The Costume Designer - Fall 2007 by Costume Designers Guild

Western Issue

“The sets, costumes, stunts and special effects are beyond what anyone could have dreamed about during the Golden Age of the pirate movie.” Richard Roeper, CHICAGO SUN-TIMES

BEST COSTUME DESIGN

Penny Rose

F O R Y O U R C O N S I D E R AT I O N

For screening information: DisneyStudiosAwards.com ©Disney Enterprises, Inc.

vol. 3, issue 4

FEATURES The Wild, Wild, West Designing a Western world . . . . . . . . . . . . . . . . . . . . . . 20 Western Wear: Camp, Corsets and Realism How costume design sets the tone and feel . . . . . . . . . . . . . . . 26 Collaborations James Mangold, Cathy Konrad & Arianne Phillips . . . . . . . . . . . 28

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. . . . . . . . . . . . . . . 30 COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 email: cdgia@earthlink.net

COVER Jane Fonda strikes a pose as Cat Ballou. Designed by Bill Thomas, 1965.

Meet the Illustrators History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 A Look Back at Blade Runner Boldface Names

What’s On/What’s Out . . . . . . . . . . . . . . . . . 44 Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Photo: courtesy of Kobal Collection

Fall 2007 The Costume Designer

EDITOR’S NOTE

s Sharon Day mentioned in the summer issue, there are many changes brewing. With every issue, we strive to bring you a new and improved magazine.Your window to learn something new, share your experiences and celebrate one another. First of all, I’d like to thank Sharon for filling in for me last quarter as I took my maternity leave from the magazine. Sharon is letting go of her full-time participation in the magazine to focus on her many other Guild commitments. She will not only devote her time and energy to her dual chair of the Website and the Education Committees but she will also take the reigns as the sole editor of the Newsletter, her first CDG baby. I’m very excited to introduce Audrey Good judgment Fisher, your EBoard Assistant Designers comes from Rep, who will be taking over as associate experience, and a editor.Audrey has been a regular contributor and in this issue she’ll launch her new lotta that comes column called “A Look Back.” It will serve from bad judgment as a loving review and nostalgic look at — ANONYMOUS COWBOY costume-driven films and TV shows from the recent past. Audrey’s support and her voice will help us continue to move the magazine forward. I would also like to welcome Mary Rose, our new President. As the CDG’s first Distinguished Service Award recipient, Mary will bring a new and yet seasoned perspective to both the magazine and the Guild. Jacqueline Saint Anne has diligently brought you “Meet the Illustrators” since the newsletter days; profiling and showcasing our unsung talent behind the seams. As we’re coming to the end of our roster of Illustrators, we’re hoping to reinvent her column and turn the spotlight on our Assistant Designers. The theme of this issue,“The Western,” was clearly sparked by a growing number of Western projects on the large and small screen of late. I’m grateful to all the busy designers who’ve shown us a glimpse into a genre that some of us may never have the opportunity to explore. Thank you for your contribution. As always, I encourage you to share your ideas, your stories and your comments. If you have a story to tell, write it!

“

”

EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Audrey Fisher MANAGING EDITOR Cheryl Downey PRESIDENT Mary Rose mrose@costumedesignersguild.com

VICE PRESIDENT Hope Hanafin hhanafin@costumedesignersguild.com

SECRETARY Ann Somers Major asomersmajor@costumedesignersguild.com

TREASURER Karyn Wagner kwagner@costumedesignersguild.com EXECUTIVE BOARD

Sharon Day sday@costumedesignersguild.com

Salvador Perez sperez@costumedesignersguild.com

Deena Appel dappel@costumedesignersguild.com

Cliff Chally cchally@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper vlavencooper@costumedesignersguild.com

Susan Nininger snininger@costumedesignersguild.com

Van Broughton Ramsey vramsey@costumedesignersguild.com

Helen Butler hbutler@costumedesignersguild.com ASST. COSTUME DESIGNER REP.

Audrey Fisher afisher@costumedesignersguild.com COSTUME ILLUSTRATOR REP.

Dana Onel donel@costumedesignersguild.com COMMERCIAL COST. DESIGNER REP.

Tanya Gill tgill@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair pflaherty@costumedesignersguild.com

Jacqueline Saint Anne

Deena Appel dappel@costumedesignersguild.com

jsaintanne@costumedesignersguild.com

Marilyn Matthews mmatthews@costumedesignersguild.com LABOR REPRESENTATIVE

Betty Madden bpmadden@aol.com

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The Costume Designer Fall 2007

EXECUTIVE DIRECTOR

Cheryl Downey cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Suzanne Huntington shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY

Cheryl Marshall cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

for your consideration in ALL CATEGORIES including

BEST PICTURE BEST COSTUME DESIGN JACQUELINE DURRAN “Rarely has a book sprung so vividly to life, but also worked so enthrallingly in pure movie terms, as ‘Atonement.’ Technicians like designer Jacqueline Durran provide a richly decorated frame. Smart and dazzlingly upholstered.” –Derek Elley, VARIETY

“The most beautiful film of the year. Truly sumptuous.” –Mariella Frostrup, HARPER’S BAZAAR

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

“ANG LEE’S MASTERY OF THE FILMMAKING PROCESS INCREASES WITH EVERY PROJECT.

Surrounding himself with an excellent team, including production/costume designer Pan Lai, he has made a film of ambition and accomplishment, one that is a summation of all he knows. ‘Lust, Caution’ gets under your skin.” — Kenneth Turan, LOS ANGELES TIMES

WINNER

BEST PICTURE GOLDEN LION

2007 VENICE INTERNATIONAL FILM FESTIVAL

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

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PRESIDENT’S LETTER

Dear Members, e are now happily settled in our new CDG offices. From the moment you enter the beautiful glass doors etched with our Award Statuette and are met by the smiling face of Cheryl Marshall at the receptionist desk, you are filled with pride that you belong to Local 892. On October 9, we held our first General Membership Meeting at our new digs with our new Executive Board and Officers. We filled the large conference room adjoining our offices with enthusiastic new members and returning experienced members all marveling at the user-friendly, new space. Despite some opposition and controversy, it appears that our move was the right decision. Great harmony was in the air. At our request, IA West Coast Vice President Mike Miller graced us by speaking to the general membership. His frank and knowledgeable comments on the potential writers’ strike and its effect on our future delivered a strong impact. Mike also — LILLIE LANGTRY touched on some gloomy but realistic aspects about what this “Non IA–Strike”could mean to us financially.There was no doubt this had a very sobering effect. My greatest appreciation goes to Mike Miller for taking the time to educate us, and my apologies for taking him away from his N.Y.Yankees playoff game. It was a great evening and our members now have a better understanding of what it means to be part of the IATSE: the guardian of below-the-line workers. The Finance Committee met on October 17 to preliminarily discuss the 2008 budget and the forecast is good! It’s the first time in 14 years that I’m not the treasurer of this committee, but our newly elected treasurer, Karyn Wagner, is a bright and fast learner.The other committee members are Van Ramsey, Nanrose Buchman, Cheryl Downey and Rachael Stanley.We are lucky to be surrounded by those I consider to be the Best and Brightest. Our members can have my assurance that their money is in capable hands. Even with the dark cloud of a strike hanging over us, we feel we can manage our finances without getting into deep water. Our Guild has been through strikes before, and after reviewing our budget/investments, I feel confident that we will weather this storm. On a brighter note, I am happy to announce that Anjelica Huston will once again grace us as our host for the CDG’s 10th Anniversary Awards event.The Career Achievement Award for film will be given to Ruth Myers and the Career Achievement Award for Television to Raymond Aghayan; an award long overdue to both honorees.We look forward to seeing all of you at the Beverly Wilshire Hotel on February 19, 2008.

“

Anyone who limits her vision to the memories of yesterday is already dead.

”

In Solidarity, Mary Rose MRose@costumedesignersguild.com

IMPORTANT DATES EXECUTIVE BOARD MEETINGS CDG Office, 7 p.m.

2007 November 12 December 10

2008 January 7 • February 4 CDG leadership celebrates the new Board over dinner at Rachael Stanley’s home: (l-r) Sharon Day, Cliff Chally, Marilyn Matthews, Cheryl Downey, Helen Butler, Susan Nininger, Deena Appel, Hope Hanafin, Jacqueline Saint Anne, Tanya Gill, Mary Rose, Oliver Appel, Jim Lapidus, Karyn Wagner, Valerie Laven-Cooper, Rachael Stanley

GENERAL MEMBERSHIP MEETING February 25, 2008 CDG HOLIDAY OPEN HOUSE December 1, 2007 4–6 p.m. Fall 2007 The Costume Designer

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From the Desk of the Executive Director Dear Colleagues, know you join me in warmly welcoming President Mary Rose and our newly elected slate of Board,Trustee and Delegate members. That this many exceptionally gifted CDG members are willing to serve and even serve again is an indication of the highly talented constituency present in all categories of our Guild. It is also a reflection of respect for this Guild and its future. One key to the Guild’s success is more member involvement in the many committees chaired by our volunteer Board members. Committee work is a way to meet and learn from other Designers, Assistant Designers and Illustrators while contributing to the greater good. It is also a way to “grow” future leadership. It is essential that newer members join the more seasoned representatives on such efforts as this Magazine. Contact editor Deena Appel at dappel@costumedesignersguild.com with your ideas. The Education Committee needs dedicated volunteers; its agenda is full. The Committee sponsored a recent seminar with straightforward tips on negotiating a good deal. Several members participated in a panel at the DGA, yet other CDG members presented a panel at Woodbury University.The Committee needs you to help decide what types of classes you most need: computing Photoshop? financial planning? interviewing techniques? networking tips? Share your ideas, your time and your talent by contacting Chair Sharon Day at sday@costumedesignersguild.com or President Mary Rose at mrose@costumedesignersguild.com. You don’t have to meet here in the office to contribute.The Website Committee, for example, can benefit from volunteers who can only participate via e-mail or conference call. Continually enhancing our redesigned site is a pressing goal. Now that members can update their public and members-only information on the website 24/7, we will encourage more producers and directors to become frequent visitors. Both our members and those who hire us expect current information. During a work slowdown, for instance, adding an accurate availability list to the public portion of the website may facilitate hiring.The Guild needs many hands to make little work of this big, ongoing job. Be part of the solution and contact Sharon Day or myself now! I look forward to seeing you at the Guild’s Holiday Open House, Saturday, December 1. Come welcome the holiday season with us, and please bring an unwrapped child’s charity gift for the County Fed’s Turkeys & Tots!

In Solidarity, Cheryl cdowney@costumedesignersguild.com

NEW MEMBERS

(l-r) Oksana Nedavniaya, Antoinette Messam, Julie D. Weiss, Jennifer Austin, Erika Walthall, President Mary Rose, Brigitta Romanov, Hazel Yuan, Marcia Zigler, Suzy Magnin, Olivia Miles.

The Costume Designer Fall 2007

A FINE ROMANCE

The Motion Picture & Television Fund hosted its third annual “A Fine Romance” fundraiser on Sat., Oct. 20. IATSE President Thomas C. Short received the Silver Medallion Award for his commitment to the Motion Picture & Television Foundation. On hand to celebrate were (l-r) Designer/Labor Rep Betty Madden, Executive Director Cheryl Downey, Helen Mirren, and EBoard Illustrator Rep Dana Onel.

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Assistant Executive Director’s Report

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The Costume Designer Fall 2007

Dear Members, his year has brought many changes for the Guild office including our move to our new user-friendly location.The office Executives and staff could not be happier with our new home and invite you all to drop by and say hello. This fall, our tri-annual general elections were held and on October 1 a brand-new Executive Board was sworn in by Vice President Michael Miller.Although the number of members voting was not as high as we expected, we still had a good response from the membership. We hope that more members will exercise their right to be heard and participate in future elections. I am also pleased to report that many of our members are now calling in their work.This is so helpful for all our members trying to find each other, for the office when making set visits, determining current rates, and for compiling information for the press. Please remember to call us if you are not already doing so. Congrats to those members calling the Guild to verify and clarify the terms of the various contracts.Without your calls it is impossible for us to know if our contracts are being undermined. Don’t sign anything that is questionable without calling the office first and never go to labor relations without having your Guild representative present. As a member of the Industry Safety Committee, I am proud to announce a new wallet-sized “Accident to Do List” that you will soon receive in the mail. Safety at work should be everyone’s first priority but when an accident does happen, the proper protocol needs to be followed.We would like to remind you to call or have someone call the Guild office if you are ever hurt on a set or during work for a production. As a last note, remember to keep all your contact information current. You can now go to the website 24/7 and update your records. Just log on to the member area and follow the simple instructions. Keep up the good work.

In Solidarity, Rachael rstanley@costumedesignersguild.com

BEST COSTUME DESIGN

Mona May

For screening information: DisneyStudiosAwards.com ÂŠDisney Enterprises, Inc.

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Labor Report

ollywood’s writers’ contract is up and the fight over residual pay continues. If there is a strike, here are some resources for your family and friends. • If you have an economic need now or at any time, call 211 for L.A. County Services. • Contact the People’s Guide to Welfare Health & Other Services at www.peoplesguide.org.

IT’S OUR HEALTHCARE • The AB-8 Bill was vetoed by Governor Schwarzenegger.A special session to produce a healthcare bill that we can afford to live with is ongoing. A 48-hour vigil had union representatives camped at the offices of Governor Schwarzenegger as a visible reminder that we, in Labor, are serious about passing a healthcare bill this year. GOV. SCHWARZENEGGER—CALIFORNIA DRIVERS’ FEE HIKES • This was one of the issues that got Governor Gray Davis recalled and Arnold Schwarzenegger elected. • Registration fee increase $3 per year.

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The Costume Designer Fall 2007

THE MAY DAY IMMIGRATION MARCH • The MacArthur Park/LAPD calamity was followed up by the LAPD self-examination. • Reform fixes good until the next tension produces the next misstep. TURKEYS & TOYS The Labor Community Services Food and Emergency Program has started.You can drop your new unwrapped toys for children ages 8 to 18 at the CDG office by December 8.Your gift will brighten the holiday season for the children of our Labor brothers and sisters.Thank you! Betty Madden, CDG Labor Representative bmadden@costumedesignersguild.com

THANK YOU TO OUR GENEROUS VOLUNTEER CONTRIBUTORS : Michael Boyd Mark Bridges Janie Bryant Louise de Teliga Audrey Fisher Betty Madden

Patricia Norris Arianne Phillips Van Ramsey Robin Richesson Jacqueline Saint Anne Karyn Wagner

The Kobal Collection for their generous support

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IATSE PRESIDENT SHORT ORDERS MEMBERS TO HONOR THEIR CONTRACTS LOS ANGELES – IATSE President Thomas C. Short sent an open letter on October 31, 2007, to all IA members and locals working in film and television, in both the U.S. and Canada, who might be affected should a strike be called by the Writers Guild of America. The current IATSE motion picture contracts have the same no-strike clause that has been in effect in previous contracts. President Short’s letter is quoted below in its entirety: OPEN LETTER TO ALL IATSE MEMBERS AND LOCALS ENGAGED IN MOTION PICTURE AND TELEVISION PRODUCTION FROM THOMAS C. SHORT, INTERNATIONAL PRESIDENT As you are aware, the Writers Guild of America (WGA) is currently in negotiations for a successor contract to the current agreement that expires on October 31, 2007.While the IATSE remains hopeful that a new agreement can be reached between the WGA and the Employers, there is a potential for a work stoppage. The IATSE has over 50,000 members in two countries engaged in motion picture and television production.Any work stoppage may have a profound and long-lasting impact on you and your families. The IATSE contracts contain provisions that require us to continue to honor our contracts.These “no strike” provisions require the IATSE to notify our members of their obligation to honor these contracts and continue working.Any individual member who chooses to honor any picket line is subject to permanent replacement. It is important for each IATSE member to be aware of their contractual obligation as well as the potential impact on them personally if they choose to not cross and are replaced. Contact your local union with any questions regarding this potential labor dispute. The IATSE is an international union that represents members employed in the stagecraft, motion picture and television production, and trade shows industries throughout the United States, its territories, and Canada. (For background information on the International Alliance of Theatrical Stage Employees: www.iatse-intl.org.)

The Costume Designer Fall 2007

F O R

YO U R C O N S I D E R AT I O N I N A L L CAT E G O R I E S INCLUDING

BEST PICTURE

BEST COSTUME DESIGN SHAREN DAVIS

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In Memoriam

Sandy Berke Jordan, President of Local 705, died unexpectedly on October 21, 2007. Sandy was a 40-year member of the Costumer’s Local she loved so much. She is pictured here at 705’s recent 70th Anniversary celebration. After 25 years working as a Costumer on shows such as Godfather II, Rocky II, Heaven’s Gate, Lost in Yonkers, and Maude, Sandy became 705’s Assistant Business Rep in 1992. In 1993, she was elected Business Rep and served until she retired in 2000. That same year she was elected President. A staunch supporter of the IATSE and friend to all, Sandy will be sorely missed by all her sisters and brothers in the CDG.

The Costume Designer Fall 2007

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CDG EDUCATION COMMITTEE The CDG’s Education Committee participated in a Directors Guild–sponsored panel discussion for ADs and UPMs at the DGA on Sunset Boulevard, September 29, 2007. The goal was to encourage better communication and to understand and facilitate the costume departments’ creative process during production. Sharon Day, Cheryl Downey, Hope Hanafin, Audrey Fisher and Ann Major represented the CDG on the panel, and both Susan Nininger and Marilyn Matthews helped with detailed preparation for the event. The Education Committee looks forward to nurturing this valuable relationship. This graphic, created by the Education Committee, was included in the CDG information packet handed out to the panelists and participants, and depicts how the costume department interfaces with all departments during production.

HOLIDAY GREETINGS The Costume Designers Guild’s 2007 holiday card illustrated by Oksana Nedavniaya 18

The Costume Designer Fall 2007

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Fall 2007 The Costume Designer

w w ILD,

esterns just plain scare me. Not as an audience member but as a Costume Designer. Maybe it’s the dirt, the stunts, the feathers or the hats… No, I think it’s the difficulty in getting it right.Westerns are a beloved genre that takes a great deal of special care (and no small amount of elbow grease) to pull off. Now that there’s been a complete resurgence of Westerns in film (with Oscar buzz) and on television (Emmys galore), I thought I’d go to the designers who’ve recently survived “The Western” with the hope of demystifying this hallowed ground. Five-time Oscar-nominated Costume Designer and CDG Career Achievement honoree, Patricia Norris, is no stranger to the West.Take Days of Heaven for instance; a film that has become a visual blueprint for countless followers. Norris was the CD for The Assassination of Jesse James by the Coward Robert Ford but she also took over as the Production Designer.

The Assassination of Jesse James by the Coward Robert Ford 20

The Costume Designer Fall 2007

ILD,

Patty’s been doing double duty for years, starting with her longtime collaboration with David Lynch on Blue Velvet. Her biggest hurdle with the 1880’s and 1890’s costumes was that she had only seven weeks to prepare.“The greatest misconception with a Western is that you just go to a rack and it’s all there. The clothes we made had to look older so I had all the wool washed several times, which makes it thicken up before cutting.” Norris built most of her costumes at Western Costume in Los Angeles, but she had no workroom on location in Canada.At one point, she had three different stitchers building duplicates of the same coat, a Chinese tailor making suits in downtown Calgary and dresses being made at the Winnipeg Opera House. Norris also rented costumes, mainly from Western Costume and Cosprop in London.“These people were famous outlaws. As a designer you always have to read between the lines and transfer real to serve the actor and the script,” Norris cautions.When asked why Westerns seem so popular again, Norris believes “it’s because they are so far from the reality we know now.” Patty’s

The Assassination of Jesse James by the Coward Robert Ford/Warner Bros., 3:10 to Yuma/Lionsgate

THE

3:10 to Yuma

w Into the West/DreamWorks/TNT

EST

most proud that “they survived, did not go over budget and that no one had to work naked.” Arianne Phillips was warned.While shooting Walk the Line (her costumes were nominated for an Oscar and CDG Award), the director, Jim Mangold, mentioned his next film, 3:10 to Yuma, was a Western and that Ari should “get ready.” Having hardly seen many Westerns, she took this as an immediate call to immerse herself in the genre. She spent two years watching Westerns and reading about the period. Although she strived for authenticity, it was important to avoid cliches. Ari built all of the principal costumes, 80% of the day players, supplemented with bought pieces that were recut, dyed, embellished and aged, and rented from Western Costume and Motion Picture.With lead ager/dyer Phyllis Thurber Moffit by her side, she knew that the key would be prototypes. It was also a huge task to match the progression of dust, dirt and blood. They were going nonstop, seven days a week for a while there. Ari calls Moffit “a real artist and a mad scientist

Into the West

Into the West Fall 2007 The Costume Designer

who was a well-spring of energy and creativity.” Did anyone say hats? Phillips says,“Hats are the most misunderstood element when designing a Western. Hats are up front, filling the frame.They are a key necessity for informing the period, the geography, the economic and social standing of a character.They are not to be underestimated!” Once again, lack of time and money is the biggest complaint—from researching to building to ageing. As for her crew,“I am so proud of my crew and grateful for their tireless and resourceful work, their enthusiasm, humor and work ethic all while shooting in the coldest winter in New Mexico.” Michael Boyd has done seven Westerns in all. He won an Emmy for Son of the Morning Star and was nominated for an Emmy and a CDG Award in 2006 for Into the West. The 12-hour miniseries explored the American West from 1826 to 1902 told from both the white settlers and the Native Americans’ perspective. “What makes this one different is the span and scope of the project; ALL the cultures of the Westward Expansion Movement from the Native culture, Pre-Revolutionary War America descendants, recent foreign immigrants and more,” says Boyd. “If a designer is lucky enough to snag a Western project, especially one with scope, it is as difficult and rewarding as any other historical genre.A Native brave in his/her finery can be just as opulent and regal as any European monarch. It is not the 1950s anymore where actors wore modern blue jeans and denim shirts in a Western. Many people are elevating the Western genre with accuracy, authenticity and attention to detail. One would hope that it will be recognized someday.” Michael goes on to say,“The story of the West is indeed ‘our’ story. The themes of Westerns, whether it is lessons learned in The Oxbow Incident or the harshness of life in Jeremiah Johnson, flow through the story. Morality, right and wrong, honor, deceit … are all present in the genre.” Mark Bridges’ first experience in this genre, There Will Be Blood, begins with silver miners in 1898 and moves to oil exploration from 1902 to 1911.“This is not a traditional Western but had a similar landscape.A man alone against the elements, trying to sur-

The Costume Designer Fall 2007

Comanche Moon vive often dangerous situations in still unchartered territory in California at the turn of the century,” Mark tells us.“The sheer scale of the mining operation as well as the special effects employed while maintaining a sense of historical accuracy; creating different and distinct costumes for a variety of male characters while using the narrow vocabulary of menswear of the period was sometimes daunting.” Bridges’ biggest challenge was acquiring enough clothes, fabric and shoes to take to a remote location to cover whatever situation came his way. He was in an area of West Texas with no overnight shipping and very few stores within a 50-mile radius. He jokes that he was going to “Gilligan’s Island” where you had to make due with whatever was on hand. Bridges’ budget wouldn’t allow for an ager/dyer to go on location but he believes that “dyeing and distressing is part of the artful beauty of a finished costume” so he had to do it himself and teach his local crew in the process. Bridges mistakenly thought it would be “fun”somehow in the middle of the desert but the reality was dirty and dusty and then there were those rattlesnakes to watch out for. He’s proudest that “the costumes seem real to the character and the period but that they disappear into the world of the film.” Van Broughton Ramsey certainly knows his way out west. Van won an Emmy for Lonesome Dove and Oldest Living Confederate Widow Tells All and was nominated for Sarah, Plain and Tall and Buffalo Girls. His latest project is Comanche Moon, is the prequel to the Pulitzer Prize–winning book Lonesome Dove. Unlike his previous Westerns, this one mainly dealt with Comanches and Kikapoos, the latter having very little historic documentation.“I had to take most of their costumes from the written word and then work with Bill Volker, our Indian adviser. Bill is the keeper of the Eagle Feathers for the Comanche Nation. He provided us with authentic Eagle feathers for the Comanches, which involved an Indian blessing as he passed them out each morning.” Ramsey built all of the principal costumes since he needed doubles and triples and rented background from every costume house in Los Angeles.“We had several sources for brain-tanned leather which

There Will Be Blood/Paramount Vantage, Comanche Moon/CBS Television

There Will Be Blood

WESTERN

sources & contacts

CLOTHING: RIVER JUNCTION TRADE CO. 866.259.9172 or 563.873.2387 312 Main Street, McGregor, IA 52157 www.riverjunction.com/ Manufacturers & dealers in 19th-century dry goods MELET & CASSIE MERCANTILE Bob Melet 212.925.8353 84 Wooster Street, NY 10012 By appt. only www.cattlepressleather.com Specializes in period clothing, uniforms, and antiquities. Sells to the fashion design industry (Ralph Lauren, etc.) Key items as research and inspiration for prototypes. Able to find vintage fabrics and clothing. EBAY Extremely helpful for period findings, buttons and some fabrics.

is only available certain months of the year.It’s a process of tanning done by American Indians where they rub the brains of cattle into the leather to soften it during a smoking process.” Van has also been collecting period fabrics, buttons and trims for more than 25 years and his supervisor,Betsey Potter,contributed from her private collection as well.

CATHERINE’S CLOSET 520.740.1673 Tucson, Arizona www.cnash@wvcnet.com Private trunk shows and will ship on speculation, 1860s–1970s new/old stock for sale only CUSTOM HATS: DIRTY BILLY’S HATS 410.755.1865 20 Baltimore St. Gettysburg, PA 17325 www.dirtybillyshats.com Civil War reproductions made from original blocks Retail & mail order MONTECRISTI CUSTOM HAT WORKS 505.983.9598 322 McKenzie Street Santa Fe, NM 87501 www.montecristihats.com

FABRIC & TRIMS: SUPER TEXTILE CO. 212.643.8700 800.548.1722 134 W. 37th St. #4 New York, NY 10018 INT’L SILKS & WOOLENS 323.653.6453 8347 Beverly Blvd. Los Angeles, CA 90048 www.iswfabrics.com M. GRABIE WOOLENS 718.268.7444 Forest Hills, NY 11375 www.grabiewoolen.com MOOD DESIGNER FABRICS 212.730.5003 225 W. 37th St. 3rd Fl. New York, NY 10018 323.653.MOOD 6151 W. Pico Blvd. Los Angeles, CA 90035 www.moodfabrics.com HEMP TRADERS 310.637.3333 11301 W. Olympic Blvd. Los Angeles, CA 90064 www.hemptraders.com “wonderful, natural and unusual fabrics” RAGFINDERS 784 S. San Pedro St. Los Angeles, CA 90014 “seviceable basics” LEATHERWISE 831.425.3560 300 Potrero St. Santa Cruz, CA 95060 www.leatherwise.com Brain-tanned leather

BARON HATS 818.563.3025 1619 W. Burbank Blvd. Burbank, CA 91506 www.baronhats.com Hollywood’s Hat Maker

FILMS FOR INSPIRATION:

TEXAS HATTERS Manny Gammage 512.398.4287 800.421. HATS 911 S. Commerce St. Lockhardt, TX 78644 www.texashatters.com CUSTOM BOOTS & SHOES:

Ramsey’s sketches for Comanche Moon

CB WESTERN WORKS Clint Bryant 661.822.3355 805.479.4121 Tehachapi, California Custom boots, shoes, saddles & leatherwork

WILLIES SHOE SERVICE 323.463.5011 801 N. Cahuenga Blvd. Los Angeles, CA 90038 Custom “period” boots and shoes

The Culpepper Cattle Co. (1972) Days of Heaven (1978) Destry Rides Again (1939) The Hired Hand (1971) Jeremiah Johnson (1972) McCabe & Mrs. Miller (1971) Once Upon a Time in the West (1968) Pat Garrett & Billy the Kid (1973) The Searchers (1956) The Wild Bunch (1969) Sergio Leone Trilogy: A Fistful of Dollars (1964) For A Few Dollars More (1965) The Good, the Bad and the Ugly (1966)

Fall 2007 The Costume Designer

Three’s a magic number for Katherine Jane Bryant. Janie’s first foray into the Western genre, Deadwood, earned her three CDG and three Emmy nominations, winning the Emmy in 2005. Accomplishing the 1870s with a huge cast of principal actors and a town of background artists on a weekly-episodic-TV-show budget was no small task. Bryant built 75% of the principal costumes weekly. Add to that Bryant’s concept of aging and dyeing “the audience should be able to imagine the living conditions and even the smell of Deadwood just by looking at the costumes. The biggest trick was making sure that the costumes maintained the same level of distress and dirtiness throughout an entire season of shooting. It takes a ton of manpower and an artistic eye to consistently maintain.” Janie’s most proud that she was able to create original designs for a period show and at the same time give a freshness to the design of a Western.

Maybe Westerns aren’t so bad after all. Deena Appel dappel@costumedesignersguild.com

The Costume Designer Fall 2007

Deadwood

Deadwood/HBO

Van Ramsey tells me his favorite line from Lonesome Dove, is when Gus tells Lorena ‘you have to learn to be grateful for the everyday things in life.’ He goes on to say,“so many characters in Westerns must face that hardship and I’d like to think as I get older I’m truly grateful for what life brings my way.”

Western Wear Camp, Corsets Realism he Western film has forged a trail as vast as any that the pioneers, outlaws and trailblazers of the real Wild West ever roamed. Throughout the years we have seen more boots, spurs, hats, vests, kerchiefs, corsets, and belt buckles up on the screen than may have actually existed in reality. The Western genre displays the perfect example of the importance of costume in setting the tone and feel of story. Embracing the basic elements of the Western—the philosophical battle (good vs. evil) and the visual spectacle (character vs. landscape)—Western costumes have run the gamut from gritty realism to highcamp comedy. Who can forget the opening scene of High Noon.The innocent beauty of Grace Kelly, neatly swathed in white cotton broderie Anglais, as she weds Gary Cooper. He’s the embodiment of utilitarian elegance in a soft-collared cream shirt, pin-dot bow tie and pinstriped vest, adorned

Madeline Kahn in Blazing Saddles, 1974 26

The Costume Designer Fall 2007

with a watch fob and the silver star of a u t h o r i t y. Later, we are introduced to the saloon Grace Kelly in High Noon, 1952 o w n e r, a beguiling Katy Jurado, darkly resplendent in a quietly risqué sheer top, under which can be glimpsed her corset. We immediately understand the characters and the theme is set. Corsets were almost ubiquitous. Rare was the Western film that did not make use of this waist-cinching body shaper, in keeping with the period fashion. There seems to have always been a saloon, above which resided the fallen woman, luring the wild drinking, gunslingin’ patrons away from their travails with her provocative cleavage thrusting from a tight corset and a tiered petticoat obscuring the final vestiges of her chastity. It was all innuen-

Marlene Dietrich in The Blue Angel, 1930

High Noon Stanley Kramer/United Artists/Kobal, Blazing Saddles/Warner Bros./The Kobal Collection, The Blue Angel/UFA/ The Kobal Collection

do. We knew she was a hussy, but she was somehow the very representation of good.The woman who understood what dark places our heroes and villains descended to in pursuit of the American Dream. Consider the brilliant Madeline Kahn as cabaret singer Lili Von Shtupp in Blazing Saddles (Nino Novarese). She’s tired, she whines, corseted and gartered as she blousily straddles a chair on stage; hilariously riffing on Marlene Dietrich’s Lola from The Blue Angel,or framed in a cloud of marabou and a saucy pink negligee, as she suggestively offers sheriff Cleavon Little a giant knockwurst sausage for breakfast. The corseted hussy may have been the distraction, but the salt-of-theearth women who endured impossibly harsh conditions were the unsung heroines of the Western, largely relegated to second fiddle behind their men. An exception was Maureen O’Hara as the estranged wife of John Wayne in Rio Grande. Her strong will only enhanced her beauty. She arrives at Wayne’s fort to rescue her young son from the military, looking demurely fetching in a cream partially sheer top tucked into a big skirt.There were no corsets on this set. Costume Designer Adele Palmer gave the women a more real prairie look, albeit with a slight nod to 1950’s Vogue. At the far end of the spectrum is the wonderful musical, Annie Get Your Gun. Designers Helen Rose and Walter Plunkett clearly had a whale of a time creating the fabulously kitsch costumes for Betty Hutton and the rest of the cast. As wildly colorful as Annie Oakley herself, each outfit she sports supports her character’s strength as a pioneering woman in a maledominated world. Today, the new Western is raw, natural and totally realistic. Stylized versions of period costume have disappeared, only to be gloated at lovingly on remastered DVDs. Louise de Teliga luludt8@yahoo.com Annie Get Your Gun MGM/The Kobal Collection, Rio Grande Republic/The Kobal Collection

Betty Hutton in Annie Get Your Gun, 1950

Annie Get Your Gun, 1950

John Wayne & Maureen O’Hara in Rio Grande, 1950 Fall 2007 The Costume Designer

COLLABORATIONS

James Mangold Cathy Konrad Arianne Phillips DIRECTOR

PRODUCER

James Mangold & Cathy Konrad

Arianne Phillips

ollaborations has been reborn into the form it was always meant to take. This installment brings together two talented filmmakers, director James Mangold and producer Cathy Konrad, and their longtime collaborator, Costume Designer Arianne Phillips. It’s through their mutual respect, appreciation and loyalty that this true collaboration is born.

YOU SEEM TO HAVE A VERY SPECIAL RELATIONSHIP WITH ARIANNE PHILLIPS. WHAT MAKES THAT COLLABORATION WORK? JM Some collaborators bring a restrictive, branded “vision” to their work and frankly, that limits how often you want to use them. It becomes more about them than the film. CK Ari puts no boundaries on the participation of the actors or the filmmakers. In fact, she seems to feed off it, but amazingly, is never compromised. The actors feel the costumes are a genuine extension of their character. Ari always has a fresh perspective that uses the period appropriately but doesn’t stay confined to it. She finds her inspiration in music and rock and roll. She goes outside the conventions, which we find exciting. JM On any film, the earliest intimate relationship with an actor, besides the director, is the Costume Designer. I have to trust the designer with my actors at a time when they are most vulnerable. And I trust Ari because of the open process Cathy describes. There is no agenda except to make an unforgettable character.

ARIANNE: WHAT MAKES YOUR COLLABORATION WITH JIM & CATHY UNIQUE? AP Jim and Cathy are extremely intelligent and thoughtful, and have an energy and passion for storytelling. They are by nature open creatively. They are INTERESTED and UNDERSTAND the value costumes serve in the filmmaking process. They protect and support me creatively and allow me the freedom to try new things. From filming through the editing process I’m always amazed at their unsolicited, positive feed28

The Costume Designer Fall 2007

COSTUME DESIGNER

back and appreciation of my work.They’ve created a film “family” and are inclusive and value not only my work but my crew. I’ve had the great fortune of working with some of the most extremely talented artists of our generation. Jim and Cathy top that list and with great reverence, I thank my lucky stars!

HOW DO YOU THINK COSTUME DESIGN CONTRIBUTES TO THE STORY, THE CHARACTER AND EVEN THE ACTOR’S PERFORMANCE? JM A designer’s influence on performance can’t be overstated. They are not just finding the clothes that “fit” a preexisting character. The process of finding the right clothes is simultaneous with the actor finding his or her character.

WHEN IT COMES TO A PERIOD PIECE, WHERE DO YOU STAND ON AUTHENTICITY VS. ARTISTRY? JM I have a healthy mistrust of historical accuracy. I trust my gut and my eye. It has to feel real which is a mid-ground between contemporary style and historical.

IS THERE AN EXAMPLE OF HOW A COSTUME DESIGNER SUCCESSFULLY TRANSFORMED A CHARACTER FROM YOUR ORIGINAL VISION? JM So many with Arianne.Three that come to mind—Angelina Jolie in Girl Interrupted, Ben Foster in 3:10 to Yuma, and Reese Witherspoon in Walk the Line. In each case, the resulting character, their movement and style, was both more and different and bolder than I imagined. And a careful dance between accuracy and vision.

I WAS IN THE ROOM WHEN YOU BOTH TOLD THE STORY OF PUSHING WALK THE LINE FOR ARI’S AVAILABILITY. CAN YOU EXPLAIN? CK I could never have told the studio that we were pushing a week to make the film possible for Arianne. It would have seemed irrational. But that’s what we did. In a film like Walk the Line with costuming, character and period issues so criti-

SELECTED CREDITS

Walk the Line/FOX 2000/20th Century FOX/The Kobal Collections/Suzanne Tenner, Girl, Interrupted Columbia Tristar/The Kobal Collection/Suzanne Tenner, 3:10 to Yuma/Lionsgate/Richard Foreman

JAMES MANGOLD Producer: Men in Trees (2006) Lift (2001/I) (executive producer) Director: 3:10 to Yuma (2007) Men in Trees (one episode, 2006) -pilot (2006) TV episode Walk the Line (2005) Identity (2003) Kate & Leopold (2001) Girl, Interrupted (1999) Cop Land (1997) Heavy (1995) Writer: Walk the Line (2005) (written by) Kate & Leopold (2001) (screenplay) Girl, Interrupted (1999) (screenplay) Cop Land (1997) (written by) Heavy (1995) (written by) Oliver & Company (1988)

Reese Witherspoon in Walk the Line, Angelina Jolie in Girl, Interrupted and Ben Foster in 3:10 to Yuma cal and the budget so tight, waiting for a brilliant and trusted friend was easily worth the wait and very rational.

ARIANNE: DO YOU FIND THAT THE TRUST JIM AND CATHY HAVE IN YOU SPARKS A DIFFERENT LEVEL OF CREATIVITY?

CATHY KONRAD Producer: 3:10 to Yuma (2007) (producer) Men in Trees (2006–2007) Walk the Line (2005) (producer) Identity (2003) (producer) The Sweetest Thing (2002) (producer) Kate & Leopold (2001) (producer) Lift (2001/I) (executive producer) Scream 3 (2000) (producer) Girl, Interrupted (1999) (producer) Teaching Mrs. Tingle (1999) (producer) Wide Awake (1998) (producer) Scream 2 (1997) (producer) Cop Land (1997) (producer) Scream (1996/I) (producer) Beautiful Girls (1996) (executive producer) Citizen Ruth (1996) (producer) … a.k.a. Meet Ruth Stoops Things to Do in Denver When You’re Dead (1995) (co-producer) Kids (1995) (co-producer)

AP They have a magical way of working collaboratively, and completely trust me to delve deep and bring ideas to the table.That energy is inspiring and raises the bar to whole other levels of vernacular and creative language.

WHAT ADVICE WOULD YOU GIVE TO FRESHMAN DIRECTORS & PRODUCERS WHO BELIEVE THAT COSTUME DESIGN THESE DAYS IS “JUST SHOPPING”? JM Obviously I would advise them that they are misguided and being myopic. CK For those who believe that a Costume Designer’s job is to go shopping, then you shouldn’t be making a movie. Just go to the mall and look around. I bet you would be bored—and your film would have the same outcome. Deena Appel dappel@costumedesignersguild.com Fall 2007 The Costume Designer

THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS ana Onel has just been elected by the membership of the CDG to represent the Illustrators on the Executive Board. Dana will serve a three-year term bringing her talent and imagination to the cause of our Illustrators in an administrative capacity. Dana was born in a small town in Romania and moved to Bucharest where she studied fine arts at the George Apostu School of the Arts. Here in California, Dana attended Santa Monica College to hone her skills as the wonderful Web designer she is. Dana also wanted to utilize her fine arts training and passion for character delineation through costume, so she became an Illustrator in the Guild. Recently, Dana has been illustrating costumes for commercials, for Mariah Careyâ&#x20AC;&#x2122;s video and for Secrets of a Small Town. Currently, Dana is illustrating the opera I Capuleti e I Montecchi for Designer Jacqueline Saint Anne. Now you can call her for work as an Illustrator or for anyquestion or suggestion you have regarding work as an Illustrator. See Danaâ&#x20AC;&#x2122;s work on our website or here at dana@danaonel.com

ksana Nedavniaya was born

in Moscow, Russia. She received training as a concert pianist and graduated with honors from The Gnessin College of Music. While pursuing her music degree, she constantly turned to drawing as a source of inspiration. Upon moving to Los Angeles, Calif., in 1999, she decided to follow her long-cherished dream of becoming a fashion designer.While taking a class in fashion illustration, Oksana soon discovered that she was more passionate about the illustration aspect of fashion design and dedicated herself to fine art. She continued her formal art training at California State, Long Beach, where she received her bachelor of fine arts degree in illustration. Oksana was still searching for a way to combine her passion for costumes and fine art when she met Guild Illustrator Robin Richesson, who suggested she join the Costume Designers Guild as a Costume Illustrator. At Comic-Con last year, Oksana met leading Costume Designers in the fantasy/science fiction genre and received positive feedback about her portfolio.Two days later, she was invited to work as an Illustrator on Prince Caspian, the sequel to the beloved The Chronicles of Narnia with Costume Designer Isis Mussenden. Oksana sketched for Isis in Prague, Czech Republic, from August 2006 through May 2007. Oksana works in various mediums, with watercolors being her particular favorite. Her renderings are recognized for their brilliant colors, with special attention to detail and texture. Her holiday illustration was chosen for the 2007 CDG Holiday Card (see page 18). She currently is at work on Hotel for Dogs illustrating the designs of Beth Pasternak and can be reached at oksie@oksieart.com Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

The Costume Designer Fall 2007

THE COSTUME DEPARTMENT

HISTORY OF DRESS: WESTERN EDITION UFFALO

SOLDIERS:

Black troopers who wished to remain in the Army after the Civil War were reassigned to the 9th and 10th Cavalry regiments. They came to be respected by the Plains Indians, who named them the Buffalo Soldiers. The buffalo was sacred to the Plains tribes and the name stuck. The buffalo was the insignia of the 92nd Division, “Negro” division, in WWII. Like everything else after the Civil War, this regiment was understaffed, undersupplied and their equipment was out of date. They continued to wear their forage caps, five-button sack coat and cavalry breeches.These uniforms were made of blue wool, blue being the color of the U.S. Army starting with the Revolutionary War and still reflected in contemporary mess dress.

PIONEER WOMAN Slate Bonnet: The brim is reinforced with pieces of cardboard or wood to keep it stiff anD it has a “skirt” to keep sun off of her neck and shoulders. Calico: Her dress was made of calico which was still a relatively new product at around the time of the Civil War. It was made in andimported from Calcutta, hence the name,“calico.” Factory-woven of cotton, instead of the usual linsey-woolsey that most people had to spin and weave themselves. It originally came in 18-inch-width bolts and was known for a print with a small repeating flower or geometric pattern. Buttons that matched “calico buttons” were often produced by the same factories.

The Costume Designer Fall 2007

COWBOYS Their gear is all about protection from the elements.

Bandana: The cotton bandana was originally dyed in a tie-dye process in India called bandhnu and was available in many colors and patterns by the 1860s. This eventually evolved into the classic red and blue that we know now. Chaparajos: Or chaps for short, were made of leather, horsehide, sheepskin and sometimes buffalo hide to protect the leg from brush. Sombrero: Pictured is the Mexican sugar loaf sombrero, and the more classic style is the plainsman’s hat.They seem to have been a hybrid of the U.S. Cavalry hat and the Mexican vaquero style.The most famous maker is Stetson, who named his most famous shaped hat “Boss of the Plains.” Summer hats were made of straw, winter, or warmer hats were made of felted animal fur; beaver, sheep, buffalo, rabbit, and hare and most commonly came in two colors, a grey and a pale tan. As manufactured, the hat came with a round, uncreased crown, which was then folded by the store or the customer into the desired shape.

Karyn Wagner kwagner@costumedesignersguild.com Illustrations by Robin Richesson robins.nest@verizon.net

Fine menâ&#x20AC;&#x2122;s and womenâ&#x20AC;&#x2122;s fabrics for stage and screen from Ermenegildo Zegna

West Coast Scott Anderson 323-650-8875 East Coast 201-708-1600 Toll Free 800-227-1724 sales@gladsonltd.com

IN FOCUS

A LOOK BACK

Blade Runner, 1982 Ladd Co./Warner Bros./The Kobal Collection

The Costumes of Blade Runner : Imagination, History and Pastiche

isually spectacular, intensely action packed and powerfully prophetic since its 1982 debut, director Ridley Scott’s Blade Runner has returned in a definitive final cut, including extended scenes and never-before-seen special effects. Blade Runner is a complicated mixed-genre film, a sci-fi noir thriller with the thematic structure of a classic Western like High Noon.

The extraordinary costumes, designed by Charles Knode and Michael Kaplan, are key in creating a dark, dystopian vision of the industrial wasteland of 2019 Los Angeles. Drawing from the outlaw style of the American West, and both 1940’s and 1980’s fashion (with a heavy dose of Medieval, Renaissance and Edwardian cyberpunk thrown in), Knode and Kaplan build a costume vocabulary which seems both familiar and futuristic. Blade Runner’s artfully layered costumes showcase the designers’ inspirations, presenting the audience with an eclectic pastiche of time, place, and genre.While certain costume details anchor us to 1982, others reference those many styles and eras the futuristic movie encompasses. The patterned shirts and ties worn by Harrison Ford as anti-hero Rick Deckard are distinctly ’80s, but his long, brown overcoat references both the Western lawman’s duster and a noir detective’s signature trench coat. Gaff, a Mexican-

Japanese police lackey, played with panache by Edward James Olmos, is a Wild West Edwardian dandy in a skinny bow tie, quilted double-breasted jewel-toned vests and overcoats, and the cool twist of a ’40s stingy-brimmed porkpie. Murderous Replicants Leon (B.J.) and Roy (R.H.) stalk the grimy city streets outfitted as classic Western villains in menacing black coats, but in 1980’s leather. Sean Young's Rachael is a seductive femme fatale encased in Adrianinspired suits designed with sculptural oversized shoulders to create a sharp futuristic look. When Deckard finds himself in a nightclub teeming with party girls, they have the whiff of 1890’s Wild West prostitutes decked out in Schiaparelli-esque confections and ’80s prom dresses. Finally, the street people of 2019 Los Angeles— gangsters, punks, and Asian and Spanish hawkers—are dressed in intricately trashed but beautiful apocalyptic garb. Weaving their inspirations into densely-detailed visions of the future, Charles Knode and Michael Kaplan have created costumes which seem as sophisticated in 2007 as they were in 1982. Their costumes animate Blade Runner, gracing the story with both historical specificity and creative artistry, and helping to establish the film as a compelling cult classic. Audrey Fisher afisher@costumedesignersguild.com

Fall 2007 The Costume Designer

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IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK April Ferry has returned from her five-year sojourn in Italy. On her way home she designed The Edge of Love in London with Keira Knightley and Sienna Miller and next she’ll be in Boston designing the thriller The Box starring Cameron Diaz and Frank Langella. Nancy Steiner is currently designing Lovely Bones for Peter Jackson in Pennsylvania and New Zealand, starring Ryan Gosling and Rachel Weisz. CD Louise Frogley is in England prepping the new James Bond movie Bond 22. CD George Little and ACD Dan Lester are currently in Amman, Jordan, wrapping The Hurt Locker, a cat–and-mouse thriller directed by Katherine Bigelow. Daniel Orlandi just completed Frost/Nixon about the postWatergate television interviews and is already headed to London with director Ron Howard for Angels & Demons. Laura Goldsmith is on location in Hong Kong designing Push, a sci-fi action-packed thriller. Ellen Ryba is designing Prohibition Era Little Chicago, set in upstate New York with a cast that includes several Sopranos’ alumni. Jennifer Soulages is in Charlotte, N.C., designing April Fool’s Day. Jennifer thanks her CDG colleagues Kristen Burke, K.D. Dover, Denise Wingate, and Alexandra Welker for the wealth of information regarding crew and resources in North Carolina. Jennifer also recently designed Virgin Love at the Ricardo Montalban Repertory Theatre Co. playing through early December. Michael Boyd is designing The Kings of Appletown. Shooting on location in New Branfels, Tex., will give Michael the opportunity to spend time with his family. Durinda Wood is on location in Stamford, Conn., designing the Tim Allen film The Six Wives of Henry Lefay. Michael Dennison is designing The Spirit and Alix Friedberg is designing Game, both on location in Albuquerque, N. Mex. CD Jeffrey Kurland is prepping the romantic comedy, Confessions of a Shopaholic, based on the novel. Betsy Heimann is just wrapping the thriller The Happening for director M. Night Shyamalan. CD Ariyela Wald-Cohain designed the pilot

Porcelain and recently wrapped a biker feature called Hell Ride,produced by Quentin Tarantino. Jacqueline Saint Anne designed Bellini’s opera I Capuleti e i Montecchi at the Bing Theatre. She will soon start work on Christina, a movie set in 1945, filming locally. Beth Pasternak is designing Hotel for Dogs for DreamWorks starring Emma Roberts. Carol Ramsey is currently designing the send-up comedy Superhero! shooting in Los Angeles. Carol’s working with two ACDs, Ellen Falguiere and Lois DeArmond. CD Maria Schicker recently styled cover shoots featuring speed skater Apolo Ohno and tennis star Jelena Jankovic, and is currently designing the contemporary feature Still Waiting. CD Shay Cunliffe recently completed the star-studded He’s Just Not That Into You adapted from the popular book. Mark Bridges is designing Yes Man about a man, Jim Carrey, who challenges himself to say “yes” to everything for one year. Michael Kaplan is starting principal photography for Paramount’s highly anticipated Star Trek XI,directed by JJ Abrams. continued on page 38

Fall 2007 The Costume Designer

BOLDFACE NAMES BOLDFACE AT WORK ACD Stacy Caballero is working with Michael. Since joining the Guild this January, Illustrator Phillip Boutte Jr. has sketched for Star Trek XI and The Mummy 3 for CD Sanja Hays. He also working on the TV revival of American Gladiators. Phillip thanks both Robin Richesson and Rachael Stanley for their inspiration and support. The always busy Debra McGuire recently designed David Mamet’s Redbelt. Currently she is designing Righteous Kill for Jon Avnet and Year One for Harold Ramis. Debra continues prepping Heroes, while designing Atlanta, a Civil War musical for the Geffen Playhouse. CD Rita Ryack has just completed the Brett Ratner pilot Blue Blood with CDG Assistant Designer Shanna Knecht and N.Y. Asst. Chris Peterson. Jenni Gullett just wrapped the miniseries Andromeda Strain for A&E, directed by Mikael Soloman and is currently designing an untitled 1950’s comedy. Jessica Torok is assistant costume designing for CD Heidi Kazenski on ABC’s Notes From the Underbelly.

Dan Lester will design the WBTV/Bruckheimer pilot The 11th Hour directed by Danny Cannon and shooting here in Los Angeles. Laura Frecon, an ACD who recently joined Local 892, assistant designed the play Third at the Geffen Playhouse, as well as the short film Meridian. Monique Long is currently in Las Vegas designing Proline, a nationwide weekly sports talk show in production for more than 20 years on the USA network.

BOLDFACE ENTREPRENEURS Cliff Chally has opened an IA union costume shop with Local 705 members John Van Hout, David Matwijkow, and Heidi Hafer.They offer custom-made and alteration services. Contact them at: Costume Co-Op, 11501 Chandler Blvd., North Hollywood, (818) 752-7522/(818) 752-7524 fax. Deborah Landis’ new book Dressed: A Century of Hollywood Costume Design will be available November 27. Showcasing Hollywood’s most tantalizing costumes and the characters they helped bring to life, Landis includes quotes

Holiday Greetings

COSTUME RENTALS CORPORATION 11149 VANOWEN STREET NORTH HOLLYWOOD, CA 91605 TEL: (818)753-3700 FAX:(818)753-3737

CONTACT: MEL SABINO

The Costume Designer Fall 2007

IN FOCUS

and sketches and more than 800 pictures in this lavish tribute. Meet the author: Dec. 6, 7:30 p.m. Barnes & Noble, The Grove LA. Visit dressedthebook.com. Chrisi Karvonides expressed another side of her talents at the “Beverly Hills Affair in the Gardens” juried art show in October. You can view

Chrisi’s abstract and impressionist work at paintingsbychrisi.com. Sherrie Jordan has started a new business venture renting wardrobe trailers decked out with all the bells and whistles! It took her a year to get the trailers perfect, and it’s finally available. Find photos and specs at jscwardrobetrailers.com. Michele Michel’s company, Designed by Hollywood, showcases lines by Hollywood professionals and provides those designers with both a social and professional support network. Michele’s silver jewelry is featured on her website, alongside the work of Lis Bothwell and Rochelle Best.Visit www.dbyh.com. continued on page 40

Fall 2007 The Costume Designer

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C O S T U M E S • Extensive selection • Full service workroom • Made to order, alterations, fittings • Prep spaces, laundry & dye room

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Eduardo Castro was named as one of Us Weekly’s Behindthe-Scenes Powerhouses for his work on Ugly Betty. Janie Bryant’s designs for Mad Men will be featured in GQ’s Men of the Year issue. Bryant’s costumes for star Jon Hamm were also the subject of an L.A. Times story thanks to his dapper Don Draper character. The official Mad Men website includes a Costume Design Photo Gallery where Bryant explains her approach to the characters. Arianne Phillips’ creative work on 3:10 to Yuma was the subject of a feature story in the L.A. Times new Image section. Patricia Field’s current work on the new series Cashmere Mafia and the feature version of Sex and the City were also covered at length in the Image section, labeling Field as the “style queen” for her memorable contributions. Maria Schicker contributed her design talents to the cover of the German novel Jung und Jünger by Leni Ohngemach. Maria has also been invited to participate as a fine arts painter for the fifth time in the annual art show at the Royal College of Art this November. Costume Designer Sal Perez was featured in a recent interview about his designs for CBS’s Moonlight in the online style guide Spork. Aggie Rodgers’ costumes for the Star Wars films are being honored by appearing on U.S. Postage stamps! Elle Werlin’s 22-page fashion spread “The Blond”will appear in the winter issue of Monte Carlo Fall. She also recently did editorials for Interview, 944 and Florida International, as well as styled both Dereon and Ema Savahl’s upcoming ad campaigns. Check out ellewerlin.com. Erin Lareau has a new website: TopazWardrobe.com. Deal or No Deal’s CD Dina Cerchione was interviewed on set by The Insider’s Steven Cojocaru for a behind-the-scenes piece that will run during November sweeps. continued on page 42

The Costume Designer Fall 2007

One Night Affair DESIGNER GOWN RENTALS • WEDDING GOWN RENTALS Over 2,000 in inventory Bridesmaids, flower girls All bridal accessories Sizes 2-30 • EVENING GOWNS & COCKTAIL DRESSES Over 1,000 in inventory Jewelry, purses, furs and wraps Sizes 2-30 • ALTERATIONS BY APPOINTMENT ONLY

1726 S. Sepulveda Blvd., Los Angeles, CA 90025

310.474.7808

www.onenightaffair.com

G O W N R E N T A L S

NBC Universal

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

BOLDFACE NAMES COSTUME BOLDFACE HONORS

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

Colleen Atwood was honored with the “2007 Hollywood Life & Hamilton Watches Behind the Camera Awards,” celebrating creative excellence in filmmaking. Two of our members have been nominated for Ovation Awards (the L.A. equivalent of the Tonys). Marcy Froehlich has garnered two nominations for her costumes for Hamlet and Man of La Mancha, both at the Rubicon Theatre in Ventura. Audrey Fisher has been nominated for Tryst, a play set at the turn of the century, directed by Robin Larsen at the Black Dahlia Theatre.

BOLDFACE FESTIVALS & EVENTS

Mary Rose just closed her latest costume exhibit “Starstruck” at the Women’s Museum in Dallas, TX. Costumes from classics to contemporary films were featured. The Motion Picture Academy is showcasing the costume design of James Acheson, Ruth Myers, Milena Canonero and others with “Period Costumes for the

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

The Costume Designer Fall 2007

Screen,” from the collection of Cosprop, London.The exhibit will run through December 16 in the Academy’s fourthfloor gallery, Tue.–Fri. from 10 a.m. to 5 p.m. and on weekends from noon to 6 p.m. Francine Lecoultre designed the costumes for award-winning short films Deface and Hudson and Rome. Deface won awards at the Austin Film Festival, the Palm Springs Int’l Festival of Shorts, and the Sidewalk Moving Pictures. Hudson and Rome was featured at the Palm Springs Int’l Festival of Shorts, Dances with Films and L.A. Shorts.

JIMMY AU’S FOR MEN 5’8” AND UNDER A full collection of tailored clothing & sportswear in shorter sizes.

Our clothing has been used in wardrobe on over 20 Primetime TV programs this 2006/2007 season.

Jimmy Au is personally available for private fittings.

Suits, Sportcoats and Blazers in Short and Extra Short Sizes 34sh to 50sh including odd sizes to 43sh, for men 5’5” to 5’8” 34xs to 48xs including odd sizes to 43xs, for men under 5’5”

One-Stop shopping for your shorter actors.

Short Rise Dress Slacks and Casual Pants in a flat front or pleated style, and a huge selection of jeans in a true short rise (not a regular low rise) 28w to 46w including odd sizes to 35w

Featured on The Today Show, 10 Years Younger, L.A. Times, and N.Y. Times.

Select Items available in multiples.

Dress Shirts and Sport Shirts in accurate proportions from collar to shirt tail 14 to 16½ neck in 31 sleeves 14½ to 17½ neck in 32 sleeves 15 to 19 neck in 33 sleeves

Alterations available

Leather Jackets, Overcoats, Trench Coats, Sweaters, Camp Shirts, Polos, Casual Jackets, Silk Ties, Knits and Socks in Proportioned Shorter Sizes XS - S - M - L - XL - 2XL Dress and Casual Shoes from Alden Shoe Company Sizes 5D and 5E to 8D and 8E

Can You Guess How Tall Our Models Are? No Camera Tricks, Clothing Alterations, or Digital Editing in these photos.

Show Talk vers o Make me! o Welc

(Answer: All of our client models are under 5’5”)

Your Actors Can Look This Good… Taller and Slimmer Your time and reputation is valuable.—Don’t have clothing for taller men altered until they look completely disproportionate on a shorter actor.

Not Just a Suit Store Anymore. Sportswear and Casuals, Too 9408 Brighton Way Beverly Hills, CA 90210 Call (310) 888—8708 or Fax (310) 888—8716 Alan@JimmyAus.com Building on the corner of Canon Drive and Brighton Way

Fall 2007 The Costume Designer

WHAT’S ON Cavemen Big Shots

Costume Designer:

ROEMEHL HAWKINS

MICHELLE REDEN

Dirty Sexy Money

Pushing Daisies

Costume Designer:

ROBERTA HAZE

BOB BLACKMAN

Samantha Who? Costume Designer:

Costume Designer:

LORI ESKOWITZ

MIMI MELGARD

Mad Men Justice Costume Designer: JANIE CostumeBRYANT Designer: KATHLEEN DETORO Assistant Designer: ALLISON LEACH

Journeyman Costume Designer:

LINDA BASS

The Costume Designer Fall 2007

Private Practice

Moonlight Costume Designer:

SAL PEREZ

Bionic Woman

Chuck

Costume Designer:

JENNI GULLETT

ROBIN WEST

Saving Grace Costume Designer::

PATIA PROUTY

Big Shots ABC/WB, Cavemen ABC, Dirty Sexy Money ABC/Andrew Macpherson, Pushing Daisies ABC/Justin Stephens, Samantha Who? ABC/Bob D’Amico, Private Practice Eric Ogden/ABC, Mad Men AMC, Moonlight CBS/WB, Bionic Woman NBC, Chuck NBC/Mitchell Haaseth, Journeyman NBC/Mitchell Haaseth, Saving Grace Fox/TNT

Assistant Designer:

BRIGITTA ROMANOV

WHAT’S OUT Mr. Magorium’s Wonder Emporium

The Heartbreak Kid Costume Designer:

Costume Designer:

CHRISTOPHER HARGADON

LOUISE MINGENBACH

Assistant Designer:

ALISON MC COSH

Assistant Designer:

Mr. Magorium’s Wonder Emporium Fox Walden, The Heartbreak Kid Zade Rosenthal/DreamWorks LLC, Lions for Lambs MGM, Love in the Time of Cholera New Line Cinema, Sweeney Todd Paramount, Margot at the Wedding Paramount Vantage, Across the Universe Sony/Columbia, Walk Hard: The Dewey Cox Story Sony/Columbia, The Jane Austen Book Club Sony Classics, American Gangster David Lee/Universal Studios/Universal Pictures, Enchanted Walt Disney, I Am Legend Warner Bros.

PAULINE CHUNG

Lions for Lambs

Love in the Time of Cholera

Costume Designer:

MARY ZOPHRES

Costume Designer:

Assistant Designer:

MARIT ALLEN

JENNY EAGAN Sweeney Todd Costume Designer:

Margot at the Wedding

COLLEEN ATWOOD Assistant Designer:

Costume Designer:

COLLEEN KELSALL

ANN ROTH

Illustrator:

WARREN HOLDER Across the Universe

Walk Hard: The Dewey Cox Story

Costume Designer: Justice ALBERT WOLSKY

Costume Designer:

Costume Designers: Designer: Assistant

DEBRA MC GUIRE

KATHLEEN DETORO SUSAN HALL & CHRISTOPHER PETERSON

Illustrator:

ANNA WYCOFF American Gangster The Jane Austen Book Club

Costume Designer:

Assistant Designers:

JANTY YATES DAN BRONSON, AMY ROTH & BRIAN RUFFMAN

JOHNETTA BOONE

Enchanted Costume Designer:

MONA MAY Assistant Designer:

MIRENA RADA Illustrator:

ADAM FORMAN

I Am Legend Costume Designer:

MICHAEL KAPLAN Assistant Designers:

MARIAN TOY & RON GARNEY

Fall 2007 The Costume Designer

Photofest

SCRAPBOOK

Designer Omar Kiam fitting Francis Farmer for Come and Get It, 1936 46

The Costume Designer Fall 2007

MUSIC & ENTERTAINMENT MEMORABILIA

WE AUCTION

HOLLYWOOD HISTORY , , , , , , , , , , HERITAGE ACHIEVES STAR-STUDDED PRICES for stage/screen-used clothing and costumes.

Contact us TODAY to consign your material to our next auction! WHY DO SO MANY COLLECTORS CHOOSE HERITAGE AUCTIONS? + Huge base of collectors in Music, Film & Television Memorabilia + Low seller’s fees + Generous cash advances + Over $5 million per year spent on marketing alone + Entire collections bought outright + Over $3 billion in collectibles sold since 1976 + 35 years in business with the same owners + Annual sales over $500 million + Sellers paid on time…every time

WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES: Fine & Decorative Arts,Antiques, Rare Coins & Currency, Comics & Comic Art, Civil War & Americana,American Indian Art, Rare Books & Manuscripts, Entertainment Memorabilia, Jewelry & Timepieces, Sports Collectibles, and Vintage Movie Posters.

To receive a complimentary book or catalog of your choice, register online at HA.com/CDG7783 or call 866-835-3243

7783

and mention reference #CDG7783.

CONSIGN NOW! Doug Norwine, 800-872-6467 ext. 1452 (DougN@HA.com) Auctioneers: TX licenses: Samuel Foose: 11727; Scott Peterson: 13256; Robert Korver: 13754; Steve Roach: 16338; Ed Griffith: 16343; Bob Merrill: 13408. This auction is subject to a 19.5% Buyer’s Premium.

3500 Maple Avenue, 17th Floor • Dallas, Texas 75219-3941 • 800-872-6467

Annual Sales Exceeding $500 Million 300,000+ Online Registered Bidder-Members

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ALEXANDRA BYRNE

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

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