The Costume Designer - Fall 2005 by Costume Designers Guild

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BEST COSTUME DESIGN TERRY RYAN

www.universalpicturesawards.com

vol. 1, issue 1

features Collaborations . . . . . . . . . . . . . . . . . . . . . 22 Nancy Meyers: Director, Writer, Producer Q&A with a distinguished collaborator

Awards Preview . . . . . . . . . . . . . . . . . . . 24 Spotlight Award for Television and Film Designers of the Fifties Edith Head Award Profiling: Colleen Atwood, Robert Blackman, Bill Thomas, Renie Conley, Bill Travilla, Anna Hill Johnstone

departments Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report

The Costume Department . . . . 29 Meet the Illustrators Designers Express History of Dress A-Z

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 COSTUME DESIGNERS GUILD 4730 Woodman Ave., Suite 430 Sherman Oaks, CA 91423-2400 phone: 818.905.1557 fax: 818.905.1560 email: cdgia@earthlink.net

COVER: Marilyn Monroe, The Seven Year Itch, Costume Designer William Travilla The Kobal Collection/ 20th Century Fox/Sam Shaw

The Red Carpet Boldface Names

What’s On/What’s Out . . . . . . . . . . 36 Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Fall 2005 The Costume Designer

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BEST COSTUME DESIGN William Ivey Long

www.universalpicturesawards.com

Editor’s Note PRESIDENT Dr. Deborah N. Landis president@costumedesignersguild.com

VICE PRESIDENT Pamela Shaw vicepresident@costumedesignersguild.com

SECRETARY Barbara Inglehart secretary@costumedesignersguild.com

TREASURER Mary Rose treasurer@costumedesignersguild.com

MEMBERS AT LARGE Deena Appel DAppel@costumedesignersguild.com

Hope Hanafin HHanafin@costumedesignersguild.com

Jacqueline Saint Anne JSaintAnne@costumedesignersguild.com

Carol Ramsey CRamsey@costumedesignersguild.com

BOARD ALTERNATES Valerie Laura-Cooper VLCooper@costumedesignersguild.com

Sharon Day SDay@costumedesignersguild.com

Karyn Wagner KWagner@costumedesignersguild.com

Mary Malin MMalin@costumedesignersguild.com

REPRESENTATIVES ASST. COSTUME DESIGNER REP

Anette Czagany Asst.CostumeRep@costumedesignersguild.com COSTUME ILLUSTRATOR REP

Robin Richesson IllustratorRep@costumedesignersguild.com COMMERCIAL COSTUME DESIGNER REP

Susan Nininger CommercialRep@costumedesignersguild.com LABOR REP

Betty Madden bmadden@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair PFlaherty@costumedesignersguild.com

Cliff Chally CChally@costumedesignersguild.com

Marilyn Mathews MMathews@costumedesignersguild.com

Shay Cunliffe, Alternate SCunliffe@costumedesignersguild.com

EXECUTIVES EXECUTIVE DIRECTOR

Cheryl Downey cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR

Rachael Stanley Executivedirector@costumedesignersguild.com

MAGAZINE STAFF EDITOR Sharon Day PHOTO EDITOR Deena Appel PUBLISHER The Ingle Group

FOR ADVERTISING INQUIRIES CONTACT

Dan Dodd 818.556.6300 dandodd@pacbell.net

an you hear that? It’s the sound of applause! Yes, ladies and gentlemen take your bows. You deserve them! We can exhale now and with pride as we add razzle-dazzle to our media repertoire and announce The Costume Designer. This magazine is for you! The features were written by members of our Guild, the amazing imagery has been collected with the artful eye of our Photo Editor Deena Appel. We thank Kobal Images for their generous support and contribution of the fabulous stills in The Costume Designer. On February 25, 2006, the 8th Annual Costume Designers Guild Awards will be held at the Beverly Hilton Hotel with Presenting Sponsor Swarovski. We will be honoring some of the brightest Costume Designers of the 1950s and spotlighting the meteoric careers of Colleen Atwood and Bob Blackman. In the following pages, you shall see a preview of our honorees in February. By the way, be sure to purchase your seats in advance from our Event Producer, The jLINE Group 310.601.3221 or at cdg@jlinegroup.com.This year’s awards are going to be standing room only! As you turn the pages of this delicious publication you’ll find some old favorites like “Boldface Names” written by Alexandra Welker and Joe Tompkins’ interview with Theodora Van Runkle.Theodora is the Costume Designer who personally cut short the reign of the miniskirt with Faye Dunaway’s brilliant costumes as Bonnie Parker in Bonnie and Clyde. It was then, we embraced the maxi. Film does influence fashion. Betty Madden’s report in “Union Label” tells us how we can participate in our community.Any political step you take, no matter how small, is a contribution toward a better life for workers. Maybe you’ll find a precinct walk will lead right back to your own front door. “History of Dress A–Z” is a new column from Karyn Wagner and Robin Richesson.We know you’ll love this When I am dictionary of dress,starting with the working on a letter A, because research is another problem I never part of the dance and in this first installment they are on pointe. think about beauty. We thank the volunteer editoI only think about rial staff: Wendy Greiner, Dmitri how to solve the Seth, Wendy Chuck, Alexandra Welker, Erin Lareau, Jacqueline problem. But when Saint Anne, and Isis Mussenden for I have finished, if their contributions to The Costume the solution is not Designer. Read on, and enjoy!

“

beautiful, I know it is wrong.

”

– Buckminster Fuller (1895–1983)

In Solidarity, Sharon Day sday@costumedesignersguild.com

Fall 2005 The Costume Designer

BEST COSTUME DESIGNER Arianne Phillips

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walk the line www.walkthelinethemovie.com

www.foxscreenings.com

ÂŠ2005 Twentieth Century Fox

REVOLUTIONARY A BIG, SWEEPING, A ND RAPTUROUS HOLLYWOOD LOVE STORY. “

Could turn out to be the most revolutionary movie of the year. A film in which love feels almost as if it were being invented. It is also a rare crowd-pleaser with the potential to change hearts and minds.” – Owen Gleiberman, ENTERTAINMENT WEEKLY

The New Film From Director Ang Lee

President’s Letter Character Building

Dear Friends,

s of today, Local 892 will publish four magazines and four newsletters each year, a dazzling accomplishment for a San Fernando Valley Guild with 650+ members. William Travilla’s pleated white silk halter dress for Marilyn Monroe in The Seven Year Itch (1955) graces this first-ever cover of The Costume Designer.Another stunning example of our contribution to world culture, this iconic image is emblematic of the Costume Designer’s art. Many of the arresting images in this issue, including the cover, are courtesy of our generous partners at the Kobal Picture Desk Photo Archive. Often anonymous and uncredited in the press, Costume Designers’ credits will not be overlooked here. Our title choice, The Costume Designer, was not an obvious one. Designers are perpetually confused with our colleagues—print stylists and costumers—both in industry and fashion publications. Local 892 deliberately seeks to delineate and define the role of the Costume Designer in motion pictures and television.We know what we do. Our political strategy is education. Educate the industry, the press and the public about costume design, and our status, prestige and salaries will be secure. If the press does recognize our work, it is usually as an extension of fashion, stuck in the style section of the newspaper … as if that’s our greatest contribution. Fashion writers grasp at trends and predictions—it’s part of their job. Motion picture and television costume design is part of that cultural equation. We do create the “look” of a show. But creating a “look” and influencing fashion is not why we do it, nor is it a measure of what designers consider a successful costume. But this is tough to explain to fashion journalists. Costume Designers help create characters—we are first and foremost, visual storytellers. Our work fits as properly in the fine art, business and book-review sections of the paper as it does in the entertainment and style section. Local 892 holds a glamorous class in Costume Design every year at the Beverly Hilton Hotel, this year on February 25, 2006. Our beautiful spokes-goddess Anjelica Huston will make our case passionately from the podium. The CDG will honor Designers of the Fifties: Renie, William Travilla, and Bill Thomas. Our Edith Head Hall of Fame inductee is Designer Anna Hill Johnstone.This winter we pay tribute to legendary designers Moss Mabry, Grady Hunt and Michael Woulfe while revitalizing a great union tradition, Local 892 Gold Cards. Colleen Atwood and Bob Blackman are receiving the first Spotlight Awards for Excellence. Courageous IATSE President Thomas C. Short will receive our President’s Award. Creativity and vision is not limited to designers. Under President Short’s progressive policies, the women and men of the IATSE have flourished. Our union continues to expand and strengthen in an otherwise hostile labor environment. Please join us at the 8th Annual Costume Designers Guild Awards to honor President Short, Colleen, Bob and all our CDG Award nominees. It is your participation that makes our Local strong.

In solidarity, Deborah Landis president@costumedesignersguild.com

OUR MEMBERSHIP CONTINUES TO GROW New members: David Chick, Lisa Marie Harris, Aimee McCue, Lisa Davis, Laura Angotti, Tami Eldridge, President Deborah Landis, Roemehl Hawkins, Okera Banks, Stephanie Miller.

Fall 2005 The Costume Designer

Swarovski is proud to announce its return for the second consecutive year as the Presenting Sponsor of the Costume Designers Guild Awards. We will also once again host an inspirational crystal application workshop for designers during two dates to best accommodate your busy schedules. These will take place in the week following the awards ceremony on February 25—dates/venue/timing to be announced. We genuinely hope we will see you all there, details and invitations to follow soon!

Holiday Greetings, Everyone! We are proud to present the Costume Designers Guild’s first holiday card designed by Illustrator member Robin Richesson. The CDG membership was invited to submit designs which were then voted on by all CDG members attending the October General Membership Meeting. Robin’s design featuring IATSE snowflakes was selected.

The Costume Designer Fall 2005

For Your Consideration In All Categories Including

BEST T PICTURE BEST T COSTUME E DESIGN Jacqueline Durran “SUPREMELY ENTERTAINING AND LUSHLY ROMANTIC. BEWITCHES THE VIEWER COMPLETELY AND INCANDESCENTLY. ####.” - Claudia Puig, USA TODAY

The highly acclaimed new film of Jane Austen’s masterpiece.

For up-to-the-minute screening information visit: www.focusfeaturesawards.com/screeningcalendar

UNION

LABEL

From the Desk of the Executive Director Dear Designers, Assistant Designers and Illustrators,

e’re launched! Ever since my arrival at the CDG, it’s been a major challenge to secure sufficient advertising revenue to get out each CDG newsletter. Not any more! From now on, Advertising Director Dan Dodd and The Ingle Group, a publishing company that produces quarterly magazines for the DGA, SAG, PGA, and our sister, Local 706/Makeup Artists & Hairstylists, will make us look brilliant in every way, professionally, creatively and financially. We will continue to produce a smaller newsletter, also four times a year, to stay in regular touch with you, our membership. Know that these all will arrive in your mailbox at almost NO cost to this Guild, underwritten by generous advertising partners, whom we hope you will support! Spirits were high at our General Membership Meeting on October 17 as 28 new members were sworn in.Energy was also generated by an AFL-CIO representative who reminded members of the many benefits that Labor has negotiated long and hard to secure. Several of us from Local 892 contributed our time to serve on Phone Banks and Precinct Walks, involving the CDG in protecting Labor’s voice during this important election while raising the CDG’s profile. But the heart and soul of the General Membership Meeting concerned the early IATSE negotiations that will take place the first two weeks in December for a new contract beginning August 1, 2006.Your CDG leadership knew what you confirmed in the surveys conducted earlier and at that meeting: it’s all about the money. Money means respect, respect commensurate with our creative contribution.You can count on this being our primary concern in negotiations. I look forward to your reactions to The Costume Designer, which reflects the input of so many of our talented members who have newly volunteered to lend a hand researching, interviewing, and writing. The Costume Designer wouldn’t be in your hands without them. Kudos and thanks to each of them. Watch for their names throughout this issue. More volunteers are welcome and needed; please call or email editor Sharon Day, sday@costumedesignersguild.com, or I see this myself at the office. I see this magazine as a symbol of the magazine as significant forward momentum at the a symbol of Costume Designers Guild that reaches the significant beyond Los Angeles. We may not be a large Local, but we are making our cumulative forward mark. Our members influence world culmomentum ture, one design, and one show at a time. Take pride in yourselves and your work. at the Costume

“

Stay in touch, Cheryl cdowneycdgia@earthlink.net

The Costume Designer Fall 2005

Designers Guild that reaches beyond Los Angeles.

”

IATSE-Time at Showtime— Overall Contract for IATSE Crews for Showtime Development Corporation Inked October 4, 2005 NEW YORK—The International Alliance of Theatrical Stage Employees (IATSE) has signed a contract with the Showtime division of Viacom for exclusive use of IATSE crews on original programming in the United States and Canada. The agreement with Showtime Development Corporation, sought by IATSE for 23 years, mirrors the arrangement IATSE has with HBO Original Programming and creates a level playing field for both pay-cable producers.

Wal-Mart’s Union Commercial November 1, 2005 LOS ANGELES—Picture Vision Pictures, Inc., a Nashville production house, signed with the International Alliance of Theatrical Stage Employees (IATSE) for the filming of a Wal-Mart TV commercial after an organizing drive and a brief work stoppage. The significance of this organizing drive is that Wal-Mart had previously filmed commercials nonunion. Thanks to this contract signing, a crew of 30 will receive retroactive health and pension benefits. More importantly, Picture Vision Pictures, Inc. is now a signatory to a national contract.

MEE DDEESSIIGGNN BBEESSTT CCOOSSTTUUM

J E N N Y B E AVA N

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buenavistapicturesawards.com ©Touchstone Pictures

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Assistant Executive Director’s Report Crewing Up

ou’ve finally got that job you’ve been waiting for. You had a wonderful crew on your last job and you would like to use them again. Did you know that there is a protocol on the hiring of crew? Our costume crew consists of the design team from the Costume Designers Guild,Local 892, and a wardrobe team from our sister local, Motion Picture Costumers, Local 705.The Costume Designer chooses his/her Assistant Costume Designer and Illustrator from the membership of Local 892. Choosing a Costume Supervisor from Local 705 is also generally left to the discretion of the Costume Designer. The Costume Supervisor then hires the costume crew from the membership of Local 705. It is usually to the benefit of the Costume Designer and the Costume Supervisor to consult on the choice of crew so that the most desirable, cohesive crew can be assembled. A Costume Designer cannot and should not hire Set Costumers or Alteration or Workroom crew prior to hiring a Costume Supervisor. This is a violation of contract. It is important to determine if adequate staffing is in place to handle the workload the Designer and Supervisor determines the show will require. Each project must have a Costume Supervisor and that Supervisor must begin work once there are costumes to be handled, purchased, or rented. The Designer and Supervisor can then collaborate on how the rest of the man-hours will be best utilized on the project. The Designer may request that due to the nature of the project and the location of the work site that an on-site Alteration team be included in the budgeting of the crew. However, the actual hiring of that crew

FOR YOUR C O N S I D E R AT I O N

BEST

COSTUME DESIGN SANDY POWELL

The Costume Designer Fall 2005

comes under the jurisdiction of the Supervisor and Local 705. It is the job of the Costume Supervisor to direct the Local 705 crew. However, the design team is under the supervision of the Costume Designer. The Assistant Costume Designer answers directly to the Costume Designer and works closely with him/her in all design areas of the project.The Asssistant Costume Designer does not work under the Costume Supervisor and should not be directed to perform any work by the Supervisor. When you are ready to crew up on your next project,be sure to keep these guidelines in mind. Maintaining a happy and productive Costume Department is an art that is made easier by knowing the rules and established protocol and working within the parameters of the Basic Agreement.

Rachael Stanley rmstanleycdgia@earthlink.net

Labor Report NOVEMBER 9, 2005 Congratulations to the West Coast IATSE political action organization and President Thomas Short, on giving all to win a victory in the California, November 8, 2005 Special Election. When the time came to stand up and be counted, the entertainment industry labor force did all it could to stop Propositions 74, 75, and 76 from passage.The rally at IATSE Local 80 was electrifying on the morning before the election. When the polling locations were relocated,we started contacting all union workers in the private and public sectors to let them know about the change in their polling locations. GOTV,“get out the vote,” started at 7 a.m. walking and calling our brothers and sisters until 8 p.m. when the polls closed. We were at our assigned polling locations to make sure everyone who wanted to vote did vote. Union workers all over the state can feel a special pride in this victory. When the Governator tried to silence the voice of organized labor, we said,“No.”

CDG Labor Representative Betty Pecha Madden bmadden@costumedesignersguild.com

TION : CONSIDERA FOR YOURTEGORIES INCLUDING A C L L IN A

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DIEN VAANLEN STRA

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Fall 2005 The Costume Designer

NOTEWORTHY EVENTS December 2005– January 2006

COSTUME DESIGN CENTER Costume Rentals • Manufacturing • Prep Spaces

818.954.1297 • 800.375.3085 wbsfcostumedesk@warnerbros.com

WEDDING GOWNS, 1880–PRESENT King Vintage Museum Vintage Clothing and Lifestyle Museum Oakhurst, Calif. (559) 658-6999 Ongoing 18TH CENTURY RED VELVET MAN’S COURT SUIT Legion of Honor, Lincoln Park, San Francisco, Calif. November 12, 2005, to May 14, 2006 JANE AUSTEN: FILM AND FASHION Museum of Costume Bennett Street, Bath BA1 2QH Tel. 44.0.1225.477789 To December 31, 2005 TREASURES FROM THE ATTIC South San Francisco Historical Society Museum Magnolia Senior Center South San Francisco, Calif. (650) 829-3825 Ongoing TAISHO CHIC: JAPANESE MODERNITY, NOSTALGIA AND DECO University of California Art Museum Berkeley, Calif. (510) 642-0808 To December 23, 2005 STYLE AND SPLENDOR QUEEN MAUD OF NORWAY’S WARDROBE 1895-1938 Victoria and Albert Museum London, SW 7 Tel. 44.0.20.7942.2000 Through January 8, 2006

L.A. OPERA WORKSHOP

On January 4, the L.A. Opera and its Costume Director, Jenny Greene, are extending a generous invitation to a small group of CDG members to observe the Opera’s workshop in full work mode that Wednesday at 11 a.m. The first 10 members to RSVP to the CDG at 818.905.1557, ext. “0” will be able to take this rare tour of the L.A. Opera’s costume shop and wardrobe stock. Mark your calendar and make your reservation ASAP! 18

The Costume Designer Fall 2005

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE BEST COSTUME DESIGN Odile Dicks Mireaux

“####. A masterwork. Dazzles the eyes and engages the brain in a way that few recent films have come close to approaching.” – Claudia Puig,

best costume design

“The look of the film is astoundingly detailed, from the replica of Jerusalem to the costumes of the combatants… It looks like

Janty Yates

it means business, and it does.”

Jeffrey Chen, ReelTalk

Collaborations Nancy Meyers: Director, Writer, Producer`

f there’s one thing Nancy Meyers knows, it’s strong women. From Private Benjamin to Baby Boom and I Love Trouble to What Women Want, Meyers has spent her career telling stories about complicated women who learn how to stand out in a man’s world. In 2003, Ms. Meyers gave the traditional May-December relationship a long overdue fresh face with her hugely successful film Something’s Gotta Give and in the process, proved that women can be as bankable at the box office as their counterparts. In this first installment of questions posed to a distinguished collaborator, I asked Nancy Meyers about the importance of contemporary Costume Design.

The first thing I look for is a sense of style. I find almost everyone is starting to look alike, young and old, male and female—so someone with a true sense of individuality and style that they can impart to the characters is very valuable. I want someone with a vision for the characters. HOW DO YOU THINK COSTUME DESIGN CONTRIBUTES TO THE STORY, A CHARACTER AND EVEN THE ACTOR’S PERFORMANCE?

By surprising the audience or by reinforcing character with costume, helps tell the story. Something old, something too big, something sexy. A signature item. I look for ideas as well as collaboration from the Costume Designer in the area of story. Character? Well, as Fitzgerald said,“character is action.” So doing the character right or enhancing it, continues to tell the story. In Baby Boom, Susan Becker came up with the idea to belt all of Diane Keaton’s suits. I thought that idea gave Diane’s work look a real identity. She was not just the corporate woman in an Armani suit. I also thought it felt as if Diane was wearing armor and I think it helped create her walk and her office persona. AS A WRITER FIRST AND THEN A DIRECTOR, DID YOU HAVE A DIFFERENT PERCEPTION OF COSTUME DESIGN AS YOUR CAREER EVOLVED?

Yes. Right away, on my first film I realized how the wrong costume could really affect a scene and the right one could enhance everything. Each new outfit is like someone else is adding dialogue to my scene. Letting it enhance but not letting it intrude or misdirect is a tough balancing act. HOW DO YOU WEIGH TALENT VS. BUDGET, CONSCIOUSNESS VS. PERSONALITY, IN HIRING/WORKING WITH A COSTUME DESIGNER?

Good question.Talent is everything.Well almost. A difficult personality can ruin that, right? So, I guess a talented, collaborative person is what I look for. But if I had to choose the most important characteristic, I’d pick talent. Always. WITH THE ACTORS IN THE CENTER OF EVERY FRAME, WHERE DO YOU SEE THE COSTUME DESIGNER’S PLACE OF VALUE IN RELATION TO THE PRODUCTION DESIGNER, CINEMATOGRAPHER AND EDITOR?

You got it.The Costume Designer is right up there.Those are the big jobs.Those are the people who control what we see on the screen.That’s the kitchen cabinet. HOW IMPORTANT DO YOU FIND THE COLLABORATION BETWEEN THOSE DEPARTMENTS TO HELP REALIZE YOUR VISION?

Essential.The more synergy the better.If someone shows up in a shirt the same color as the wall they’re standing in front of ... that’s definitely a problem. I think the Costume Designer and Production Designer need to constantly talk. The way you live and the way you dress are often similar, both suggest character and choices.

The Costume Designer Fall 2005

From top: Father of the Bride Touchstone/The Kobal Collection/Steve Schapiro, Nancy Meyers, Something’s Gotta Give Columbia/Tri-Star/The Kobal Collection, Private Benjamin Warner Bros./The Kobal Collection

WHAT QUALITIES DO YOU LOOK FOR IN A COSTUME DESIGNER?

YOU’RE KNOWN FOR WRITING AND DIRECTING CONTEMPORARY FILMS. HOW ARE THEY TOUGH FOR THE COSTUME DESIGNER TO GET IT “RIGHT”?

The hard job, the exciting job is to do a contemporary film in an inventive way. It’s tough to get it right because it’s so easy to make it current with no individuality.Trends are dangerous. WHAT CONTEMPORARY FILM WAS MEMORABLE TO YOU BECAUSE OF THE DESIGNERS’ USE OF COSTUMES?

Remember that silly dress Shirley MacLaine wore in Terms of Endearment [Kristi Zea]? It was so funny, and then when she got wet in it, she was flopping around. It gave her so much to work with. PERIOD FILM?

How about Bonnie and Clyde [Theodora Van Runkle]? I bet when Faye Dunaway dressed as Bonnie Parker, she was halfway there with her character. Crime, sex and style. Very memorable. I love Roz Russell’s pin-striped suit

in His Girl Friday [Robert Kalloch] and that hat she wore which she was never comfortable with. She used it as a great prop to show her indecision.And how about Annie Hall [Ruth Morley]? A new kind of sexy was created. I could go on and on.

Credits DIRECTOR, WRITER, PRODUCER Holiday 2006 [Marlene Stewart] Something’s Gotta Give 2003 [Suzanne McCabe]

DIRECTOR, PRODUCER What Women Want 2000 [Ellen Mirojnick]

DIRECTOR, WRITER The Parent Trap 1998 [Penny Rose]

WRITER, PRODUCER Father of the Bride II 1995 [Enid Harris] I Love Trouble 1994 [Susan Becker] Father of the Bride 1991 [Susan Becker] Baby Boom 1987 [Susan Becker] Private Benjamin 1980 [Betsy Cox]

WHAT DO YOU FIND TO BE THE SINGLE BIGGEST CHALLENGE FOR YOU AS A DIRECTOR?

Hmmmm. I suppose the biggest challenge is always to listen to my gut, every take, every scene, every day. A long time ago, I read William Wellman who said a director “must resist the temptation to be a good fellow.” I understand that so well. DO YOU THINK THAT THERE ARE STILL BARRIERS FOR WOMEN IN THIS INDUSTRY?

Unfortunately, yes. But what else is new?

By Deena Appel dappel@costumedesigners guild.com

Fall 2005 The Costume Designer

Awards Preview SPOTLIGHT IN FILM AWARD

olleen Atwood has said of her impressive list of work that ranges from period, to contemporary dramas to futuristic stories, that she relishes the opportunities to create new worlds.“I feel like I’ve been lucky in the things I’ve gotten to work on because I’ve really been able to keep it fresh, always getting to do different kinds of things.” With a fashion degree from Cornish School of Fine Arts in Seattle, Colleen Atwood began her career as an assistant to Production Designer Patrizia van Brandenstein on the film Ragtime (1981). Her first solo credit as Costume Designer was on director Michael Apted’s Firstborn (1984). She next collaborated with renowned Production Designer Fernando Scarfiotti designing the costumes for the Sting concert film Bring on the Night (1985). This early association with the performer resulted in Atwood’s designing the costumes for Sting’s concerts and music videos. Award-winning Costume Designer Colleen Atwood has collaborated several times with directors Tim Burton and Jonathan Demme and her subtle and versatile work was also seen in Jonathan Demme’s Philadelphia, The Silence of the Lambs and Married to the Mob.The same year she received Academy Award and BAFTA nominations for Little Women,Atwood also created costumes for Wyatt Earp. She had previously received a BAFTA nomination for her special contribution to Tim Burton’s Edward Scissorhands. More recently she designed the costumes for Burton’s Mars Attacks and Big Fish. In 2002, she collected an Oscar for her work on Chicago. She was previously nominated for Sleepy Hollow, Beloved, and Little Women. Ms.Atwood won the CDG Award, BAFTA, and Golden Satellite Awards for Sleepy Hollow in 1999, and her second CDG Award again in 2004 for Lemony Snicket. Adding to her already prestigious career are the soon-to-be-released Memoirs of a Geisha and Mission Impossible 3.

The Costume Designer Fall 2005

Clockwise from top left: Colleen Atwood, Mars Attacks Warner Bros./The Kobal Collection/Bruce Talamon, Lemony Snicket Paramount/Francois Duhamel, Geisha Illustration by Felipe Sanchez courtesy Colleen Atwood

Colleen Atwood

SPOTLIGHT IN TELEVISION AWARD

Clockwise from top right: Bob Blackman, Enterprise’s “Muk” courtesy Bob Blackman, Voyager’s Jeri Ryan Paramount TV/The Kobal Collection, Deep Space Nine The Kobal Collection

Robert Blackman

obert Blackman has designed costumes for more than 600 hours of episodic television—the vast majority for the Star Trek franchise. Bob became the Costume Designer for The Next Generation at the beginning of its third season; he continued through its seven-season run and designed the following three series for their entire runs: Deep Space Nine (seven seasons), Voyager (seven seasons), and Enterprise (four seasons). During those 18 years at Paramount, Blackman was able to experiment with costume in ways more common to film than television. The producers supported Blackman with a solely dedicated workroom under the remarkable supervision of Carol Kunz, and staffed by extraordinarily talented Costumers and wardrobe artisans. At capacity, the workroom employed a core staff of 14, which would often climb to 30.The background action could consist of as many as 80 extras a day, each individually pre-fitted and altered. A typical episode would require manufacturing costumes from leather, neoprene, spandex, metal, wool and chiffon—often in complex combinations. Beyond the challenge of inventing centuries yet to be, each series left no period unexplored—Greek, Gothic, Victorian, the American West, the 20th century (including an ongoing tribute to 1930s), space genre, and even an homage to Costume Designer William Ware Theiss’ original 1966 Star Trek series uniforms. Blackman is completely indebted to those members of his team who realized, and often improved upon what was originally sketched, repeatedly producing couture quality costumes in mere days. Blackman won an Emmy Award in 1991–92 for Star Trek: The Next Generation and has received nine nominations. His film work includes ’night, Mother, The Running Man, Stones for Ibarra, Star Trek VII: Generations and Star Trek X: Nemesis. His recent theatrical work includes Costume Design for The Lady With All the Answers at the Old Globe, The Royal Family at the Ahmanson Theatre (Ovation nomination), Cat on a Hot Tin Roof and Uncle Vanya at the Geffen Playhouse. Robert Blackman has an MFA from the Yale School of Drama.

Fall 2005 The Costume Designer

Designers of the Fifties Bill Thomas was born on October 13, 1921, in Chicago, Illinois. He created costumes for more than 300 films. After studying at USC and the Chouinard Art Institute, Los Angeles, he served in the Army Air Corps during World War II and provided fashions for United Service Organizations shows. After the war he was an apprentice designer at Metro-Goldwyn-Mayer from 1947 to 1949 and later worked for Universal Studios and Walt Disney Productions. Thomas and fellow designer Valles shared the Oscar for Best Costume Design for their work on Spartacus (1960). Among other films for which Thomas received Oscar nominations were Toys in the Attic (1963), Ship of Fools (1965), and Bedknobs and Broomsticks (1971).

Renie Conley Renie, born Irene Brouillet and also known as Renie Conley, was born on July 31, 1901, in Republic,Washington. Renie received an Academy Award for Costume Design for Cleopatra and was nominated for The Model and the Marriage Broker in 1951, The President’s Lady, The Big Fisherman and Caravans in 1978. For more than three decades, Renie was a prominent Hollywood Costume Designer noted for clothing the stars in subtle, elegant outfits, as can be seen in the costumes Ginger Rogers wore as the glamorous AllAmerican working girl in Kitty Foyle (1940). She got her start designing theater sets and then working as a sketch artist for Paramount. In 1937, she became a Costume Designer for RKO. She remained with the studio, attiring its biggest stars until the ’50s when she started freelancing. In addition to films, Renie’s work can also be seen on such TV series as Haywire.

Bill Travilla

Bill Travilla was born on March 22, 1920.With more than 100 credits to his name spanning from the 1940s until the 1980s, he is one of our most prolific designers. Travilla, as he was known, became a Hollywood star in his own right, thanks in large part to his premier client, actress Marilyn Monroe. Best known for designing Monroe’s costumes in eight films—including Gentlemen Prefer Blondes and How to Marry a Millionaire—Travilla also lit up the silver screen with Valley of the Dolls, Black Widow, There’s No Business Like Show Business and Bloodhounds of Broadway.When the Golden Era of Hollywood ended, Travilla focused on running his own couture-quality business. He also found time to freelance for television epics such as Evita, The Thorn Birds, and Dallas. One Oscar and several Emmys later, it’s easy to recognize the legacy of this outstanding designer.

Isis Mussenden imussenden@hotmail.com

The Costume Designer Fall 2005

Counterclockwise from top right: Cat Ballou Columbia/The Kobal Collection, Kitty Foyle courtesy Deborah Landis, The Revolt of Mamie Stover 20th Century Fox/The Kobal Collection, Bill Travilla, Bill Sarris Collection/Schiffer Publishing, Renie Conley Photofest, Bill Thomas Photofest

Bill Thomas

Edith Head Award

From top: The Godfather, Serpico courtesy Deborah Landis

Anna Hill Johnstone Anna Hill Johnstone was born in Greenville, South Carolina, in 1913. For more than four decades she designed many classics from Splendor in the Grass to The Godfather. She passed away on October 16, 1992. In the ’50s she began her career designing East of Eden, A Face in the Crowd, Baby Doll and The Pawnbroker. Moving into the ’60s you would know her for such cult films as Fail-Safe and Alice’s Restaurant. In addition, The Subject Was Roses, The Swimmer, Frankenstein Meets the Space Monster and Trilogy. Anna in the ’70s worked with some of the finest filmmakers today. Starting with the aforementioned The Godfather, the list is very impressive: The Last Tycoon, Dog Day Afternoon, Serpico, The Stepford Wives, Play It Again, Sam, Gordon’s War, King of the Gypsies, Going in Style and many more. In her fourth decade of designing costumes, Anna graced us with the beautiful Ragtime, Prince of the City, Daniel, and The Verdict. In her final film, A Night in Heaven, she not only costumed but also production designed.

Isis Mussenden imussenden@hotmail.com Fall 2005 The Costume Designer

THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS Dmitri Seth is a Costume Illustrator from a musically gifted Native American family in Idaho. After a dancing career in New York, Dmitri, returned to school to study design, draping, sewing and illustration and he graduated with honors. In moving from creating with dance on stage to creating costumes off stage, Dmitri has brought with him his love of music. He MUST have music when he works because silence unnerves him. At the TV Academy’s Family Day this year, Dmitri taught kids to imbue character into the costumes they draw. He facilitates their drawing skills by showing them how to illustrate a wrinkle, a fold or a textured fabric. Becoming a Local 892 Illustrator is Dmitri’s entry point to the world of costumes and the designers who create them. Attending a CDG meeting or stopping by the CDG office motivates him in his career. Partnering with his EBoard illustrator representative, Robin Richesson, he has created an Illustrator’s Gallery Show at every General Membership Meeting. Dmitri is motivated to share his talent, and has an abundance of skills, incentive and enthusiasm to bring to any project. Call (626) 296-0944 or email him at dantonseth@sbcglobal.net

Illustrated By DMITRI SETH

Jude Christian Orlando was born in Hawaii where he grew up carefree, barefoot and joyous. He carried that joie de vivre with him here to California where he graduated from the Fashion Institute of Design and Merchandising (FIDM). After a study tour in Paris, Jude returned to Los Angeles where he began working in the fashion industry as an Associate Designer. Jude worked with the late curator Maggie Murray at the FIDM Museum doing fashion illustrations for the FIDM website. Maggie introduced Jude to Costume Designer Jacqueline West, and she mentored him into Local 892 as an Illustrator. Jude has illustrated many films for Jacqueline including The Banger Sisters and Lonely Hearts. Recently, Jude has also illustrated Running With Scissors for Lou Eyrich. Local 892 has been the grateful recipient of Jude’s generosity of spirit. He has volunteered tirelessly with Sharon Day to create and launch our CDG website, develop and edit our newsletter and bring technological education to our membership enabling them to post their portfolios online. Currently, Jude is on a brief hiatus from the industry— returning to the world of fashion at the invitation of Guess? Handbags. Jude is rushing to finish his Spring 2006 “Men’s Carry Wear” line available in retail stores in January 2006. Call (310) 922-7474 or email him at judecorlando@yahoo.com Jacqueline K. Saint Anne jsaintanne@ costumedesignersguild.com

Redfern Illustrated By JUDE CHRISTIAN ORLANDO

Fall 2005 The Costume Designer

THE COSTUME DEPARTMENT

DESIGNERS EXPRESS Joe Tompkins Interviews Theodora Van Runkle

heodora Van Runkle is easily one of the most intriguing, wildly imaginative, and extraordinarily talented members of our Guild. She is also ethereal and divinely quirky. All those definitions of “artistic” seem to swirl around her in total abandon. Theodora has enjoyed an amazing career of diverse and “dream” projects. I’m using a lot of superlatives here, but you cannot talk about Theodora without them. Theodora grew up in Beverly Hills and San Marino, but as she says, “escaped early in Life.” She first dreamed of being a muralist, then a sculptor, then an illustrator. By the time she was 6, she envisioned her destiny, and “saw” herself with a portfolio under her arm. With two children to support alone, going into the film business, and being

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successful there, was a necessity. “Dorothy Jeakins gave me my start, my first chance in films.” Her mentors? All the artists she had read about. Among her favorite and most memorable career experiences was designing for Faye Dunaway. “I LOVED

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The Costume Designer Fall 2005

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designing for Faye Dunaway! Who wouldn’t? She is so beautiful and made for clothes—every inch perfect!” Another who provided her with her best designing experiences: “I loved and was appreciated by Colin Higgins who wrote Harold and Maude and directed The Best Little Whorehouse in Texas—he was generous and funny-quirky and he ‘got’ me.” Asked about worst career experiences: Theodora has never minced words and is very outspoken—she NAMES names. So maybe we’d best just move along here. Now Theodora describes herself as an Ardent Recluse, who fills her busy days with writing and illustrating stories, beautifying a constantly expanding garden, reading, studying, painting and traveling. She rewards herself with “a stroll through the garden at twilight,” and gets her greatest pleasure from “difficult jobs well done. I believe in the virtue and rewards of hard work enjoyed—and in envisioning results.” Her favorite word: Surrender. Her most despised word: Hate. Her favorite sounds: Footsteps on gravel, and Chopin. Least favorite sounds: Auto horns in traffic. Her favorite curse word: [the lady-like] Merde! Theodora’s Words of Wisdom to the new and upcoming designer generation: “Inform yourself, and be educated in every aspect of the job—the business, the

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I believe in the virtue and rewards of hard work enjoyed— and in envisioning results.

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management, the exactitude of the experience—not just the inspiration and visionary parts. Be sure to have a crew and assistants who are stable, trustworthy, and on your side. You will probably have to earn their respect and loyalty, [which is] not an easy task.” When Theodora gets to the Pearly Gates, she would most like to hear St. Peter say, “Baby, you overcame it all, rose above it, and outwitted all that lousy karma.”

Joe Tompkins joe@caststoneelements.com

Fall 2005 The Costume Designer

HISTORY OF DRESS A-Z Aba, abba, abaya: Simple tunic from Africa, Turkey, The Middle East. A length of cloth folded over with openings left for head and arms, may be used as a cloak or blanket. Most often made of wool, (camel or goat) plain or striped. Upper classes may wear silk.

Acca: A medieval fabric woven of silk mixed with gold threads. It was probably named for Acre, the Syrian seaport that was central to the Crusades. Aigrette: Upright plumes or tufts of feathers from the egret or heron. They were often used for women’s headdress, or hat trimming and were very popular in the ’20s.

Alb or alba: A secular tunic with its origin in ancient Rome worn up to the ninth century. Longsleeved and full-length, it was white and usually embroidered. The alb is now exclusively worn as a liturgical garment.

All-in-one: Combination brassiere and corset, often including panties or a girdle. It first appeared in the ’20s using steel instead of the whalebone used in earlier corsets. By the ’30s, steel had been replaced by a two-way stretch fabric called Latex. Argyle: A multi-colored diamond pattern in socks, sweaters and scarves. Argyll is the name of the clan whose tartan is imitated in this kind of knitting.

Ascot: A broad neck scarf, usually double. It is tied so that both ends come horizontally on each side of the knot, then cross diagonally. A doubled scarf that is informally looped under the chin may also be referred to by this term. It is named after the famous British horse races at Ascot Heath.

Attifet: A heart-shaped headdress worn by ladies in the 16th century. The front edges were wired to hold the shape which dipped to a point over the forehead and curved up and back in an arc on either side. The headdress was usually white, or silk or linen, and was embroidered and trimmed with lace edging. Mary Queen of Scots favored this headdress, while Catherine de’Medici favored a black version in her widowhood. By Karyn Wagner kwagner@costumedesignersguild.com Illustrations by Robin Richesson

ABA ALL-IN-ONE

AIGRETTE

The Costume Designer Fall 2005

ATTIFET

Resources: African dress: http://www.costumes.org/ethnic/1PAGES/afrocentriclinks.htm#Traditional%20Dress • Aztec dress: http://www.angelfire.com/az/atid410/and http://www.britannica.com/eb/article-14020 • Karyn Wagner karenwagner@earthlink.net and Robin Richesson robins.nest@verizon.net

THE COSTUME DEPARTMENT

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IN FOCUS

Congratulations President Short

THE RED CARPET Spoylt Lingerie threw a September fundraiser for the Susan G. Komen Breast Cancer Foundation with Design for the Cure 2005, a cocktail party and fashion show spotlighting the Emmy-nominated Costume Designers Catherine Adair, Janie Bryant, Laura Goldsmith, Chrisi Karvonides Dushenko and Jill Ohanneson. In November, Premiere magazine and Hamilton Watches partnered in the third annual Timeless Style Awards saluting the impact of Costume Design on film, honoring Marit Allen, Deena Appel, Betsy Heimann, Jeffrey Kurland, Arianne Phillips, Rita Ryack, Anna B. Shepard, Nancy Steiner and Mary Zophres. Paul Turcotte, Premiere magazine’s Vice President and Publisher, describes the awards as “the perfect vehicle to salute the big screen’s style makers and to continue to support the film industry.” Hamilton Watches U.S. General Manager Patric Zingg said,“We believe that the spirit of the movies is created by the Costume Designers, who bring the characters that we watch to life every day.”

SpoyIt Lingerie for Susan G. Komen from left: Janie Bryant, Laura Goldsmith, Betty Rodriquez, Cate Adair, Jill Ohanneson

By Alexandra Welker awelk@earthlink.net

BOLDFACE NAMES The Costume Designers Guild, Local 892, recently turned out in style to congratulate IATSE President Thomas Short, who was honored at Local 871’s five-year anniversary celebration in Studio City hosted by the remarkable Local 871 Business Agent Lainie Miller. Pictured with President Short are Local 892 Officers, Executives and Eboard members Deborah Nadoolman-Landis, Cheryl Downey, Sharon Day, Jacqueline Saint Anne, Karyn Wagner, Valerie Laven-Cooper, Barbara Inglehart and Jude Orlando. Spoylt Lingerie’s fundraiser for the Susan G. Komen Breast Cancer Foundation,“Design for the Cure 2005,” a cocktail party and fashion show spotlighting the Emmy-nominated Costume Designers. Catherine Adair, Janie Bryant, Laura Goldsmith, Chrisi Karvonides Dushenko and Jill Ohanneson mixed costumes from their respective series with Spoylt’s sexy intimates for an alluring runway show. The first-time event was a huge success, raising $10,000. In a gala ceremony at the Beverly Hills Hilton, Colleen Atwood received the “Hollywood Costume Designer of the Year” award at the Hollywood Film Festival in October. Colleen’s Memoirs of a Geisha graces the December issue of Vogue, a special fantasy issue also featuring Tilda Swinton as the White Witch of The Lion, the Witch and the Wardrobe, which showcases designer Isis Mussenden’s dramatic costumes. Janie Bryant’s Deadwood is featured in the New York Times Travel Magazine’s November 20 issue, which profiles Deadwood, South Dakota, as a travel destination—exploring the impact that Deadwood has had capturing tourists’ imagination. On November 22, at Christie’s New York, Bob Mackie is auctioning costumes from The Carol Burnett Show and The Sonny & Cher Comedy Hour, red-carpet gowns and costume sketches. Covering his 40-year career in Hollywood, “Mackie: Costume and Couture From the Private Archives of Bob Mackie” includes Whoopi Goldberg’s “Queen Elizabeth I” from the 1999 Academy Awards and Elton John’s “Donald Duck” costume from his 1975 tour. A portion of the sale benefits the Elton John AIDS Foundation. Two of Bob’s fabulous costumes from Once Upon a Mattress are on display at the Museum of Radio and Television in Beverly Hills. In December, Costume Designer Erin Lareau pulls off the costumes for a lavish, contemporary Latin music extravaganza airing on PBS. Nights of Fire stars Benise, a flamenco guitarist on a musical journey through samba, salsa, and carnival music. By the way, the Fowler Museum at UCLA begins their exhibition on Carnival later this month. At our 8th Annual CDG Awards on February 25, legendary designers Moss Mabry, Michael Woulfe and Grady Hunt will be honored for their contribution to the art of Costume Design and their long-standing membership in the Costume Designers Guild, Local 892. See you there!

Alexandra Welker awelk@earthlink.net

Timeless Style Awards: Gilbert Flores, SpoyIt Lingerie for Susan G Komen: Mark Sullivan

Timeless Style Awards from left: Betsy Heimann, Deena Appel, Nancy Steiner, Arianne Phillips, Rita Ryack

An Open Invitation to Join Us for a Cocktail and a Viewing of Our Collection

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Big Love

Bones

Costume Designer:

CHRIS KARVONIDES

BOBBIE READ

Criminal Minds

Commander in Chief

Costume Designer:

CATHERINE THOMAS

Costume Designer:

VICKI SANCHEZ

E-Ring Costume Designer:

Invasion

MAGALI GUIDASCI

Costume Designer:

Assistant Designer:

CHRISTINE PETERS

YASMINE ABRAHAM

Ghost Whisperer

How I Met Your Mother

Costume Designer:

JOSEPH PORRO

SUSANNA PUISTO

Rome Costume Designer:

APRIL FERRY

My Name Is Earl Costume Designer:

GIOVANNA OTTOBRE-MELTON

The Costume Designer Fall 2005

Everybody Hates Chris Costume Designer:

DARRYLE JOHNSON

Big Love HBO/ Ron Batzdorff, Bones FOX/Frank Ockenfels, Commander in Chief ABC/Peter “Hopper” Stone, Criminal Minds Touchstone TV/Nigel Parry, E-Ring Warner Bros.TV, Invasion ABC/Bob D’Amico, Ghost Whisperer Touchstone TV/Robert Voets, How I Met Your Mother CBS/Monty Brinton, Rome HBO/Franco Biciocchi, Everybody Hates Chris UPN/Robert Voets, My Name Is Earl NBC Universal

WHAT’S ON

Aeon Flux Paramount/Jasin Boland, Brokeback Mountain Focus Features/Kimberly French, The Chronicles of Narnia Disney, The Family Stone 20th Century Fox/Zade Rosenthal, Fun With Dick and Jane Columbia Pictures/Ralph Nelson, Memoirs of a Geisha Sony Pictures/David James, Jarhead Universal Studios, Rent Sony Pictures/Phil Bray, Rumor Has It Warner Bros. Pictures/Melissa Moseley, Walk the Line 20th Century Fox/Suzanne Tenner, The New World New Line Productions/Merie W. Wallace

WHAT’S OUT Brokeback Mountain Costume Designer:

MARIT ALLEN

The Chronicles of Narnia

Aeon Flux Costume Designer:

ISIS MUSSENDEN

BEATRIX ARUNA PASZTOR

Assistant Designer:

KIMBERLY ADAMS

ALEXIS SCOTT

Costume Designer:

Fun With Dick and Jane

The Family Stone

Costume Designer:

JULIE WEISS

SHAY CUNLIFFE

Assistant Designer:

JOHN PRAY Jarhead Costume Designer:

Memoirs of a Geisha

ALBERT WOLSKY

COLLEEN ATWOOD

Costume Designer:

Assistant Designer:

GEORGE LITTLE

FELIPE SANCHEZ

Rumor Has It Costume Designer:

Rent (1980’s)

KYM BARRETT

CostumeDesigner:

Assistant Designer:

AGGIE RODGERS

HOLLY DAVIS

Walk the Line Costume Designer:

The New World

ARIANNE PHILLIPS

Costume Designer:

Assistant Designer:

JACQUELINE WEST

CARLOS ROSARIO Fall 2005 The Costume Designer

Photos courtesy of Deborah Landis

SCRAPBOOK

Above: Designer Irene Sharaff (left) with Lily Fonda fitting a gown for Elizabeth Taylor in Cleopatra

The Costume Designer Fall 2005

“...‘Shopgirl,’ which is both funny and sweetly sad, aims for something other than salaciousness or sentimentality. It is partly about how the specter of love can give ordinary life a feeling of risk and enchantment, a process that Mr. Tucker discreetly recapitulates on screen...Claire Danes’ performance is flawless.”

A.O. Scott, The New York Times

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Nancy Steiner

BEST COSTUME DESIGN

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