, we found that more fitted clothing made him look healthier. With Rayon, we found our biggest inspiration in our transgendered friends. We wanted realness and approached her with sincerity and respect. We shopped on her budget using hand-me-downs and thrift store scores. We also tried to avoid camp and embrace the fact that when you are on the hunt for a size 12 women’s shoe, you might end up with something a little less than delicate. One of our favorite scenes in the film happened to be the only place where there was truly cross-dressing—the scene with Rayon in a men’s suit borrowed from Ron. We are really proud to be part of this film.
Photo: Focus Features.
Dallas Buyers Club
Catherine Martin The Great Gatsby
Whenever I work with Baz as a director, his fundamental inspiration when working on an existing piece of work, whether it’s Puccini’s La Bohème or Shakespeare’s Romeo and Juliet or some other existing piece, is to find a new way for the contemporary audience to see the author’s intention of the text. While researching The Great Gatsby, I enjoyed the detective work and the discovery of all kinds of ephemera in archives, catalogs, and magazines like those at the Met’s Costume Institute Library. But, I too found my inspiration in the text. What’s particularly interesting about Fitzgerald is that, unlike many authors who never mention clothes, he was obsessed with how clothing tells you who people were. He describes in great detail every outfit Gatsby wears because Gatsby’s creation of himself as a gentleman relied on his ability to gather attention to his social station. Gatsby refers to having his clothes made in London and sent to him seasonally, London being the purveyor and pinnacle of men’s fashion. In an attempt to discredit him, the narrator Tom Buchanan says, “Gatsby wears a pink suit, for __ sake!” Baz wanted to be true to the text but also wanted documented evidence that such a suit existed specifically from 1922 to 1925. The quest finally led us to Brooks Brothers, who we found had been making pink seersucker suits since the late 19th century. The fact that Fitzgerald knew this was not surprising as he, himself, was a lifetime customer of Brooks Brothers. ACD Silvana Azzi Heras ILLs Adriana Picker and Sara Jung
Winter 2014 The Costume Designer
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Casey Storm I would say the use of organic materials and warm colors to create a future look was the most exciting part of this project. Also, looking for inspiration from decades past: so often, the future is represented by cold colors and tech fabrics; we made a choice to create a bespoke world that was warm, recycled, and inviting. I drew on a few details from several decades and put together a unique look that is different enough from our modern wardrobe so that you notice that something is askew or not contemporary, but not so weird that it becomes distracting. I found that by subtracting things like denim, belts, and ties, rather than adding futuristic details, it created a sense that something was off, but it was often quite difficult to identify what that was. ILL Lucas Culshaw
Photo: Warner Bros. Pictures
Her
Consolata Boyle
Photo: The Weinstein Co.
Philomena
Firstly, it was the book, and Philomena herself that just set the tone for everything that we did. In the script, though it departs from the book, the woman is still there: strong and wise. Philomena is such a witty, intelligent, and brave woman, you couldn’t but be inspired by her, and everything sprang and followed from that. The incredibly serious subject and potentially tragic matter of Philomena’s search for her son is dealt with in a way that through the script, the brilliance of Steven Frears’ directing, and the unbelievable brilliance of Judi Dench’s performance, it is a wonderful human drama. The moves and shifts and lovely to and fro of the dialogue between Philomena and Martin Sixsmith (played by Steve Coogan) were a joy to listen to. The costumes are almost sculptural in their simplicity, with clean blocks of colors and minimal prints except for her scarves, as a very definite choice to emphasize her sense of purpose. Philomena dresses with a slight element of formality, as women of that generation would dress, to meet serious people on her journey, for example, when she wears her “good” coat to meet with the sisters at the convent. They [the costumes] didn’t distract from the dialogue and created a slight counterpoint to the comedy. It all works around the journey she’s on, both the seriousness of the story, and the light way in which it’s told, so that the tragedy is able to come through in a more profound way. ACD Rosie Grant
Wendy Chuck Most interesting and unusual for me was shooting in black and white. It was a first time for most of the team, and we were all excited. I prepared by doing some photographic tests of my own and watching old movies on TCM. The location of Norfolk, Nebraska, was also an inspiration. While none of us were too happy to be there, in the isolation of a town of 26,000, the austerity and sadness of the story and location gave us so much to draw on: from the wide-open plains, the windchill of the winter, tumbleweeds, and roadkill on the long early-morning drives to distant locations. There was a spaciousness and isolation. We also drew from Ken Burns’ documentary The Dust Bowl with the signs of big agribusiness everywhere: corn and cows, GMOs, and feedlots. All the elements of the clothes were there. Not as “Western,” a style as I thought before I arrived. This is a world of simple old clothes, and a cast of seniors. I love to find a nuance of humor in seemingly uninteresting everyday attire. When [director Alexander Payne] suggested putting Stacy Keach in a tracksuit to sing karaoke, I ran with it, as did Stacy. I loved the way all the actors embraced the simplicity of the clothes. My favorite scene in the movie is the big family lunch. Getting that mix right was important: Woody’s brothers and their wives, aging up the younger women, no glamor, nothing fashionable there—and I love that!
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The Costume Designer Winter 2014
Photo: ©Merie Weismiller Wallace/Paramount Pictures.
Nebraska
Photo: Wilson Webb/Twentieth Century Fox.
Excellence in Contemporary Film
Sarah Edwards Photo: Merrick Morton ©2013 Gravier Productions, Courtesy of Sony Pictures Classics.
The Secret Life of Walter Mitty
Suzy Benzinger Blue Jasmine
Funny, sad, brilliant: the inspiration starts with Woody’s script. Even though Blue Jasmine is the fifth film I’ve designed for him, I still get a thrill being handed a story I know absolutely nothing about. Only a handful of us are given the full script. I always work the same way: while reading, I jot color instincts and any character nonsense that pops in my head. On Blue Jasmine, I mapped out Cate and Sally in two days. It may seem fast but when you have four weeks to prep, you don’t waste time. Then I meet with Woody. You don’t need to know my questions to understand Woody’s answers: “What’s a Birkin?” “Do people really wear jeans?” Or my personal favorite: “Oh, did I write that? Suzy, summer or winter, does it really make a difference what they wear?” He leaves me alone, and I love him for it. I never fail to learn from him. Woody possesses an astonishing work ethic and keeps a daily schedule set in concrete. There is no wasted time. No other director writes as consistently, shoots as much, spends as many hours in the editing room or scores a film … every single year, like clockwork. He’s a wonder. As the stars aligned and delivered Woody’s splendid script along with the genius talent of Cate Blanchett, sensitivity of Sally Hawkins, and sheer force of Bobby Cannavale, we prayed audiences might give Blue Jasmine a chance. It was my honor to design it.
There were so many wonderful worlds to design for; each one had very different design inspirations. At the Time-Life office, the focus was very pictorial, based on photographs by some of their great photographers. We worked hard to find a way to bring these references to life in the present day. Although Ben Stiller liked the period feeling of many of these inspirations, we were not making a period film. I think timelessness is a word that is overused. In talking about costumes, everyone wants it, but it’s very hard to create, because, really, clothes are not timeless. Having said that, the idea for the costumes in the office was that somehow, Walter was frozen in a kind of recent past—using simple silhouettes and subtle color helped. The Time-Life office was a great starting-off point for the rest of the film. We had somewhere to go both literally and figuratively, over the rainbow! This helped define the important transition from “old Walter” to “new Walter.” In the story, Walter goes to Greenland, Iceland, the Noshaq Mountains, and Afghanistan. We shot all of these places in Iceland, which meant we could not count on local color and background to create these worlds, we had to do it all from scratch. Everything had to be shipped to Iceland. Because of this, it required rigorous preparation and research into each country; I used photography and newspaper images to inform each place. I also love books and sent a trunk full in the container; they served as my reference library for fittings. With locations often 6-8 hours away from our workspace, prep was challenging, however, the hard work and support, of my wonderful American and Icelandic crew, was truly inspiring! ACD Emily Gunshor
ACD Marco Piemontese
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Susie DeSanto Nashville
Photo: Melinda Sue Gordon/Netflix.
Photo: Mark Levine/ABC.
I start every project with tons of research. For the show Nashville, I found as many photos of country stars, aspiring songwriters, and musicians as I could, as well as researching the places where they perform. However, as soon as I got to Nashville the city, my depth of understanding of this world deepened exponentially. I think the most surprising place I found inspiration was in the dressing rooms at the Grand Ole Opry. They’re beautiful, covered in photos, and decorated for the stars with all the motifs of country music— like a chair with rhinestone fringe. When there’s a performance at the Opry, the hallways are full of all the people who make up the music business in Nashville, musicians, managers, and fans. We shot one of the opening scenes of the show with Connie Britton in the Queen of Country Music dressing room and it was so cool to have her dressed in her costume, looking like a country star surrounded by big photos of all the greats. There’s no better way to get it right than to experience the real thing.
Jennifer Bryan Breaking Bad
I was delighted to enter Vince Gilligan’s nuanced world where a single hemline or a shade of green can speak volumes. For me, the costumes convey the emotion of Breaking Bad, a morality play to end all morality plays. Color and detail were my brush and palette, and the incredible New Mexico landscape was my canvas. In season five, a dramatic turn of events required a subtle shift in the color tone of the show—a real challenge! With Vince’s guidance, I developed color wheels for each character with tones targeted to their story lines. Imagine my surprise when bloggers picked up on the color rotations and started hypothesizing on what was going to happen next based on what people were wearing! The characters were all inspirational. Asking which was my favorite to dress is like asking a parent to name their favorite child. I loved each one of them. I had such fun with Marie—the shoplifting, addicted-to-all-things-purple, wife of a DEA agent—and with the tightly wound Skyler. It was a technical challenge to create a skirt that floated under the water as she tried to drown herself. From the wholesome everyman veneer of Walter White, to the wild dandy Saul Goodman, to Jesse’s meth slingin’ street cred where clothes maketh the hoodie, everything had to seem credible to the viewers, so these seemingly everyday clothes had big shoes to fill. I thank my fantastic NM crew for their hard work. I think we did it. What a ride! ACDs Michael Sharpe and Cristina Spiridakis
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Tom Broecker House of Cards
I know this will sound strange, but I thought about Robin’s character Claire in terms of architecture—the structure and foundation—and how the costumes and her body would support each other, classicism in form and function. ACD Marian Toy
Photo: NBC.
Tom Broecker
Saturday Night Live I would say my favorite design inspiration for Saturday Night Live is the people of New York City. Every day, while I’m working, I walk around the city taking photos of people. The outfits they put together are fantastic and I draw so much from them.
Lyn Paolo Scandal
Photo: Craig Sjodin/ABC.
Photo: Frank Ockenfels/AMC
Every new project means new research and the search for inspiration. When it came to Scandal, the inspiration for much of the Costume Design came from Shonda Rhimes, and her amazingly descriptive words on the page. Shonda painted each character so well, that it was an almost seamless transition from the page to the fitting room. “Gladiators in suits” wearing the “white hat” were key phrases for me in designing the pilot. I looked at many different resources—-fashion, past administrations, etc. … but the pictures I had in my head upon reading the script for the pilot of Scandal transitioned to the choices my crew and I ultimately executed for the show. Obviously, having the amazingly talented Kerry Washington as our leading lady is without a doubt one of the greatest inspirations for me as a designer. She loves fashion and her enthusiasm is infectious. The ongoing symbiotic relationship between fashion and film also inspires me daily, and I am constantly looking to reinvent my work on every show I design. To this end, even the simplest of images from street fashion, to an ad in Vogue can inform me of a choice I will make for a show. It is essential for me to search for inspiration daily; in this way we can tell the story that is on the page and hopefully in some small way affect fashion through the art of Costume Design.
Outstanding Contemporary Television Series Winter 2014 The Costume Designer
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Outstanding Period/Fantasy Television Series
Lisa Padovani and John Dunn
Photo: HBO.
Boardwalk Empire
Dunn: The ascendancy of jazz clubs and the New Negro Renaissance in the mid-twenties were what were most exciting to explore in season four of Boardwalk Empire. The opportunities for African-Americans to become leaders of American culture and the arts were beyond anything that occurred in prior history. These were powerful first steps toward the real equality in American society. Researching the music, the stage costumes, and the performers in Harlem and Parisian clubs (Duke Ellington, Bessie Smith, Josephine Baker, and “Snake Hips” Tucker) brought home for me the profound influence these artists had on the ever-evolving national psyche. Padovani: This season we addressed a variety of social and economic worlds. Inspiration isn’t necessarily just drawn from what most people consider “art.” It would be easy to say that the character of Daughter Maitlin or the dancing girls of the Onyx Club were the most inspirational and exciting of the costumes, and in many ways they are, but I was most inspired by the common man. There is a riot scene at a factory in which Frank Capone is assassinated. We had hundreds of extras to dress as blue-collar workers. I enjoyed creating subtle nuances between each costume based on who was cast. I pictured what their particular job was at the factory, and dressed them accordingly, while considering a distressed, worn-out palette. This contrasted well with the slickness of the gangsters, and of course, the redness of the blood to help create an exciting and dynamic scene. ACD Maria Zamansky
Gabriella Pescucci The Borgias
Photo: Showtime.
The inspiration for the costumes on The Borgias came from many sources. The rich and varied work of Italian painters from the end of the 15th century and various biographies of the Borgia family, Lucrezia and Pope Alexander VI, really helped me with historical detail about fabrics and materials. They also provided a wealth of general information about the period, which aided me greatly in creating the appropriate design for the general population of Rome and the other regions of Italy featured in the series. In one battle scene, the director asked for soldiers, the enemies of Caterina Sforza approaching her castle, to be camouflaged, like the autumn woods that surround the fortress. We designed a net with fake leaves attached and put it on top of the soldiers’ armour. My inspiration for that came from troops in Vietnam, who adopted similar camouflage in the jungle. Sometimes inspiration comes from unusual places. In one episode, directed by Neil Jordan, I found inspiration from the fairy tale Sleeping Beauty. We made garlands and hairstyles with leaves and berries and light transparent veils to help give a dreamlike feeling to the scene. Creating the world of The Borgias entails long hours and hard work, but is such a stimulating and fascinating period in which to work. I am also surrounded by a marvelous team, and I consider myself very fortunate to have worked with them. They make each day a pleasure. ACD Giovanni Lipari
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Caroline McCall Photo: Nick Briggs/Carnival Film & Television for Masterpiece.
Downton Abbey
It’s very hard to give a concise answer to what is my inspiration this season as there are so many. It is always fascinating doing research for any job, but I’ve found the last two seasons of Downton particularly interesting as we’ve just entered the 1920s. When most people think of the 1920s they think of ‘Flappers,’ but the flapper look didn’t become fashionable until 1926. Researching the abundance of new ideas and fashion influences in this post-war pre-flapper era has been fascinating. The work of designers such as Vionnet, Lanvin, Beer, and Chanel, to name but a few, seems so ahead of their time and the wonderful illustrations of George Barbier have been great inspiration. But ultimately, I’m inspired by the people I’m fortunate enough to work with. Your ideas need to be executed, and I’m inspired by the talents of those who build for me and make those ideas a reality. ACD Poli Kyriacou
Michele Clapton Game of Thrones
Photo: Helen Sloan/HBO.
At one stage, I found myself researching magnified photos of insect and plant life to look at their construction and defense systems. I was interested in the way that some insects protect themselves. This was part of the inspiration behind the Unsullied armour … the blue black colour, the concave shoulder pieces, the surface texture, and the way that intimidation is half the battle won. This, combined with a return to the wonderful Stibbert Museum in Florence where the eclectic collection of armour, I find, is incredibly exciting. The Indian and Japanese examples helped in the design of the Unsullied. The photos of plant life helped with embroidery and textures. With my team I developed repetitive shapes and patterns, organic yet often systematic, which we have continued to develop into the next season. ACDs Alex Fordham and Chloe Aubrey
Janie Bryant
Photo: Frank Ockenfels/AMC.
Mad Men
An amazing consequence of the late ’60s counterculture movement was the rise of photojournalism and how often regular people, in their everyday clothes, were captured on film. This was really an exciting avenue to explore for costume inspiration because so often we see the celebrities and models of the time period wearing stylized, heightened versions of fashion. The super icons of 1967 and 1968, Raquel Welch, Sharon Tate, Twiggy, Mia Farrow, The Beatles, Jim Morrison, while all fashion trendsetters, their styles do not necessarily translate into office clothes. What was fascinating was to compare the photos of everyday people next to magazine cutouts, and learn what trends people were able to adapt from their favorite icons. A photo of a man on the street wearing a blue shirt and blue tie is undoubtedly emulating Steve McQueen in The Thomas Crown Affair. Pairing it with his 3-year-old suit and no pocket watch is the real life version of a movie star. It was inspiring to sift through these kinds of comparisons in the research. Mad Men’s Costume Design strives to achieve this in every episode: characters based in reality, sprinkled with a little dose of movie star. ACD Tiffany White
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Photo: Lifetime.
Claire Nadon
House of Versace The biggest inspiration for House of Versace was Versace himself. The challenge was to find sufficient documentation in the time given to build four fashion shows. Not even 10 percent of vintage Versace could be found in the period we were creating. The Avedon-Versace photo collaboration was a priceless reference. The fashion television documents of the period were also very useful, but did not give any idea how the backs of the dresses were made, so we tried to stay as close as possible to the house style. For the characters, the inspiration came through the pictures of the persons portrayed. We tried, with director Sara Sugarman and Gina Gershon playing Donatella, to stay as close to reality as possible. Although, Sara had the wonderful idea of following a color wheel for the entire production, which is a way I love to work. It was a Lifetime production, and that was an experience as well. It is so rare that Costume Designers work on a subject so close to their craft, and have the opportunity of re-creating a period that they lived through and loved. It was also a great boost to be on a team that gives constant feedback about the work. I am very thankful for Robyn Snyder’s huge help as a producer, which made the whole thing possible, and to my faithful and talented head seamstress, Cristina Carvalho. ACD Nicole Magny ACD Josée Boisvert
Debra McGuire Researching Phil Spector was like digging up a buried treasure. The chest was full of jewels and mystery. There were a few discoveries that sent my creative juices flowing. One was that the “white” blazer he had worn on the night of the murder, which was held in evidence and had only a few microscopic pinpoints of blood. The other, more incredible discovery for me, is that when I blew up the photo, I could see the label in the jacket. It said, “Laundry,” which meant, of course, that it was a woman’s jacket. On closer examination I saw the buttons on the female side, as well as darts. This discovery inspired me to address his flamboyance and to design his clothing accordingly! The wigs greatly informed the look of the character and became the focal point for designing the wardrobe. The use of rich colors, fabrics, wigs, and accessories enhanced the world of Phil Spector, and then Al Pacino brilliantly made magic! ACD Lorraine Calvert
Outstanding Made for Television Movie or Miniseries 26
The Costume Designer Winter 2014
Photo: HBO.
Phil Spector
Ellen Mirojnick
Photo: HBO.
Behind the Candelabra The most interesting aspect and inspiration for me in creating costumes for Behind the Candelabra was the research about Liberace and his relationship with Scott Thorson. He had such a specific image, and the idea of Liberace is embedded in the culture. The challenge was to create both Liberace and Scott in a way that was more realistic, as most of the story takes place in their home, not on the stage. There’s a famous saying of Liberace’s “too much of a good thing is wonderful.” In creating the costumes for both Michael Douglas and Matt Damon, the focus was to keep them true to the story, true to the loving relationship they had, and not make it exceptionally campy or too extravagant. For the real clothes, the challenge was to create the world that was true to who they were, not what the public imagination would be. The most important thing was, we always had to maintain that these two men were handsome; they couldn’t be ridiculous, they couldn’t be over the top, they couldn’t be the figment of somebody’s imagination. Creating characters who are based on real people, that we can view pictures of, is difficult. It couldn’t be an imitation, it couldn’t be anything but finding the level of truth that was going to work for telling the story, and it was a very intimate story. At the end of the day, there’s a lot of personality and quietness in their real clothes that maybe people were not aware of.
Lou Eyrich
Initially, what inspired me about this season of American Horror Story was delving into the research for witches, voodoo, Salem, and the 1830s, all new territory for me. But that excitement shifted to focus on the actual city of New Orleans, as I had never worked there before. The rich culture, history, visually stimulating colors, music, architecture, and food became my inspiration. I was also beautifully inspired by Production Designer Mark Worthington’s set designs, color palette, and location picks. ACD Ken Van Duyne ILL Liuba Randolph
Photo: Michele K. Short/FX
American Horror Story: Coven
Marilyn Vance
Photo: Sony Television.
Bonnie & Clyde: Dead and Alive
I knew I would love to reimagine Bonnie & Clyde, and it was a very inspirational journey for the simple reason that I set out to create the Bonnie and Clyde that were captured so wonderfully in the script, along with what I found in my research. There is all of this new material that is still surfacing, and they were both just young and they were both deeply tortured. With Bonnie, it was her narcissism, and wanting to be part of Hollywood. She was totally enamored, and wanted to be famous so badly. For her, it was very exciting to live that life. Clyde was extremely flawed, abused, and damaged. We know the story about him, where he and his brother were walking past a wedding and he locked eyes with Bonnie. From there she became the girl in all of his thoughts and visions, it was always Bonnie. There are a few things that were taken right out of the press. I went so far as to recreate the main iconic looks that were in all the newspapers, like when they took pictures of themselves and she’s holding a cigar. I created her knit outfit exactly, applying a believable color palette to the black-and-white photos. With Emile as Clyde, we were in the fitting creating the look, and the hat came on, and that was it for him. He felt Clyde. Hats are so expressive and help create the character. Basically, hats are attitude. ACD Cendra Martel
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Excellence in Commercial Costume Design Julie Vogel
Photo: Dos Equis.
The Most Interesting Man Inspirations that I drew upon are my adventures in the great outdoors and travels thoughout my life. In this commercial there are a few vignettes where I was able to do just that. In my 30s, I had the good fortune of spending three months traveling in Ecuador, climbing and trekking on glacier-covered volcanos up to heights of 21,000 feet. For years I have been hoping to include ice, snow climbing, and expedition clothes in a spot. I didn’t hang out in any ice caves, but I did take a quick nap in an abandoned Andean condor nest! The vignette where The MIM Feeds a Bear was inspired by my 40th birthday trip to Alaska. I took a float-plane from Anchorage to Brooks Falls on the Katmai Peninsula. I feel so lucky to have spent nine days observing the grizzly bears gorge themselves on salmon, frolic in the falls, wrestle for position, and care for their adorable cubs. During this vacation, I observed modern-day fisherman catching salmon quite close to those spectacular bears. My piece was set in an earlier decade, however, I filed the look of the timeless outdoorsmen, with rich textures and layered classics. The Moroccan market scene was an experience I had in my youth traveling through France and a trip to Morocco. It was incredible, the textures, colors, and the stunning people. To this day, I can still feel the bustle of the energy and smell the spices.
Nancy Steiner
I was inspired by all the different warriors and the variety of characters in this spot, all from different centuries, countries, and standings. I especially loved the more handmade costumes like the Aztec, Maasai, and Mudman. But I didn’t have any time to linger on research. Basically, I had one day to research because I was given only five days to prep this spot. We were given 27 characters and we had to sprint to gather research and images and start pulling whatever there was in the costume houses. Then we supplemented and customized everything else. For instance, for the Aztec warrior we found a small feather headdress and then built around it to make a much grander piece with more feathers, leather, shells, and a bird skull. We lined a found feather cape from Universal in red fabric, and made a loincloth out of leather and a conch belt. I had an amazing team of costumers who jumped in with me and faced this challenge with excitement and commitment. This was a huge challenge and I knew it was going to be crazy, but the result is something I’m really proud of. These kinds of commercials don’t come along often.
Photo: ©2014 Activision Publishing.
Ghosts Masked Warriors
Donna Zakowska
Photo: Fiat.
British Invasion
For me the initial attraction of British Invasion for Fiat was the interplay between period and contemporary, since the concept called for clothes of the 18th century to morph into contemporary fashion. The premise was that the arrival of a fleet of sleek new Fiats in a colonial American town inspires the implicitly strait-laced townspeople to “liberate” themselves, so the challenge was to have them transform their clothing into contemporary, fashion-conscious looks without renouncing their 18th century vocabulary. Basically, the goal was to reinvent the 18th century in a sexy way, and I wanted the looks to approach the kinds of silhouettes that result when designers like Alexander McQueen or John Galliano deliberately reference historical clothing. An additional challenge was that the director, Paul Goldman, wanted the transformations to occur in real time on camera, so the 18th century costumes had to incorporate their contemporary variants in such a way that the changes could be achieved with a few simple gestures. So, drawing upon my early design experience with the Big Apple Circus, I found myself adapting a number of classic circus techniques for breakaway rigging. A great deal of time was devoted to working out ways in which specific transformations could be prepped to be both effective and theatrically exciting to watch … while hopefully paying homage to the elegance of Italian [car] design.
Distinguished Collaborator Judd Apatow
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I think costumes being perfect is essential to the comedy working. What they are wearing lets us know who we are dealing with instantly—whether it is Ron Burgundy’s ridiculous suit in Anchorman, Steve Carell’s work uniform in The 40-Year-Old Virgin, or Seth Rogen’s childish T-shirts in Knocked Up. That accuracy of character design is what sets up the core joke, which makes these films work. –Judd Apatow
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Bridesmaids. CDs Leesa Evans and Christine Wada
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Photo: Suzanne Hanover/NBC Universal
“
“
Designing the costumes for Girls is an incredibly collaborative process. While I do a ton of research and prep work in deciding how to dress the characters, the inspiration and cues come from the show’s creators—Judd Apatow, Lena Dunham, and Jenni Konner. I love working with them because they are my inspiration. They write the script. They give me constant feedback. But I have the freedom to create the characters’ looks as the script describes them. Judd, Lena, and Jenni have allowed my vision to become a clear statement to help develop each character’s signature style. I love that about Girls. I am designing the costumes for one of television’s best shows and working with one of the top writing, producing, and director teams there is. It is a dream job. –Jenn Rogien
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The joy in working with Judd—whether he’s writing, directing, producing, or all of the above—stems from his commitment to the story, his comedic sense, and the authenticity of his characters. Judd’s inclination to portray real people brings a unique range of one moment being ‘styled down’ and the next requiring high fashion, giving me a great opportunity for professional creativity. Judd’s communicative approach creates an air of loyalty and personal connection that I love. My conversations with him are characteristically direct and easy, whether we’re discussing an upcoming project or the particular nuances of one we’re currently working on. This creates a shorthand which keeps things moving along as smoothly as possible given the multitude of unknown factors that can emerge on a film. The nature of Judd’s team—emphasis on ‘team’— is in a word collaborative. From the producers, ADs, Art Department, Camera Department, to the PAs. The environment on set is that of a tight-knit family. Everyone on the crew knows they’re an integral part of the group and that begins with Judd’s inclusive approach to the work. Judd possesses a remarkable ability to spot talent and champion their craft. He believes in people, wants them to do what they do best, and expects that they will. My experience with Judd has been nothing short of rewarding both professionally and personally. –Leesa Evans
Photo: Gemma LaMana/Paramount Pictures
“
I was the Costume Designer for Freaks and Geeks, Undeclared, Anchorman, Sick in the Head, The 40-Year-Old Virgin, TV Set, Superbad, Knocked Up, Walk Hard, Year One, and Wanderlust. These films covered 13 years! I was working on Friends when I began Freaks in 1999. I felt like the luckiest person on earth. Friends’ characters lived in a heightened 1999 reality and Freaks’ characters were so real that you were sensually transported to the Midwest, 1981. I was back and forth between these worlds. All the clothes in Freaks were aged and over-dyed to perfection. The actors were brilliant, though unknown, and I was greeted daily by them with enthusiastic hugs and kisses. Each script was poignant, witty, and full of heart. This was Judd’s world and it was unlike any other that existed. The actors, writers, and directors went on to blossom under Judd’s guidance and inspiration and the projects kept on coming. My career has followed many of these tributaries (of extraordinary artists) and I am eternally grateful for this joyous and creative ride! –Debra McGuire
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Anchorman 2: The Legend Continues. CD Susan Matheson.
Funny People was about the subculture of standup comedians; how they live their lives on and off the stage. Working with Judd, who started out in standup, gave me rare insight into that subculture. It was a great leaping-off place for me to research and re-create the world and then bring what I learned to the costumes for the film. –Betsy Heimann
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Sharon Day
Distinguished Service Award By Anna Wyckoff
Take the heart of a servant and the will of a prizefighter, shape them with the crucible of experience, and wed them to a consuming passion. An activist is not schooled, but forged.
A License for Imagination
Day’s childhood was both idyllic and unconventional. A daydreamer, she grew up in the woods of North Seattle. “My parents were committed to their community and always willing to take part in getting things done,” Day explains. After serving in the war, her father became a master carpenter and cabinetmaker. He also gained statewide recognition in the American Legion, where both of her parents were devoted to enhancing the lives of veterans. Day’s mother was a rule-breaker, and great beauty determined to escape old-country values and be her own person. When 20th Century Fox offered her a contract as an ingénue, she chose a different path. “My mother wanted to be a Costume Designer,” says Day. “When I was a child, she did a lot of sketching and drawing, and the first real book I received was Costumes Through the Ages.” Day lived in a house with persimmon walls, chartreuse furniture and zebra print chairs—the décor was always in flux. “My mother was constantly expressing herself artistically, which gave me a lot of leeway. She was very creative and also very inspiring. “I was a rather rebellious girl,” recalls Day with a trace of a smile, “I was raised to believe that I could do anything. As a result, I got into trouble in school because I was very determined and would ask questions like, ‘Why can’t I take auto shop if the boys can be in home economics?’ I was determined to be part of something, and I didn’t know yet what it was.” Her family also influenced her remotely. One of Day’s uncles became the president of the Dodge automotive company, which sponsored two of the most popular shows on television in the early fifties, The Lawrence Welk Show and The Roy Rogers Show. Thus, despite living in a rural area, Day didn’t feel isolated; instead, she felt keenly aware of belonging, and had a strong sense of her place in the community. At the age of 21, Day migrated to California. Following a stint working in the computer department of the Boeing airplane factory in the 1960s, she began working at Nordstrom, as the company expanded into a full-fledged apparel retailer. She also took classes in art history, theater, and social anthropology, and was amused when her acting teacher compared her to a young Janet Gaynor. It was
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only after her mother passed away that Day realized her mother’s brother-in-law was once married to Janet Gaynor, who coincidentally was the widow of the renowned Costume Designer Adrian. She delighted in the coincidence and the connection.
The Realization
Day’s next leap was to live in New York, with a year-long sojourn in Europe. As she worked with one of her closest friends, fashion designer Bonnie Brownfield, Day’s own gifts became evident. “In a way, I think my work chose me. I was involved with people socially that encouraged me. The door opened, and I went through it.” When Day made her way back to Los Angeles, she was flush with the rush of confidence and inspiration. Her introduction to costume came through designer Robert Turturice. Day worked with several film producers, and her fashion and theatrical experience quickly became evident. She was offered 30 days of work on a studio lot (which would enable her to join Local 705), and was tasked with assisting Turturice.
Photo: Anna Wyckoff
“Robert was bursting upon the scene. I did get my 30 days and much more—he not only helped me find my voice as a Costume Designer, he encouraged it.” Day and Turturice also became close friends. Additionally, she assisted Bill Hargate. As she considers these formative years, Day notes, “I think that without the experience of seeing the [Costume Design] process happen, you don’t learn about having the courage to take chances, to make decisions—you don’t want to overthink, you want to feel through it and learn to trust yourself. That’s why it’s great to work with another designer.” Day started taking classes at UCLA and Otis, designing theater, then television and film. Over the next 30 years, she worked on many diverse projects. One film that starred Cheech and Chong was unscripted due to their comedy style, which was largely improvisational. Day embraced the spontaneity by adding an extra trailer of costumes. She tucked the daily lessons away for reflection. “One thing I learned from Neil Simon was to never telegraph with costume. Don’t let the audience know a joke is coming. The inner story of your character is the clue that you share only with the performer, and eventually the audience. Let them discover it, then the comedy is effective.” But most of all, she tried to remain in the moment. “Even if you’re daydreaming while researching or in a fabric store—when you are in the moment you catch the magic,” she suggests. In the midst of the bustle of her Costume Design career, Day made a life-changing realization. Because the framework of her childhood opened her up to certain possibilities, she began connecting the things she valued most. Day took her lifelong propensity for questioning assumptions and paired it with her strong sense of community, finding the perfect vessel for her passion: the Costume Designers Guild. It was a winning combination.
The Frontline
Day took the first step—she stepped forward. “I wanted to be behind the scenes in a different way, and I became more involved in the union. My father used to say to me, since he was very determined to be a giver, ‘Can’t never did anything,’ and I never forgot that. I, too, became someone who gets things done.” During Bill Hargate’s presidency, she became the publicity chairperson for the CDG. A trip to New York inspired Day to have the Academy Award® nominees displayed in the windows at Saks Fifth Avenue in Beverly Hills, a tradition which carried on for several years. Day continued to daydream and put her ideas into motion. “I partnered with several dynamic people who were interested in the same thing I was interested in, which was for Costume Designers to stand up and put the spotlight on themselves. We started out at Lois DeArmond’s house. It was Lois, Diana Eden, Arlene Encell, Greg LaVoi, Sandy Love, Robert Turturice, and Durinda Wood.” The event the publicity committee began planning was our awards gala. While their initial presentation did not get approved, eventually their efforts supported by
other volunteers, brought into being the illustrious event we now celebrate. “That’s when it really started to make sense to me,” says Day. “When President Deborah Landis put out a message saying she wanted someone to take over the newsletter—I began to see myself as someone whose contributions were helping put a new face on the CDG, I had ideas, strength, and experience, and I became part of the team.” Day tackled the newsletter with the help of Rachel Sage Kunin. Its purpose was to inform CDG members about political matters and how they individually could impact local, state, and national politics. Next, she became the first editor of this magazine. For many years, Day also served on many committees and the Executive Board, eventually transitioning to her current role as delegate. “When I was elected to be a delegate, I truly began to understand how important it is for our members to see that we are a part of something big. We impact the world, and yet, we’re just fighting for our salaries and other people’s salaries. We have a fellowship of humanity that is just trying to stay alive and feed their families and we work in one of the most powerful arenas in our cultural community.” Day is also deeply involved with the Legacy and Retiree Committee. She understands that in the blur of work, most members never consider their retirement. Because of its inevitability, she wants our membership to grasp how our union has a structure to provide for their future—but they must take the time to fully participate.
The Message
“One of the main things I think I want to communicate is a sense of urgency to our membership. We can’t sit on our hands and think that someone will take care of it for us, because we all have something at stake—and it’s a way of living. You need to show up. Because when you show up in large numbers, it counts. When Betty Madden and I ask for members to come to a rally, they need to make the time, even in their busy schedules. It is our livelihood which is at stake, which is certainly worth an hour or two. Who wins a war when the soldiers don’t show up?” Day hasn’t stopped asking questions. “Why can’t we get money for the costumes and merchandise that is sold from the costumes we design? Why can’t there be a Costume Designer present every time there is a story being shot?” Sharon Day is the recipient of the 2014 Service Award for her activism, dedication, and willingness to step forward on our behalf again and again. One sentence captures her mantra:
“ The bottom line is our work is meaningful, valuable, and worth fighting for.”
Winter 2014 The Costume Designer
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Rome Was Built in
5
Photo: HBO
Months
April Ferry
Career Achievement Award 34
The Costume Designer Winter 2014
By Anna Wyckoff
Winter 2014 The Costume Designer
Photo: Victoria Pearson
Photo: Sony Television.
A
pril Ferry is fearless, petite, and powerful. She turned up for our cover shoot with her trademark crop in a scarlet Mohawk. After four decades in Costume Design, her career shows no signs of abating, and neither has her enthusiasm. Ferry began her love affair with Costume Design as a dancer on Broadway. “I always gravitated to the costume department,” she chuckles. Eventually, she spent 17 years in the trenches as a costume supervisor. “That’s my only training except live television,” Ferry explains, “I started with Ret Turner and Bob Mackie, and all those wonderful guys who taught me everything, and how to do it quickly. I worked on Sonny & Cher, I dressed actors on Laugh-In, all of those comedies and musical shows with multiple dance numbers—I learned so much.” She joined Bob Fletcher, also a Career Achievement Award winner, on The Dean Martin Show. Ferry considers him her mentor. “I was his supervisor, they called it wardrobe mistress then,” she notes. “He’s a wildly talented man, and he’s still making beautiful sketches for me at 90. I thank goodness for the time that Fletcher and I spent together. It was amazing training.” Her confidence flourished, and finally, with Fletcher’s encouragement, Ferry joined the Costume Designers Guild. Her first film was The Big Chill. After its completion, she went to Europe on holiday and was shocked and delighted when her agent called with the news that it was a huge hit.
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Photo: Victoria Pearson
The movie triggered an avalanche of work and a storied filmography of more than 40 features and television shows to date. Ferry has worked with several directors multiple times, including John Maybury (The Edge of Love and Rome), Jonathan Mostow (Terminator 3: Rise of the Machines and U-571), John Hughes (Planes, Trains and Automobiles and She’s Having a Baby), and Richard Kelly (Southland Tales and Donnie Darko). Ferry enjoys the continuity and the visual shorthand this network of collaborators brings. “I have built relationships,” she says simply. Rome was Ferry’s first television series. She has often referred to it as “the job of a lifetime.” Ferry had designed several films in Rome and was living in the city with her family for a year, when she found herself drawn to study ancient history. Though she considered returning to school, her agent was intent on securing the job for her, and finally succeeded in getting her an interview. “I did study ancient history,” quips Ferry, “but this was in a much faster time frame.” Steeped in the past she was trying to re-create, Ferry was enraptured by her surroundings and reveled in Roman culture. With an ancient scholar on hand as a technical advisor, she set out to marry both of her passions. Entrusted with recreating a civilization, she was given five months to prep. Ferry designed and had 5,000 complete costumes constructed during the first season, with nothing rented or purchased. HBO sent her to India to buy fabric, where she selected mostly whites and light fabrics for dyeing. There were 14 in the dyeing department alone. Ferry’s daughter, Katy, began aging fabrics with a stone, and embarked on a career as a full-fledged ager/dyer on the show. There were armies of drapers and stitchers to clothe the epic scenes. The armorer, Agusto, was The Big Chill. Photo: ©1983 Columbia Pictures Industries, Inc. All rights reserved.
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The Costume Designer Winter 2014
it to be distracting. It’s a fine and uneasy line. We shot in Toronto. I had a marvelous time making Sam Jackson’s clothes, we built five suits for him. Abbie Cornish was really a cop’s wife, but she wanted to have a little edge and we worked hard to create that. Michael Keaton was very enthusiastic.” It was the Brazillian director José Padilha’s first American feature, and Ferry was charmed when he instructed her to “do what you think is right.” “It was a joy!” she exclaims. Notably, Ferry has dodged being pigeonholed into one style or genre. This might be attributed to the fact that she believes something can be learned from every job, an attitude she adopted from her mentor Robert Fletcher. She finds imagining the future as exhilarating as re-creating the past. Presently, Ferry is designing Extant for Steven Spielberg’s Amblin Entertainment and CBS. The television series stars Halle Berry as an astronaut who has returned home following a yearlong space mission. Ferry can’t discuss details because the project is still in its infancy, but with a smile, she did give the tantalizing clue that she is finding inspiration in Hajime Sorayama, the Japanese illustrator of sexy robot pinups. Having worked in the field for 40 years, Ferry has gained a unique vantage point from which to consider the art of Costume Design. “I think we are finally getting more recognition, and the public is finally realizing that costumes are an integral part of filmmaking and television. But I also think every year you’re expected to do more with less time. “I think it’s different, I loved it then and I love it now, and I’m really grateful for every day that I can continue to be productive.”
Elysium. Photo: Stephanie Blomkam. © 2012 TriStar Marketing Group, Inc. All rights reserved.
The Edge of Love. Photo: Courtesy of BBC Films
from the Grassi family. His father made the armor for Ben-Hur. They created the prototypes, and the legions of chainmail and brass helmets were forged in India. One of Ferry’s favorite costumes was a gown for Cleopatra. “I knew I had to do something amazing for her, and she was this tiny, gorgeous woman. I found a fabric in Prato, north of Florence. It was unlike anything I had ever seen before.” The gilded leather fringed like peacock feathers became an unforgettable piece. Ferry credits the actors for being wonderful conspirators. “James Purefoy, who played Mark Antony, would wear anything I put on him—any little skirt, any little dress. He kept saying, ‘Oh, what are you going to do next?’ It was lovely. I found one of his fabrics in India, it was the curtain hanging in the store. I bought it and made a cape.” When she finally wrapped Rome, director John Maybury invited her to design The Edge of Love in London. The feature grappled with the complicated relationships surrounding the poet Dylan Thomas, and starred Matthew Rhys, Keira Knightley, and Sienna Miller. The 1940s period costumes are among her favorite designs. “He got me out of my funk [that Rome had ended],” Ferry confides. She has been going full force ever since. In 2013, she designed two films—first, Elysium, with director Neill Blomkamp. “I have worked with Jodie Foster three or four times, when she was 16, at 30, and now at 50,” Ferry notes. “It was really nice to see her at different stages in her life and have that sense of continuity. She’s such a lovely woman.” Next came RoboCop. “It’s very interesting, because most directors want a futuristic look, but they don’t want
Winter 2014 The Costume Designer
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IN FOCUS BOLDFACE NAMES
BFN - Work
Illustrator Liuba Randolph recently collaborated with CD Christine Wada for the upcoming sitcom Mixology, from the writers of The Hangover, premiering this February.
CD Dana Campbell and her team are wrapping the third season of Real Husbands of Hollywood, starring Kevin Hart, Nick Cannon, Boris Kodjoe, Duane Martin, and Nelly.
Illustrator Liuba Randoph’s sketch for Mixology
CD Caroline B. Marx just returned from shooting the first season of CBS/CW’s StarCrossed in New Orleans. The new series, a futuristic Romeo and Juliet story between a human girl and an alien boy, takes place 10 years in the future. Star-Crossed debuts Feb.17 on the CW network.
CD Caroline B. Marx’s costumes for Star-Crossed
Togetherness
CD Kristin Burke just wrapped the wild ride that is Sleepy Hollow after six months on location in Wilmington, NC.
HBO’s new series Togetherness, directed by Jay and Mark Duplass, stars Amanda Peet and Mark Duplass. CD Mynka Draper designed both the pilot and series and CD Sara Jane Slotnick is the costumer/shopper on the show. After designing several episodes of Ironside, CD Frank Helmer has returned to Atlanta for season six of Drop Dead Diva. Additionally, Helmer recently designed four hilarious NHL hockey commercials for Geico Insurance. CD Marissa Borsetto is designing Maron, starring Marc Maron for Fox, airing on IFC. Borsetto is also designing Braddock & Jackson, starring Kelsey Grammer and Martin Lawrence for Lionsgate on FX. CD Alix Hester is designing the new Vince Vaughn and Hailee Steinfeld film, Term Life, which is shooting in Atlanta.
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The Costume Designer Winter 2014
Tom Mison and Nicole Beharie as Ichabod Crane and Abbie Mills in Sleepy Hollow
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
IN FOCUS WARNER BROS. STUDIO FACILITIES
BOLDFACE NAMES
COSTUME DEPARTMENT
Congratulations to all of the
Nominees & Honorees of the 16th Annual
Costume Designers Guild Awards. We thank the members of the Costume Designers Guild
for their continued loyalty & support.
Cedar Cove’s Dylan Neal and Andie MacDowell CD Lorraine Carson just finished a UPC pilot, Girlfriend’s Guide to Divorce. The cast includes Lisa Edelstein, Janeane Garofalo, and Carrie Fisher. Carson and her crew are now gearing up for season two of Hallmark Channel’s Cedar Cove, shooting in Vancouver, starring Andie MacDowell and Dylan Neal. CD April Ferry is starting a series for CBS titled Extant, starring Halle Berry. For Ferry, one of the best things is that it’s shooting in town … the first time in 10 years for our Career Award Achievement winner. CD Chrisi Karvonides is currently in Spain pulling costumes to dress 600 background actors as part of her new pilot, Hieroglyph, for Fox TV, set in ancient Egypt. CD Suttirat Larlarb is designing the feature film 10,000 Saints, with directors Shari Springer-Berman and Bob Pulcini. Larlarb is also designing costumes on Broadway for Of Mice and Men, directed by Anna Shapiro, and Off-Broadway at the Theatre for a New Audience for The Killer, directed by Darko Tresjnak.
818.954.1297 www.wbcostumedept.com CD Janty Yates on set for Exodus © and ™ 2014 Warner Bros. Entertainment Inc.
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The Costume Designer Winter 2014
CD Janty Yates is on location in Fuerteventura in the Canary Islands with Christian Bale, shooting Sir Ridley Scott’s Exodus for Fox.
IN FOCUS
Come and Shop
Universal Studios Costume Department
Costume Rentals
BOLDFACE NAMES
BFN - Work CDG Award nominee CD Julie Vogel is spending the month of January working on 2014 Dos Equis, Most Interesting Man campaign. Which, as usual, is traveling around the world and throughout the decades of time— who needs a vacation?
CD Julie Vogel with the Most Interesting Man
Manufacturing Motion Capture & Green Screen Suits
BFN - ENTREPRENEUERS CD Jo Rosen, along with CD Holly Hill, recently closed escrow on Costume Co-Op in North Hollywood. John Van Hout and David Matwijkow of Local 705, and our own Cliff Chally previously owned the shop. The union custom-made house offers alterations and costume fabrication. Recent clients include everyone from Horrible Bosses 2 and Sons of Anarchy, to 2 Broke Girls.
New & Improved Inventory Gold Room Easy Shopping Convenient client lounge with Wi-Fi Alterations Fitting Rooms Offices 818.777.2722 800.892.1979
CD Jo Rosen and CD Holly Hill, new owners of Costume Co-Op
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Costume Co-Op 11501 Chandler Blvd. N. Hollywood, CA 91601 818.752.7522 www.costumeco-op.com
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IN FOCUS BOLDFACE NAMES
BFN - ENTREPRENEURS On Feb. 1, CD Luke Reichle releases the first book in a series of three, It’s Not About the Clothes: How to Change Your Mind About How You Look, in which Reichle blends 25 years of Red Carpet knowhow with a series of internal exercises to be beautiful inside and out. www.secretsoftheredcarpet.com. Reichle was also featured by TV Guide’s William Keck in an exclusive look at the wedding gown he designed for the character of Beckett in ABC’s Castle. www.tvguide.com
Pretty Little Liars’ CD Mandi Line’s dream is coming true—the Pretty Little Liars clothing line is here. Line has been featured in Pop Style and CD Mandi Line’s clothing line for Pretty Little Liars The Huffington Post. http://popstyle.ew.com and www.huffingtonpost.com.
BFN - Exhibitions CD Michael Travis and CD Jim Lapidus spoke at the event in Las Vegas, Dressing the Glitter Man: The Costume Designers of Liberace. The Timken Museum of Art and the David C. Copley Center for the Study of Costume Design at the UCLA School of Theater, Film and Television will join together to host Art of Fashion 2014: A Design Competition. Eight TFT CD Michael Travis graduate student costume designers have created half-scale costumes inspired by Thomas Gainsborough’s 1788 painting, A Peasant Smoking at a Cottage Door, which is on loan to the Timken from UCLA’s Hammer Museum. CD Dr. Deborah Nadoolman Landis, founding director of the Copley Center, notes,“Our partnership with the Timken Museum on the Art of Fashion is a brilliant way to construct a creative, unique, and truly interdisciplinary educational opportunity for our UCLA students.”
BFN - Press The Hollywood Reporter article “5 Costume Designer Contenders on Creating Characters and Key Pieces,” highlights CDs Mary Zo-
phres, Catherine Martin, Michael Wilkinson, Trish Summerville, and Daniel Orlandi.
Art of Fashion: A Design Competition at the Copley Center for Costume Design The Hollywood Costume Exhibition, curated by Landis, will also travel to the Phoenix Art Museum on March 26 through July 6 following its sold-out run at the V&A Museum in London. Landis hopes that our membership will make the short trip to celebrate each other and our field.
CDs Michael Wilkinson, Trish Summerville, Daniel Orlandi, Mary Zophres, and Catherine Martin in The Hollywood Reporter. 44
The Costume Designer Winter 2014
Compiled and written by: Stacy Ellen Rich lastace@mac.com
With over 30,000 pieces, the Carole Tanenbaum Vintage Collection is an unparalleled collection of vintage costume jewelry with pieces dating from the Victorian era through to the 1980s. Catering to film and television productions for 20 years. Located in Toronto, Ontario. www.caroletanenbaum.com vintagecollection@caroletanenbaum.com vintagecollection@ca 1 (416) 782-3005
COSTUME | CONTEMPORARY | MADE-TO-ORDER | FOX
310 -369-1897 www.foxstudios.com/costumes 10201 W. Pico Blvd, Los Angeles, CA ™ & © 2013 Fox and its related entities. All rights reserved.
Photo: Getty Images
SCRAPBOOK
Theoni V. Aldredge, the CDG Career Achievement winner of 2000, captured both the imagination of the American public and an Oscar® for Costume Design in 1975 for The Great Gatsby. Aldredge famously used pale tones and white to evoke the untouchable world of Fitzgerald’s leisure class. In a single stroke, her brocade cocoon coat, shimmering gown, and headpiece for Mia Farrow’s Daisy conjures the feeling of the character being insulated by the magnificence of her world.
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The Costume Designer Winter 2014
The Official Magazine of the Costume Designers Guild
Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604 costumedesignersguild.com
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