The Costume Designer - Fall 2006 by Costume Designers Guild

For Your Consideration In All Categories Including

BEST PICTURE Produc ed by

Mike Medavoy David Kirschner Corey Sienega Arnold W. Messer David Thwaites

BEST COSTUME DESI GN

Anthony Powell

vol. 2, issue 4

FEATURES Merchandising When Costumes Become Merchandise

. . . . . . . . . . . . . . . . . 16

Technology: The Expanding Frontier We ♥ CGI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Designing With Technology . . . . . . . . . . . . . . . . . . . . . . 22 Time to Design Your Website . . . . . . . . . . . . . . . . . . . . . 24

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report Labor Report

The Costume Department . . . . . . . . . . . . . . . . . . 26 Meet the Illustrators History of Dress

What’s On/What’s Out . . . . . . . . . . . . . . . . . . . . . 30 In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 My Travels With Isis Location, Location, Location Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Thank you to the volunteers and contributors to this Fall 2006 issue.

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

Kimberly Adams Elena Baranova Audrey Fisher Joanna Johnston Erin Lareau Allison Leach Dana Onel Robin Richesson Jacqueline Saint Anne Karyn Wagner Michael Wilkinson The Kobal Collection

Fall 2006 The Costume Designer

EDITOR’S NOTE

ongratulations all! It’s been one year since the launch of your very own CDG–produced, all-volunteer magazine, The Costume Designer. This year has been challenging, exhausting, even frustrating, but it’s been hugely rewarding. We now have a platform from which to share our insights and our accomplishments, to communicate and educate each other and our industry. We are finally setting the record straight as to who we are and what we do. You may have noticed that Sharon Day and I have officially switched positions; we have been partners in this venture from the start. We will continue to collaborate with Deborah and Cheryl on growing the magazine in years to come.We are not losing Sharon’s vision; we are gaining an Education Committee! When I first joined the CDG in 1990 Art produces ugly things (after two years as a member of 705), I which frequently become more didn’t know a single designer … and beautiful with time. Fashion, couldn’t imagine that I ever would. on the other hand, produces There’s only one of us on any given project. beautiful things which always And after all, we’re competitors. Right? How that climate has now changed. We’ve become ugly with time. paved the way for designers as friends and -Jean Cocteau support team. I can now pick up the phone and call my fellow designers for crew recommendations, location sources and even the taboo deal memo questions that once kept us all in the dark.We understand that together we are stronger. Every designer’s breakthrough deal or precedent, honor or published interview, moves every single one of us forward. The goal of this magazine is to highlight and celebrate you— and to put a face on Costume Design for our collaborative peers in the industry and the public. Behind every costume is a Costume Designer. Let’s work together to make a difference.

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EDITOR-IN-CHIEF Dr. Deborah N. Landis EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Sharon Day MANAGING EDITOR Cheryl Downey 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 Laven-Cooper VLCooper@costumedesignersguild.com

Sharon Day SDay@costumedesignersguild.com

Karyn Wagner KWagner@costumedesignersguild.com

Mary Malin MMalin@costumedesignersguild.com ASST. COSTUME DESIGNER REP

Audrey Fisher 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

Deena Appel DAp p e l @ c o s t u m e d e s i g n e r s guild.com

bmadden@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair PFlaherty@costumedesignersguild.com

Cliff Chally CChally@costumedesignersguild.com

Marilyn Matthews MMatthews@costumedesignersguild.com

Shay Cunliffe, Alternate SCunliffe@costumedesignersguild.com EXECUTIVE DIRECTOR

Cheryl Downey cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR

Rachael Stanley rmstanleycdgia@earthlink.net ADMINISTRATIVE ASSISTANT

The Costume Designer Fall 2006

Suzanne Huntington

HOLIDAY GREETINGS!

adminasstcdgia@earthlink.net

The Costume Designers Guild’s 2006 holiday card illustrated by A s s i s t a n t Designer/Illustrator Lois DeArmond.

PUBLISHER The Ingle Group FOR ADVERTISING INQUIRIES CONTACT Dan Dodd 818.556.6300 dandodd@pacbell.net

BEST COSTUME DESIGN Yee Chung Man

CHOW YUN FAT

GONG LI

A film by ZHANG YIMOU

OPENS IN SELECT CITIES DECEMBER 造造 WWW.SPCGOLDENFLOWER.COM

BEST COSTUME DESIGN

JOAN BERGIN buenavistapicturesawards.com ÂŠTouchstone Pictures

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June new members: (l-r) Mirena Rada, Chasia, Inana Bantu, Nancy Gould, Marianne Parker, Diane Charles, Caroline Patterson, Jessica Torok, Bess Stansell. October new members: (l-r back row) Kresta Lins, Johnetta Boone, Estee Ochoa (with hat), Sarah De Sa Rego, Katja Cahill, Joel Berlin, Deborah Landis, Lynn Brannelly, Diana Tenes, Kate Crowley, Robert Cron, Liuba Belyansky, Q Quiame, Louise Ferro, kneeling: Julie Block, Moksha McPherrin. President’s letter photo: Harrison Ford / Lucasfilm Ltd.

PRESIDENT’S LETTER Dear Friends, lassically trained, I have worked in summer stock, Shakespeare Festival, and regional opera. I can make anything with a glue gun and I have the scars to prove it. But this is not Ashland, Oregon, or Branson, Missouri.The CDG resides in Hollywood, a community and an industry that must keep reinventing itself to stay relevant and solvent.Traditional costuming skills will provide designers with a solid foundation for the uncertain future ahead. Our theater colleagues may build paper maché crowns, but Costume Designers in film and television must embrace the digital age or risk becoming an anachronism. The more specialized our knowledge as designers—the more valuable and the more employable we become in a rapidly changing industry. In this issue, designer Michael Wilkinson describes the conNgila Dickson, Costume Designer for struction of his website. Deliberate no longer. Directors and producers review portfolios online at their convenience.With your The Lord of the Rings, was ‘barraged portfolio on the Web you can be looking for work while you are by the merchandising people to give working anywhere on the globe.The whole world is one marthem acres of information, swatches ketplace linked by the Web—stay competitive. Our unique role and perspective on character and dress cannot be autoof fabric, sketches and written mated or digitized. Costume Designers offer directors and prodescriptions of costumes, far from the ducers valuable insights at an unbeatable price. It is unimaginable job I was actually paid to do.’ to mount any production,including animated and motion-capture features, without the benefit of our expertise. The handsome face on top left is not my own. Ask a crowd to conjure Indiana Jones; a problem would arise only if you asked the name of the designer. Dozens of iconic characters, cultural touchstones, have been created by our CDG membership. Costume Designers are (by definition) invisible; this anonymity is a casualty of our profession.We don’t license our names or have a brand to build. Perhaps if we were paid equitably for our contribution to the artistic and financial success of the production—the merchandising cash cow would be more tolerable? Perhaps if Seventh Avenue designers would stop ripping us off and hogging the red carpet; since if it wasn’t for our characters those actors might never have been nominated? Why are fashion designers always “inspired” by movies but never by a Costume Designer? Perhaps if we were credited for the costume and rewarded for its replication—we could feel respected? It’s somehow implicit that Costume Designers are satisfied earning one third less than production designers and earning fewer pension and health hours than our Costume Supervisors.That we are delighted with the stress and sacrifice this career guarantees. The currency of appreciation in our society is money. The CDG may be constrained by the collective bargaining agreement but we must never accept our low status and remuneration relative to our significant contribution to the success of every production. The battle for merchandising, equitable wages and credit must be fought in the deal memos of our membership. One close relationship may change the paradigm and revolutionize our position.Although we are entering an uncertain time in the industry, the CDG knows that as long as there is a story to tell—our designers will bring the characters on the printed page to life, to the movies, and to the mall. Make your labels. In Solidarity, Deborah Landis president@costumedesignersguild.com

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June new members

October new members Fall 2006 The Costume Designer

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From the Desk of the Executive Director Dear Colleagues, continue to be impressed, and grateful for, the passion and creativity of CDG members and your elected representatives. I invited you to share your talents with CDG committees in my summer column and new volunteers signed up at our well-attended General Meeting on October 16, but we need more of you! Sharon Day reinvented the CDG Newsletter from top to bottom nearly five years ago. A major force in birthing this magazine in partnership with editor Deena Appel,she’s stepped aside to create the new Education/Outreach Committee. The industry is being transformed by technology;this committee will keep our members ahead of the curve. Got writing talent? This Magazine needs you. Check out volunteer Allison Leach’s piece about her experience at Comic-Con or Audrey Fisher’s notes on the Safety Seminar with Local 829’s Monona Rossel.We’ll find your niche. Here’s a sample of what we are doing to serve the membership: • A member was due severance from a studio that claimed X amount was owed. My math showed our member was owed 480% more, which is what I secured without a grievance. • Multiple members were not paid their idle days and their extra 15 hours into MPIPHP, while on distant location. Corrections are currently being processed. • A network was using nonunion, nonpaid (Can you believe it?) persons to do design work; the designers joined the CDG and were paid past wages and benefits after the CDG grieved the company. • A member was caught in the middle of an intra-company dispute and not paid his contractual guarantee, we brokered a deal through the payroll company. • The CDG participates in organizing nonunion shows but the Employer is NEVER allowed to see who signed a card supporting unionization and cannot legally ask you if you signed a card. Don’t be afraid to support your right to union protection. • Rachael Stanley’s notary services are now available at no charge to members. • The CDG now waives dues during quarters a member is on disability. • The CDG also now offers a one-time “hardship” dues waiver. • The CDG now has wireless capability and a scanner in our library. Call and come in to research. • We will be visiting sets more often.We love hearing your issues, answering questions and explaining what your dues are doing for you! Thanks for your support. What goes around comes around. Please consider volunteering if for just a few hours like Erin Lareau did for our Awards nomination mailing. Counting on you! In Solidarity, Cheryl cdowneycdgia@earthlink.net

SAVE THE DATE

9th ANNUAL COSTUME DESIGNERS GUILD AWARDS

SHOW DATE Saturday, February 17, 2007 NEW LOCATION The Beverly Wilshire Hotel PRESENTING SPONSOR Swarovski Produced by The jLine Group 310.601.3200 For inquiries about tickets, tables and seating contact: Blue Room Events 310.491.1401 We look forward to seeing you on February 17th!

Cheryl’s photo: Craig Matthews/Mathew Imaging

BEST COSTUME DESIGN

Penny Rose

F O R

Y O U R

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

buenavistapicturesawards.com ÂŠDisney Enterprises, Inc.

Best Costume Design SHAREN DAVIS

ÂŠ 2006 DreamWorks L.L.C. and Paramount Pictures

For screening information please visit www.paramount2006.com

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Assistant Executive Director’s Report

Top Ten List of Things You Should Know receive many calls each week from members that are unsure about their rights and obligations of membership. Here are some of the most common issues I encounter:

1. If you are working on location, you must be an L.A. hire, receive per diem, housing and travel from production in order to be considered a distant hire to receive your benefits into the MPIPHP. 2. If your residence is in the jurisdiction of the location shoot (i.e.Texas,Utah,) and you are hired from that location,you would be considered a Local hire and your benefits will be sent to the plan covering the location. 3. Check your annual report from the MPIPHP to be sure all your hours are reported to the plans. You should receive 60 hours per five-day week in town, 7 hours for a sixth day worked—and 8 hours for a seventh day worked. You should receive 75 hours on location, whether you work five, six, or seven days. If there is a discrepancy, call the payroll company and the CDG. 4. You must report work union and nonunion. When you report work, the CDG needs to know the name of the project, the type of project (such as film,TV series), the production company, and where you are working. 5. Address, telephone, e-mail, or name change? Please inform the CDG. 6. Dues are due on the first of each quarter. If you are late, you will be fined $15 per quarter. 7. If you are on disability and are unable to work, your dues will be forgiven for that quarter. Please call the CDG for details. 8. Personal Service Contracts (PSC) can cover items not guaranteed in the Basic Agreement.Box rental,car allowance,your screen credit, “favored nations,” paid hiatus,are some of the items to negotiate in your PSC. Be sure that anything agreed upon is in writing and signed. 9. If you are injured on the job, you should report the injury to production and to the CDG office. 10. Never go before Human Resources or management without a union representative present to be your advocate and witness. We are here to help you. Call with any questions.

Rachael Stanley rmstanleycdgia@earthlink.net

Labor Report My Night at the Van Nuys Detention Center I sat on the street in front of the Marriott Hotel on Century Boulevard on September 28, 2006, along with 325 other union workers and officials. I made a personal choice to be arrested and bring attention to workers’rights to organize.A small, back bent, brown woman, grateful for the support around her, stood next to a younger version of herself, and next to her a still younger version. News sources captured their images and asked why we wanted union representation? We replied, “To bargain with our employers for job security and protection.” It was getting dark and circling us on horseback was a ring of police officers. I felt just as intimidated as the hotel workers had been; having no voice in disputes with management. An officer asked my name and told me to put my hands behind my back while he put plastic zip bracelets around my wrists. They were very uncomfortable. A photo was taken of me and my pockets were emptied. I was put on the bus to wait while other arrestees were processed.Around 10 p.m., the buses left Century Boulevard as a few hundred remaining supporters shouted,“Si Se Puede!” (Yes We Can!). We arrived at the Van Nuys station and were processed after removing laces from our shoes. I was given a sandwich, milk and

apple with 30 other arrestees. After 2 a.m., eight of us were placed in a cell with bunk beds. After 3 a.m., we were taken into the booking room—a 4x5 glass enclosure with no room to sit. Thirsty and needing a bathroom, a female guard took us to a cell with exposed commodes. At 8 a.m., I was allowed a phone call to my very concerned husband. Nine of us shared five cots and the exposed commode. I held up one end of a blanket for the women desperate for privacy. With no way to get comfortable, I started my morning prayers. Finally, after photographing and fingerprinting, I was placed back in a cell.Within the hour I was taken out of the cell, my ID bracelet was cut as I put the laces back in my shoes. An officer wished us well and reminded us that you can only have one arrest a year for civil disobedience. At 11:45 a.m., I exited Van Nuys Detention and wondered how I would get back to my car. Volunteers cheered as we came out. The L.A. Times mentioned the 160 demonstrators arrested at the Hilton but missed the 168 of us arrested at the Marriott, beating the previous California record of 50 people arrested in a single civil disobedience. Si Se Puede! Betty Madden, CDG, Local 892, Labor Representative bmadden@costumedesignersguild.com

Fall 2006 The Costume Designer

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Safety Wisdom From Guru Monona Rossol On Sat., Oct. 21, industrial hygienist and safety guru Monona Rossol presented a speed-version of her renowned Hazcom Training for Costume Designers and Workers Seminar to members of Locals 705, 892 and 829 at the Renaissance Hotel in Hollywood. Hearing Monona was priceless. Deeply informative and entertaining, Monona started her talk by joking that “Mother Nature doesn’t like us!” During the course of the jam-packed seminar, Monona shocked us with disturbing facts about the products we use at home and in the workplace. She warned us Fullers Earth is comprised of any number of unknown minerals and is intensely toxic.That reassuring “nontoxic” label that we all trust can be put on a product for which there is no data, and hypoallergenic” is a similarly hollow promise.To make matters worse, the spate of products labeled “biodegradable” are potentially more harmful than the non-biodegradable products they’ve replaced because their human and environmental impacts are not all known. When asked what to use to clean at home, Monona suggested soap, a little more elbow grease and fewer cleaners that melt grease off walls.What keeps echoing in my mind: the difference between toxic and nontoxic is essentially the death of one very healthy laboratory rat, fed one toxic dose and monitored for only two short weeks. Don’t hesitate to contact Monona with questions; her knowledge is encyclopedic. Monona can reached at: ACTSNYC@cs.com (212) 777-0062 www.artscraftstheatersaftely.org. Audrey Fisher Asst.CostumeRep@costumedesignersguild.com

Intimate Confessions of a CDG Volunteer It was a just another manic Monday. After a long, last day of work, I contemplated skipping the evening CDG meeting. But something told me I shouldn’t.That night I signed up for the Film Festival and Exhibition Committee. Our task: to organize the CDG panel Designing Icons at Comic-Con in San Diego. Geek glamour! Travel! Bob Blackman! It was bound to be as much fun as it was work! San Diego was abuzz with 100,000 extra Comic-Con bodies. The convention was mind-blowing; fans and booths as far as the eye could see. Our panels were well attended by curious aficionados, aspiring designers and illustrators, each of whom seemed to think that costume design was the coolest job on earth! It felt great to be out there actively promoting and celebrating Costume Designers’ contribution to our culture. It was also an awesome opportunity to spend time with top-notch designers, on our panel and our committee. Months later, I’m knee-deep in new work and new connections. My choice to jump right into volunteering for the Guild set off an amazing chain of events in my life, both professionally and personally. I think it could do the same for every member. I am looking forward to continued adventures with the FFE Committee in Santa Barbara and beyond.Whether you are a new member or a veteran designer, volunteering on a committee can be your ticket to new places, connections, and frames of mind. Come join the fun! Assistant Designer Allison Leach allisonleach@gmail.com

“A REMARKABLE MOVIE ABOUT AN INCREDIBLE DAY IN AMERICAN HISTORY WITH A SUPERB CAST.” Larry King

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE Produced by MICHEL LITVAK

EDWARD BASS

HOLLY WIERSMA

BEST COSTUME DESIGN JULIE WEISS

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‘THE QUEEN’ GETS IT RIGHT. An amazing piece of social and cultural history.” - REX REED, NEW YORK OBSERVER

FOR YOUR C ONSIDERATION

BEST PICTURE OF THE Y E AR BEST COSTUME DESIGN C ONSOLATA B OYLE

NOTEWORTHY EXHIBITIONS Beauty & the Bead, December 16, 2006 – May 13, 2007, Tropenmuseum Amsterdam, Netherlands. An exhibition of beaded costumes from every age and culture. The first exhibition to focus on beads as a worldwide phenomenon: a tiny object symbolizing for more than 100,000 years identity, status, origin and emotion. Among the exhibits are robes from the Congo, Eskimo outfits, dresses worn by Marilyn Monroe, and Madonna’s haute couture by Versace and Galliano. Among the lenders is the Metropolitan Museum of New York, the Hermitage in St. Petersburg, and fashion houses such as Dior, Versace and Armani. Tropenmuseum - Linnaeusstraat 2 - Amsterdam - tropenmuseum@kit.nl - www.tropenmuseum.nl Hats and Purses Now Online: The American Textile History

Museum (ATHM) in Lowell, MA, is pleased to announce that its 450 hats and 150 purses are now available to the public for research online. http://www.athm.org. Paper Dresses: Disposable Garments From the 1960s

Dresses:

Throw-Away

January 24 - March 11, 2007, Design Gallery, University of Wisconsin, Madison, WI. From the Helen Louise Allen Textile Collection (HLATC), this exhibition explores the rise and fall of paper garments and the larger issues of planned obsolescence and cultural attitudes toward disposable goods. As a coda to the dresses from the 1960s, a small selection of hospital gowns and

— Fall 2006

contemporary designs will be exhibited http://www.sohe.wisc.edu/depts/gallery/index.html.

well.

Nan Kempner: American Chic, December 12, 2006 -

March 4, 2007, at the Metropolitan Museum of Art’s Costume Institute in New York, NY. Known for a seemingly effortless style that nonetheless displayed a meticulous attention to detail, she was a passionate client and collector of such designers as Yves Saint Laurent, Valentino, and Oscar de la Renta from the 1960s onward. http://www.metmuseum.org. Fashionable Reading

Queen of Fashion: What Marie Antoinette Wore to the Revolution by Caroline Weber, Henry Holt & Co., 2006. Pays close attention to the impact of her closet on clothes and culture. Classic Chic: Music, Fashion, and Modernism by Mary E. Davis, University of California Press, 2006. Music and fashion: there is a deep connection between these two expressive worlds. This book details the interplay between composers and designers (including Poiret) in the early 20th century. Executive Board Meetings: January 8, February 5, March 5 Next General Membership Meeting: February 26

Fall 2006 The Costume Designer

ou may think the advent of merchandising (dolls and costumes) from your favorite film and television characters is new. Since the start of filmed entertainment the studios worked to build audience loyalty.They needed to find a way to establish an effective “promotion machine.” By generating mass brand–awareness, they could persuade audiences (consumers) to see a new film, or stay tuned to the tube, while generating additional revenue. The studios licensed their valuable, tradable and collectable screen brands to the consumer-goods industry and extended the life of their products. As storytellers, we create memorable characters that live long after the movie is over.We invent iconic images that generate tremendous earnings and are marketable in more ways than we can imagine. It began in 1930 when the Modern Merchandising Bureau was founded for the purpose of manufacturing and selling clothing adapted from the movies. Photoplay developed a label called “Hollywood Fashion” in cooperation

The Costume Designer Fall 2006

with Costume Designers and studios in 1932. For the customers who couldn’t afford retail prices they reproduced the actual dress patterns called Screen Star Patterns and Hollywood Patterns. R.H. Macy Company was the first to install a so-called “cinema shop.” Macy’s claimed to sell 50,000 copies of the white organza Letty Lynton gown designed by Adrian for Joan Crawford in the 1932 film of the same name. Helen Rose, Adrian, Irene, Edith Head and Jean Louis all profited in some way from their film designs becoming fashionable; some had their own boutiques and others (like Head) had profit participation in the patterns. The Hollywood style machine proved to be a publicity bonanza for movie studios. Comic book characters advanced to the small and large screen with the intention of increasing the franchise dollars. Today, the merchandising market has exploded to encompass Halloween costumes, toys, and dolls by promoting memorable characters from MacDonald’s Happy Meals to the Internet and everywhere in between. Superhero costumes are actually redesigned with

each sequel to quench the studios’ thirst for new products to sell. At this year’s American International Toy Fair, Disneys’ focus was to promote longterm growth opportunities for Pirates of the Caribbean. Disney had “missed the boat” with the first installment but Joe Lawandus,V.P. and general manager of Disney Toys was confident. “It’s going to live in the aisles for at least two years.” Captain Jack Sparrow’s costume (Costume Designer Penny Rose) was the highest selling costume of the 2006 Halloween season. Would any of the characters on the cover of this magazine be identifiable without their costume? There’s no mistaking James Dean in a red jacket and jeans from 1955’s Rebel Without a Cause (Designer Moss Mabry) or the harem costume from 1965’s I Dream of Jeannie (Gwen Wakeling), Titanic (Deborah Scott), The Matrix (Kym

Pirates of the Caribbean, Walt Disney / The Kobal Collection / Greg Gorman

When Costumes Become Merchandise

picture it... at Sony

The Lord of the Rings, New Line Cinema / The Kobal Collection, The Matrix, Warner Bros. / The Kobal Collection

S o n y Pi c t u r e s S t u d i o s

Barrett), and My Fair Lady’s Eliza Doolittle (Cecil Beaton). Worn by a doll or on the street for Halloween, the costume sparks an association with the character and keeps the franchise alive and profitable for the studios. Why aren’t Costume Designers compensated for the merchandising of their designs? Could it be because we are now considered “work-for-hire”? The composer’s contract has work-for-hire language and yet they retain partial ownership of the music and receive royalties. Work-for-hire gives the studios complete control over the material. But it does not mean that they cannot pay us—it simply means they don’t have to. The next time you hear a television theme song or film score that instantly identifies a favorite old show, visualize any signature costume and it will have the same nostalgic effect. Precedent is the only thing that separates us from our profit-participating peers. It will take just one fairminded producer to compensate a designer for his or her creative contribution to the merchandising to change the paradigm forever.

C O S T U M E S • • • •

Extensive selection Full service workroom Made to order, alterations, fittings Prep spaces, laundry & dye room

Deena Appel Dappel@costumedesignersguild.com

310•244•7260 WWW.SONYPICTURESSTUDIOS.COM

Fall 2006 The Costume Designer

NO FILM MOVED YOU MORE.

BEST COSTUME DESIGN MICHAEL WILKINSON GABRIELA DIAQUE MIWAKO KOBAYASHI www.vantageguilds.com

WE♥CGI

Monster House, from left: Sony Pictures Imageworks / Frank Masi, Sony Pictures Imageworks

hings are changing. Halo 2, an X Box Microsoft video game, grossed more on its opening day, November 9, 2004, than either Titanic or The Incredibles made in their first day at the box office. Emerging platforms are competing with old media (film/TV) and the screen continues shrinking as new media (laptops/iPods/cell phones) are endowed with movie-playing capabilities. And as the screen shrinks the costumes become even more important as the actors’ form fills the frame. Scott Ross (Digital Domain) believes that the tiny format will influence the way shots are framed. “We may see tighter shots, so that images are viewable on two-inch screens. You could have an iPod cut, a television cut, a 16:9 hi-def cut and a 2:35 scope cut.” Director Stephen Soderbergh mused, “To sit around and wish that everybody could see everything you do in a theater, is like saying,‘I wish we would all go back to vinyl.’ It’s not going to happen.”

Film & TV playing on a Mac iPod

A democratization of filmmaking has occurred that allows anyone to pick up a digital camera and with the installation of Final Cut Pro make a professional looking movie that can be distributed internationally. Studios are desperate to offer the public entertainment beyond what they can make for themselves. Special effects have provided that hook and motion capture animation (Mo-Cap) and computer generated imagery (CGI) are seen as the panacea to the studio’s dilemma—getting people in the theater. The resonance of digital special effects is far beyond the sci-fi genre. CGI is being used in every film. The technique of motion capture captured the imagination of director Robert Zemeckis. As the producer of Monster House (2006), Zemeckis points out that mo-cap, “created an avenue to make movies that can’t be made in liveaction and shouldn’t be made as animated cartoons. Motion-capture fills a void in the medium of cinematic storytelling.” Monster House Costume Designer Ruth Myers thoroughly

enjoyed herself.“As always,I started with the script and had talks with the director. I was given computerized models that were wearing homogenous clothes and my job was to help turn these models into characters—but I had no budget limitations! I could get whatever fabric in whatever color. There was no shopping, no cuttings, no fittings and no staffing problems. My enthusiasm for this kind of costuming is endless.” Formerly, animators served as sole character designers—costume designers were not a part of the process. As motion capture develops, realistic computerized characters have become possible and designers are increasingly confronted with computer-generated worlds and with computer-generated characters. Texture and movement no longer depend on the physicality of the fabric,but on how that physicality is created by a computer.These technological innovations expand the role of the Costume Designer in the most earthbound plots. Costume Designer Isis Mussenden recalls a modern comedy continued on page 20

Fall 2006 The Costume Designer

which used the tie (of a gray suited executive) as a plot device to show the passage of time. She created a tie of ‘green screen’ upon which different patterns and collars could be pasted in post production. Isis makes the point, “Who decides what that tie should look like in ‘post’? The Costume Designer does.” Early communication with the animators is vital to protecting the integrity of the characters throughout the process. A veteran of Shrek and Narnia,Mussenden keeps a visualeffects bible that “contains ideas for the multiplication of characters; samples of textiles for color, texture, scale of pattern, weave and movement; and photographs of actual clothes. These choices seem obvious to a Costume Designer but they are not to the effects house.” Visual effects pioneer Doug Trumbull (2001: A Space Odyssey) has said, “We still need the drama and excitement of movies, the compelling content and stories, yet we need to develop new ideas about the form of the experience.” As long as the narrative remains the focus, Costume Designers will be needed to help tell that story. Embrace the future. Deborah Landis president@costumedesignersguild.com

for your consideration BEST COSTUME DESIGN Milena Canonero

sony.com/Awards

Creative Collaborators Joanna Johnston and Robin Richesson

hen I joined the CDG in 1992, one of my first projects was illustrating for Costume Designer Joanna Johnston on Forrest Gump. Joanna’s first film with director Bob Zemeckis, Who Framed Roger Rabbit (1988), pushed the effects envelope by being one of the most successful films to blend live action with traditional 2D (hand drawn) animation. Joanna designed the gown for the glamorous, animated, Jessica Rabbit. Originally, she wanted her gown to be sequined, but animating reflected light was so expensive the animators were only able to realize her vision for the performance scene. I illustrated Joanna’s designs for Forrest Gump, Contact, Cast Away, and The Polar Express and observed that Zemeckis trusted Joanna to develop the characters through Costume Design. On The Polar Express, we thought we might do concept drawings and build a handful of garments. Many pajamas later, the whole film had been designed and BUILT from the slippers up. In the motion-capture process the actors’ movements and expressions are transferred onto digital characters in the computers to ‘animate’ them. This involves actors wearing suits during filming that resemble wet suits covered with sensors.What we found was that the design process really didn’t change very much. Joanna: The Polar Express really was that dream of the roundtable. We were sharing ideas in early development, pooling ideas, with diversity coming from every department. Robin: Ideally, the Costume Designer should be invited into the process at that early stage, when many concrete images are being created. The most important thing is to work toward that ‘early inclusion’ on films with digital components, as soon as the conceptualizing starts. JJ: Yes. Designers may be getting involved as consultants in the visualization. The Costume Designers and the digital artists can get so much from each other, concerning movement, action and how it applies digitally to the costumes.The

The Costume Designer Fall 2006

digital designers benefit from our understanding the technical construction of costumes, fabrics, and their textures. RR: Stuart Little had only a few digital characters and the process could be much more involved than on Polar, which had an entire digital cast. On Stuart Little, the digital designers actually ‘made’ the pattern pieces in the computer and ‘sewed’ them together.There were actual seams to help create more realistic tension on the ‘digital fabric.’ On Polar that would have been impossible with the volume of costumes. Instead, they painted the seams on digitally and unfortunately the tension of those seams as part of the garment was missing. JJ: On our current project, The Spiderwick Chronicles, the technology has made huge advances since Polar. On Spiderwick, animation supervisor Phil Tippett was so happy

The Polar Express, Castle Rock / Shangri-La Entertainment / The Kobal Collection. Who Framed Roger Rabbit, Touchstone / Amblin / The Kobal Collection

Designing With Technology: A Conversation

The Polar Express, Illustrations, Robin Richesson

Robin Richesson robins.nest@verizon.net

NBC Universal

COSTUME UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK

to have the collaboration of a Costume Designer. Industrial Light & Magic (ILM) and Tippett wanted my input as much as I wanted theirs. They showed me a reel illustrating how far the technology had come and I found that the process had really moved forward. I find working in this territory so exciting. It’s a great collaboration—breaking new ground together—with traditional expertise—but applying it another way. It’s an adventure. RR: Have there been any struggles? JJ: There can be struggles in any collaborative process. This (digital) world exists and if you enjoy collaboration, it is exciting new territory. I’ve been really lucky to work with people like Bob Zemeckis the “King of Mo-Cap,” Ken Ralston, Phil Tippett and the people at ILM. It is great to have a producer like Kathy Kennedy (The Spiderwick Chronicles), who understands the value of blending traditional expertise with new technology. RR: Right. The idea that as talented as the digital artist is—the expertise of the Costume Designer can help to elevate the realization of a digital character and bring it to life … with a creative collaboration. JJ: Yes. I just want to say to anyone who feels that it’s an alien world, it’s really not.... It’s just an expansion of what we already do.

Costume Rentals, Manufacturing, Alterations, Alterations, Fitting Rooms & Offices

818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION WWW.NBCUNI.COM/STUDIO

Fall 2006 The Costume Designer

needed maximum exposure for my portfolio, to reach as many people as possible with a minimum of effort, to look professional, and for potential employers to be able to access my work as quickly as possible—it was time to design a website. As designers, we care deeply about how we present ourselves to the world. I wanted control over the look of my site and to be able to update and change the Web pages. I wanted to design the site myself rather than paying a graphic designer and Mac made it very easy for me to create my own website. iWeb, part of the iLife package, can be purchased online (mac.com) or at the Mac store for $79.99.The program is easy and the first step is to choose a template for the pages of your site. I wanted my work to stand out against a relatively neutral background. Once I selected the template, it was time to plan the layout of the site. In addition to a homepage, I wanted my biography, a page with contact details, and a printable resume. These were easy to set up. I simply opened a new template, then cut and pasted from existing Microsoft Office documents. I wanted a page with one image from each of my films. The images I

dragged into the new template were from a few different sources; from my files of digital photos, from scans of photographic prints, and from searches on the Internet. I made sure that the files were the right size—not so large that they would take a long time to load when the page was opened online, and not so small that the resolution was poor. The program showed me how to set up this page and when I clicked on an image from each film, it would link me to another page which had detailed information on that film. I

dragged in trailers, photos, recorded interviews and links to the films’ official sites. Most of it can be found using a film’s page on imdb.com. Now comes the hard part— posting your pages on the Internet.The least painful way is to use a Mac account and pay $99.99 each year for Mac to be your Web host.After registering a domain name with them (i.e.the name of your website), then use a command on iWeb to send (upload) the pages onto the Internet. If you have a Mac domain name (with “mac”) it is even easier. But to save some money, I contacted an independent Web host—iPowerweb.com. I got the domain name a lot cheaper ($3.95 per month for basic hosting—including an e-mail account). This made uploading my pages trickier and I had to import my Web pages onto a second program (choosing “Fetch” from fetchsoftware.com) and then the upload command on this program to post the pages onto the Internet. After calls to customer support and the Mac geniuses (genii?!), my website was up. You can see the results at www.michaelwilkinsondesign.com Now it’s your turn... Michael Wilkinson mw@michaelwilkinsondesign.com

CDG MEMBER SITES TO EXPLORE Cate Adair .................www.cateadair.com Iananna Bantu ...........www.house-of-ianna.com Nicole Beckett ...........www.nicolebeckett.com Wendy Benbrook.......www.RodeoKitty.com Joel Berlin .................www.joelberlin.com Christine Bieselin .......www.christinebieselin.com Astrid Brucker ...........www.astrid3d.com Stephen Chudej ........users2.ev1.net/~coojay Sharon Day ...............www.sharon-day.com Diana Eden................www.dianaedendesigns.com

The Costume Designer Fall 2006

Tami Eldridge.............www.tamieldridge.com Deborah Everton .......www.deboraheverton.com Deborah Ferguson.....www.rougeartists.com Erin Lareau ................www.topazwardrobe.com Deborah McGuire ......www.debramcguire.com Fern Mitchell..............www.costumedesigner.fernmitchell.com Dana Onel .................www.danaonel.com Niklas Palm ...............www.niklaspalm.com Mirena Rada..............www.rsthetic.com Liz Shelton ................www.sheltondesigns.com

The film page from Michael Wilkinson’s website.

Time to Design Your Website

THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS obert L. Cron was born and raised in a small town in northeastern Pennsylvania and studied fine art and theater design at Carnegie Mellon. CDG’s late President Al Lehman Carnegie alum steered Robert to the CDG Illustrator category, a deciding factor to pursue film and television. As an Illustrator, Robert characterizes himself as “very fast.” He finds the illustration on the paper quickly and knows the flow of a pose and the line. Although Robert began by using watercolor, he has recently discovered the exciting world of digital art. He uses Photoshop on the drawing tablet and finds this technique is just as versatile and useful as other more traditional media. The maxim “Content dictates style” is central to Robert; and he uses the medium suggested by the script and the style of the designer. Before drawing, Robert sees all the research, fabrics, and any notes the designer may have. They then discuss the pose, body type of the actor and the amount of detail needed from the bare-bones sketch to the final brush stroke. His website is a preview of his future work. rober t@costumesketch.com www.costumesketch.com

Illustrated By Robert Cron

Illustrated By Anna Bae

nna Bae is one of the newest

Illustrators to have joined the CDG. Born and raised in Long Beach,Anna ventured north to San Francisco State for her BA in art education. She took a year abroad in Florence honing her skills in life drawing and art history. Upon returning to Long Beach, Anna got a second degree at Brooks College. Anna has discovered several things about herself as an artist. She is versatile and has the ability to illustrate within the style of a designer’s work. Anna has done freelance illustrations for commercials, worked on the parades at the Disneyland Resorts, on First Daughter designed by Francine Le Coultre and on a music video with Anna Wycoff. Currently, Anna is an art instructor with the North Orange County Community College District. She has created a line of popular hand-painted silk scarves and accessories available at the Long Beach Museum and Artisans Lair. This passionate young artist constantly challenges herself to improve her skills and to increase her understanding of the relationship between man and nature. She is eager to draw for designers (in any medium) and make Costume Illustration her career. zotto62@hotmail.com Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

The Costume Designer Fall 2006

THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z

gyptian Dress: Their few light cotton or linen garments were fabricated of material grown in the Nile Delta; the more expensive the garment, the more transparent. Although the predominant color of dress was white, all colors were worn. Draping and pleating were of primary importance and each group had their own system of draping. The primary male garment, the schenti (loin cloth), was a long oblong wrapped around the hips and tied in place by a belt or girdle. Worn by a higher ranking person, it was finished in front with a pleated apron. The pleats radiated upward from the low corner of the apron representing the sun. An exotic animal skin or shoulder wrap might be added. Women wore a kalaris (a straight anklelength narrow sheath gown), which hung from under the breasts and held up by one or two straps. Sophisticated Egyptian ladies wore greenand-black kohl on their eyes and outlined the veins of their chest with blue.They painted their lips with carmine.They completed the look with red and white for their cheeks and tipping the ends of their fingers in orange henna. Both sexes shaved their heads for reasons of

cleanliness and heat.The rich wore wigs of hair, wool or palm-leaf fiber and the poor wore skull caps of wool felt. The men were clean shaven, but pharaohs (kings and ruling queens) and high dignitaries wore false beards In early Egypt, only priests wore sandals made of leather, papyrus or wood. In later periods, the popularity of sandals grew and an oriental style with turned-up toes was introduced. Sandals for the upper classes were made of soft leather dyed purple or crimson and embellished with jewels and gold embroidery. . From 1500 B.C. to 1150 B.C. was a time of great extravagance and wealth for Egypt. Men and women wore earrings, pendants, necklaces, bracelets, signet rings, and anklets (in pairs) and jeweled girdles.Turquoise, carnelian, lapis lazuli and coral were popular and further embellished with pearls and amber. Flat bead collars were preferred, but strings of beads, with or without pendants where also worn. Karyn Wagner, karynwagner@earthlink.net Illustrations by Robin Richesson, robins.nest@verizon.net

YOUR CDG RESEARCH LIBRARY The Costume Designers Guild Research Library is an incredible resource. It has been the beneficiary of endowments from members over the past 50 years.The shelves are lined with modern and vintage costume history books from the collections of the late designers William Ware Theiss and Al Lehman among many other generous donors. Most importantly, the CDG Research Library is home to an important and impressive collection of fashion periodicals including: • Vogue 1920–1987 (every issue) • GQ 1958 –1980 (every issue) • Sears Catalogue 1942–1985 • Montgomery Ward Catalogue 1955–1990 • Vogue Patterns & Knitting Books 1922–1977 • Godey’s Lady’s Book 1848–1900, pamphlet and hardcover editions

The Costume Designer Fall 2006

Selected topics included in the library are: history of dress, history of textiles,Western dress, military uniforms, ethnic dress, history of costume in dance, theater, film, biographies of designers and couturiers, accessories: hats, gloves, shoes, bags and hair and makeup research. Hundreds of hand-colored 19thand early 20th-century costume plates are available to copy. The Library boasts more than 50 original 19th-century volumes on fashion, these include Peterson’s Magazine and Godey’s Lady’s Book. The Library is open during CDG Office hours. A color printer, scanner and computer are available to members researching a production. Please call the office for further information. Library hours: Monday–Friday, 9 a.m.–5 p.m.

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WHAT’S ON Help Me, Help You

Costume Designer:

LAURA GOLDSMITH

HEIDI KACZENSKI

The Nine

Ugly Betty

Costume Designer:

LINDA BASS

EDUARDO CASTRO

The Class

Shark

Costume Designer:

BONNIE NIPAR

RUTH CARTER

Justice

Heroes

Costume Designer:

KATHLEEN DETORO

DEBRA MCGUIRE

’Til Death

Friday Night Lights

Costume Designer:

LORI ESKOWITZ CARTER

KARYN WAGNER

Studio 60

Dexter

Costume Designer:

AMY STOFSKY

JILL OHANNESON

Assistant Designer:

Assistant Designer::

KATE CROWLEY

ZHANNA TATARYAN

The Costume Designer Fall 2006

Brothers & Sisters ABC-Disney / Scott Garfield ABC, Help Me, Help You ABC / Michael Becker / ABC, The Nine / ABC / Craig Sjodin / ABC, Ugly Betty ABC-Disney / Richard Cartwright / ABC, The Class CBS-WB / Robert Voets / CBS, Shark CBS / CBS Photo, Justice FOX-WB / Andrew MacPherson / FOX, Heroes NBC / Mitch Haaseth / NBC, Friday Night Lights NBC / Michael Muller / NBC, ’ Til Death FOX-Sony / Scott Schafer / FOX, Studio 60 NBC-WB / Art Streiber / NBC, Dexter Showtime-FX / Christopher Weber / Showtime.

Brothers & Sisters

Déjà Vu Disney / Ron Phillips / Touchstone Pictures, Jerry Bruckheimer, Inc., Eragon 20th Century Fox / James Dittiger / 20th Century Fox, Dreamgirls Paramount / David James / DreamWorks Pictures, LLC, Flags of Our Fathers Paramount / Merie W. Wallace / DreamWorks LLC and Warner Bros. Ent. Inc., Running With Scissors TriStar Pictures / Suzanne Tenner / TriStar Pictures, Inc., Marie Antoinette Sony / Columbia / Leigh Johnson / Columbia Pictures, The Good Shepherd Universal / Andrew Schwartz / Universal Studios, The Fountain Warner Bros. / Takashi Seida / Warner Bros., The Good German Warner Bros. / Melinda Sue Gordon / Warner Bros., We Are Marshall Warner Bros. / Frank Masi / Warner Bros., Bobby Weinstein MGM / Sam Emerson, The Weinstein Co., Fur Picturehouse / Abbot Genser / Picturehouse.

WHAT’S OUT

Déjà Vu

SHAREN DAVIS

Assistant Designers:

CAROL CUTSHALL & LIZ WOLFE

The Good Shepherd

Costume Designer:

ANN ROTH

Costume Designer:

Eragon

Costume Designer: Costume Designer:

ELLEN MIROJNICK KYM BARRETT

Assistant Designer: Assistant Designer:

ANN FOLEY HOLLY DAVIS

Dreamgirls

Costume Designer:

Flags of Our Fathers

DEBORAH HOPPER

Costume Designer:

FELIPE SANCHEZ Illustrator:

Running With Scissors

Costume Designer:

Marie Antoinette

LOU EYRICH Costume Designer:

Illustrator:

MILENA CANONERO

JUDE CHRISTIAN ORLANDO

The Fountain

Costume Designer:

RENEE APRIL

We Are Marshall

The Good German DANNY GLICKER Costume Designer:

LOUISE FROGLEY Costume Designer:

AUDREY FISHER Assistant Designer:

LOIS DE ARMOND Illustrator:

Bobby

Fur

JULIE WEISS

Costume Designer:

Assistant Designer:

MARK BRIDGES

LAURA ANGOTTI

Fall 2006 The Costume Designer

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

WA R D R O B E C LOTH I N G R E NTA L S E RVI C E

Wardrobe carries a range of designer wear that includes, but is not limited to: gowns, cocktail dresses, suits, jackets, blouses, shirts, sweaters, t-shirts, jeans, swimwear, handbags, shoes, and sunglasses. Wardrobe is the only company that has built designer relationships facilitating receiving merchandise at the same time as department stores. We rent at approximately 10% of retail pricing.

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IN FOCUS

MY TRAVELS WITH ISIS As a sequel to our adventures in New Zealand, on The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, Costume Designer Isis Mussenden and I are currently prepping The Chronicles of Narnia: Prince Caspian.We are now based in the beautiful city of Prague, and we have set up our own costume shop at the Barrandov Studios. All of our manufacturIsis Mussenden and Kimberly Adams ing,textile design and cosprops will be made in-house, our armor outsourced.While our new scouting Tirelli Costumi in Rome, Italy shop was being constructed, we toured the European fabric shops and costume houses. We began in Rome, at Tirelli Costumi and Peruzzi Costumi D’Arte. It was exciting to finally visit the famous Tirelli costume house that Umberto Tirelli founded in 1964. Pictures of Tirelli lined the walls with legendary Italian designer Piero Tosi, as well as other legends of the Italian cinema.The lovely staff gave us a tour of the main building and the Medieval/Renaissance warehouse to look at their stock. Isis and I met with the celebrated shoemaker, Pompei, who showed us his shoes and boots for rent. Our fantastic local assistant, Rossano Marchi, saw that we were treated very well everywhere. At Pieroni we met with the talented craftsmen who make armor and hats.They were creating pieces for April Ferry’s Rome and for Penny Rose’s Pirates 3.We then took the train north to Prato (just outside Florence) to swatch fabrics at Obstock, a jobber with huge pallets of fabrics at good prices.The owners invited us to see the Prato Textile Museum, which was fascinating. We are so grateful to April Ferry and her team for their help in planning our perfect trip to Italy. Next we were off to Madrid and the fantastic costume house Cornejo.At Julian Lopez we swatched from walls of gorgeous wools and beautiful silks and specialty fabrics. Jose Maria Ruiz had all types of silk, specialty laces and beaded fabrics.Then we went to the most amazing trim store! Packed with buttons and trims, and little old Spanish ladies pushing their way to look at the button cards.There were huge spools of buttons and buckles, organized by color.We were overwhelmed at the choices. The energy in the shop was crazy and it was a great experience. As we wandered through Madrid we discovered outdoor kiosks that housed antique book vendors and found great research material. Isis and I will prep for five months, and shoot six to seven months, starting in February in New Zealand. Afterward, we will return to Prague for stage work at Barrandov Studios. Finally, we will shoot on locations around Czech Republic continuing our journey shooting at various locations around Europe.The fabric and source scout was productive and well worth the exhausting travel before we headed back to Prague. Both Isis and I feel very fortunate for this experience. Narnia is always a magical world to work in. Ciao! Kimberly kimberadams@sbcglobal.net

IN FOCUS

location, location, location: SOURCES THRIFT SHOPS

Hobby Lobby

2020 Cerrillos, Santa Fe (505) 471-1199

Double Take

Santa Fe Quilting

320 Aztec at Guadalupe St., Santa Fe

3018 Cielo Ct., Santa Fe (505) 473-3747

(505) 989-8886 “Modern and collectible vintage. Cowboy and Indian clothing and beautiful jewelry.”

Hancock Fabrics

Buffalo Exchange

3157 San Mateo, Albuquerque (505) 881-0336

3005 Cental Ave. NE, Albuquerque (505) 262-0098

Quiltworks

Off Broadway

3110 Central Ave. SE, Albuquerque (505) 268-1489 BOUTIQUES Bodhi Bazaar

500 Montezuma Ave., Santa Fe (505) 982-3880 “Hippest in town: Joie, Seven, DVF” Robert Bailey (Men’s traditional)

150 Washington St., Santa Fe (505) 983-8803 6640 Indian School Rd., Albuquerque (505) 881-2750

1117 Menaul,Albuquerque (505) 298-8210 MALLS Santa Fe Place

4250 Cerrillos Road, Santa Fe (505) 473-4253 Dillard’s, JC Penney, Mervyns, Sears Villa Linda Mall

4250 Cerrillos Road, Santa Fe (505) 438-3431 Dillard’s, JC Penney, Mervyns, Sears DeVargas Mall

564 N. Guadalupe St., Santa Fe (505) 982-2655 Ross, Office Depot, United Artists Theatres

FLEA MARKET Tesuque Pueblo Flea Market

Coronado Center

6 miles north of Santa Fe on U.S. 84/285 (505) 995-8626 Fri., Sat. & Sun. 8 a.m.–5 p.m. Mar.–Nov.

6600 Menaul NE,Albuquerque (505) 881-2700 Macy’s, JC Penney, Mervyns, Sears

FABRIC

Cottonwood Mall

Common Thread/Uncommon Fabrics 120 Bent St. #A, Taos

(505) 758-8987 “An hour drive from Santa Fe—worth the investment.Exotic fabrics & modern basics. Open to memo-ing with credit card.”

10000 Coors Bypass NW, Albuquerque (505) 899-7467

Mexico. A workhorse. Although she doesn’t have much experience in film, she has been working on touring stage shows for the last 25 years. Great on set. Great personality.” Lyn Bernay “Longtime member of 705 locat-

ed in Santa Fe. A seasoned professional and true artist who can’t be thrown for a loop.”

R&R Ten Thousand Waves

3451 Hyde Park Rd., Santa Fe (505) 982-9304 www.tenthousandwaves.com “Buy a book of spa entrances to and save.”

Santa Fe Outlet Center

I-25 to Exit 278 Cerrillos Rd. (505) 474-4000

Jo-Ann Fabrics

3140 Cerrillos, Santa Fe (505) 473-1032 Plus three locations in Albuquerque

Bobbi Langhofer “Best trooper in New

CREW SEAMSTRESS Pilar Agoyo Barbara Brice “Great seamstress & asset to

La Posada De Santa Fe Resort & Spa

330 East Palace Ave. (505) 986-0000 www.laposada.rockresorts.com “Reflexology by Kea,who studied in Japan.” La Bella Spa & Salon

0126 Coors Blvd. NW, Albuquerque (505) 899-5557 www.labellaspasalon.com

any Designer.” Chezd’or Hair Salon

COSTUMER Daniela Moore

117 Gold Ave. SW, Albuquerque (505) 243-6777 “They serve wine while you wait!”

John Deering “Works extremely well with

the actors and director, communicative with design & on-set staff.Twenty years of experience in New York theater and film, before moving to Albuquerque.”

YMCA Santa Fe

4001 Office Court #306 (505) 424-8077 “Cheap yoga classes” continued on page 36

Fall 2006 The Costume Designer

GOOD EATS BREAKFAST Cafe Pasqual’s

121 Don Gaspar, Santa Fe (505) 983-9340 Tesuque Village Market

County Road 73,Tesuque (505) 988-8848 Los Potrillos

1947 Cerrillos Rd., Santa Fe (505) 992-0550

Mu Du Noodles (Asian fusion) 1494 Cerrillos Rd., Santa Fe (505) 983-1411 La Casa Sena (Southwestern)

125 E Palace Ave., Santa Fe (505) 988-9232 “Mostly Italian with a bit of chili mixed in.” Geronimo (Global fusion) 724 Canyon Rd., Santa Fe (505) 982-1500 “Expensive, but worth it.” Crazy Fish (Sushi)

Downtown Subscription

376 Garcia St., Santa Fe (505) 983-3085 “Best coffee, café and great int’l newspapers & magazines.” DINNER The Cowgirl (BBQ & Western Grill)

319 S. Guadalupe St. (505) 982-2565 “A Santa Fe institution, great nachos and photos of cowgirls from all eras adorn the walls.Fun research while having a cocktail.” The Compound

653 Canyon Rd., Santa Fe (505) 982-4353 “Best Chef of the Southwest 2005”

3015 Central Ave., Albuquerque (505) 232-3474 Zinq (Tapas)

3009 Central Ave. NE, Albuquerque (505) 254-9462 Artichoke Café (Continental)

24 Central Ave. SE, Albuquerque (505) 243-0200 Gruet Grille (Bistro)

4243 Montgomery Blvd. NE, Albuquerque (505) 888-7004

MISC. SHORT-TERM HOUSING SPECIALIST Pilar West of Luna Luz Properties

653 Don Gaspar Ave. Santa Fe (505) 820-6977 “Pilar helps with housing and knows everyone—great advice for whatever you need.”

ADVICE “New Mexico is overworked and its resources are strained. Beware of inexperienced crews.” “Take everyone you can, especially your supervisor and ager/dyer.” “Bring an L.A.Assistant Designer, Costume Supervisor, tailor shop head and key.” “Bring woolens or interesting fabric, the fabric is either polyester or quilting cottons.” CONTRIBUTORS:

Jordanna Fineberg, Arianne Phillips, Dan Lester, Michael Boyd, Mary Malin, Denise Wingate, Allison Leach and Sharon Day

P ROFILES

H ISTORY

Hollywood Memorabilia Auction Currently accepting consignments for our next Hollywood auction March 30, 2007

Original Walter Plunkett costume sketch for Vivien Leigh in Gone With The Wind. Worn during the sensational bedroom scene when she spurs Rhett and tells him that she “hopes to have no more children!” (MGM, 1939)

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IN FOCUS

BOLDFACE NAMES BOLDFACE HONORS Congratulations to Penny Rose, awarded “Costume Designer of the Year” by the Hollywood Film Festival for her design for the Pirates of the Caribbean. Penny was honored at a star-studded gala at The Beverly Hilton Hotel on October 23. Debra McGuire has been nominated for a 2006 Ovation Award for her theatrical costumes for Boston Marriage at the Geffen Playhouse. Sharen Davis received a Hamilton Behind the Camera Award for Dreamgirls on November 12 at the Hamilton Watch and Hollywood Life fete! Sharen’s costumes will also be on display with a very special “road show” preview of the film in New York, Los Angeles, and San Francisco the week of December 15. The awards season is starting off with a bang and the HOT TICKET will be our own Costume Designers Guild Awards to be held on Saturday, February 17, 2007, at the Four Seasons Regent Beverly Wilshire. Purchase your tickets early—make it a huge success!

BOLDFACE PRESS The Hollywood Reporter, Next Generation Issue Oct. 17, profiled Casey Storm, Adaptation and Being John Malkovich, and B., best known for her extensive commercial work. Emmy winner Randall Christensen and his team were featured in a behind-the-scenes segment of the hit series Dancing With the Stars (10-18-06) highlighting the insane pace of designing and building a live show every week. People magazine also profiled the costumes for the show. Milena Canonero’s luscious costumes for Marie Antoinette made the cover of Vogue with a two-page spread inside (October), and have since been touring the country with film openings in Los Angeles, New York and Boston. Member Elena Baranova was involved with the 16-part Russian documentary about life in the U.S.A. Elena persuaded the filmmakers to include Sal Perez— one of only three people interviewed in Los Angeles for Russia’s Channel One series. Kym Barrett, designer of The Matrix trilogy, is featured in a companion book to her new film Eragon. Diana Eden’s designs for Passions and her fashion tips can be found at www.seenon.com/blog/Diana%20Eden.php. Hollywoodland and Bobby designer Julie Weiss was interviewed at length for the L.A. Times new section “The Envelope.” Julie was referred to as “a psychoanalyst, a psychic, an interpreter of dreams, a soothsayer, historian and a wardrobe memoirist.” The Envelope online, http://theenvelope.latimes.com also features a photo gallery of “Best Costume Design”showcasing 11 Costume Design Oscar winners from 1982 to 2005. 38 The Costume Designer Fall 2006

BOLDFACE ENTREPRENEURS Cate Adair recently launched her own small leather goods line— Cate Adair Los Angeles.Wallets with contrasting leather & embossing and handbags & totes with tassels are available at Kitson, Fred Segal Melrose, and Bloomingdales NY and SF. www.cateadair.com Congratulations Cate! In addition to designing the sixth season of Scrubs and the third season of The Office, Carey Bennett has launched her company—Best Ever Scrubs. After you’ve tried recutting and tailoring those polyester potato sacks; her, stretch-poplin, tailored, figure-flattering beauties will be a godsend! Best Ever Scrubs are the “scrubs that Hollywood wears.” They were featured in TV Guide magazine. www.besteverscrubs.com Sharon Day’s company, RAGDOG, is donating its entire stock of canine Halloween and Christmas Costumes to the PAWS LA in honor of her beloved Boston Terrier, Charlie Girl.After retiring as editor of this magazine, Sharon is launching the CDG Education Committee focusing on outreach to the DGA, SAG,ADG and WIF as well as providing member support seminars and DVDs for life in these changing times.

BOLDFACE AT WORK Mary Malin is in Albuquerque, N.M., on West Texas Children’s Story, a period film set in 1962 starring Val Kilmer, Matthew Modine and Lara Flynn Boyle. Susan Nininger completed work on a Nissan commercial for the college football season. Emmy winner Erin Lareau designed three spots for the new VW Cars & Guitars Campaign starring Slash, John Mayer, and Christopher Guest and music videos for Mario Winans and Italian superstar Piero Esteriore and Anna Netrebko/Rolando Villazon for L.A. Opera’s Manon. Jacqueline Saint Anne is designing the opera Powder Her Face at USC with Anna Bae illustrating. USC will display the design sketches in the lobby of the Bing Theatre for the previews and the performances. Michael Boyd, Emmy nominated for the miniseries Into the West, is designing The Company, a six-hour miniseries for Ridley Scott and TNT. Michael started mid-June filming the first segment in Toronto, traveled to Budapest, Hungary, and then will head to Puerto Rico to film the Bay of Pigs sequence. Louise Frogley has begun her fourth collaboration with George Clooney on

Leatherheads, a romantic comedy set in the world of 1920’s football. Alexandra Welker is back from location in South Carolina,where she was shooting Asylum with David R. Ellis directing … written up in USA Today (9/6/06). Kristin Burke was also in South Carolina designing Death Sentence. Shay Cunliffe is home in England designing The Bourne Ultimatum.The production will be filming in Morocco and London before setting off for Russia, Spain, France and the U.S.A. Costume Designer Amy Westcott and Assistant Costume Designer Roemehl Hawkins will be on location in Pittsburgh in November and December filming Smart People with Dennis Quaid, Rachel Weitz and Thomas Hayden Church, produced by Michael London, Sideways.

Valerie Laven-Cooper is back in Las Vegas, where she worked on The Grand —a mockumentary of the World Championship of Poker. Currently, she is designing a modern version of The Merchant of Ve n i c e d i r e c t e d b y Micheal Almereyda with Patrick Stewart and Sir Ian Mckellan. Inanna Bantu is in Northern California working on the new Ed Harris film, Winston, an autobiography about two brothers’ love of baseball and their relationship with their alcoholic father. CDG Illustrator Derek B. Sullivan is thrilled to be designing an independent comedy, Disconnected, in Staunton,Virginia. Principal photography began on October 26. Costume Designer Carol Ramsey and Assistant CD Ellen Falguire are off to Argentina to begin work on The City of Your Final Destination, sadly, the first film from Merchant Ivory Productions without Ismail Merchant. Hope Hanafin is just wrapping up Honeydripper with director John Sayles. The indie film, shot on location in Alabama, captures “The Blues” in the south during the 1950s. Michael Kaplan is on location in New York filming I Am Legend. The sci-fi drama stars Will Smith as the last man alive. continued on page 40

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Fall 2006 The Costume Designer

IN FOCUS

BOLDFACE NAMES BOLDFACE FESTIVALS

Landis and Wilkinson at the Scottsdale Film Festival

The Costume Designer Fall 2006

After producing a successful series of panels at Comic-Con 2006 in San Diego, CDG Film Festival Co-chairs Mary Malin and Susan Nininger are gearing up for a CDG spotlight at The Palms Springs International Film Festival. The committee is also spearheading a stand-alone panel at the Santa Barbara International Film Festival (January 25 through February 4). Winterthur Gardens hosted an inside look at the world of feature film Costume Design this November with a panel that included Sophie de Rakoff Carbonell, Juliet Polcsa, and Nancy Steiner.The committee recently helped the Scottsdale International Film Festival (October 18, 2006) organize a panel with Ruth Myers, Infamous, and Michael Wilkinson, Babel, after the films were screened. Ruth Myers was in London prepping The Golden Compass, so our CDG President Deborah Landis interviewed Myers by phone and then moderated the festival discussion with Michael Wilkinson who just finished the Nanny Diaries and is on his way to Morocco to shoot Rendition.

Courtesy Photofest

SCRAPBOOK

Faye Dunaway and Theadora Van Runkle, Bonnie and Clyde (1967) 42

The Costume Designer Fall 2006

“A compassionate, cautionary tale speaks eloquently about a time when America needed heroes, and does so when we are no longer sure what they look like.” – Richard Corliss, TIME

Best Costume Design

Deborah Hopper

For screening information please visit www.paramount2006.com

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

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