WORK IN STYLE
costume department High-End Contemporary Clothing & Accessories s Men’s and Women’s Vintage thru Modern
- Women’s Couture Room - Men’s Couture Room - Costumes & Uniforms - Jewelry - Fitting Room - Designer Rooms
545 Circle Seven Drive Glendale, CA 91201 818.553.4800 (p) 818.545.0468 (f) Monday - Friday 8am-6pm
vol. 4, issue 2
12
23
23
FEATURES A Designer in Focus . . . . . . . . . . . . . . . . . . . 12 An interview with Marlene Stewart
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report Labor Report
The Costume Department. . . . . . . . . . . . . . . 19 History of Dress One to One
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 A Look Back at The Doors Location: Chicago Boldface Names COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 email: cdgia@earthlink.net
What’s On/What’s Out . . . . . . . . . . . . . . . . . 32 Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
COVER MARLENE STEWART’s costume design for Tropic Thunder, Paramount 2008 Illustration details on page 6
Spring 2008 The Costume Designer
3
EDITOR’S NOTE
A
single designer in focus. We’ve avoided it in the magazine until now. We are a guild of peers and this magazine should represent us all. How do we feature a single designer in this quarterly without showing favoritism or tipping the scales during Oscar season or Emmy time? It seems it’s now time to shine a light on some of our veteran members who work constantly and impeccably and yet never seem to get the attention they deserve. Designers with eclectic resumes, who simply disappear into their work. The first is Marlene Stewart, who I have to thank profusely for giving me so much of her time, while in the middle of prepping a huge film and nursing a bad cold. While admitting that she intentionally does not pursue self-promotion, Marlene was so open and generous in this process, all the more reason that she’s so deserving of this Computing is not attention. about computers On another front, there’s a lot of talk anymore. It is about computers in this issue, which brings about living. to mind a few things to consider… — NICHOLAS NEGROPONTE 1. Remember to visit our website www.costumedesignersguild.com for back issues of this magazine. They’re all online and very easy to access and view—with a rollover list of what’s in each issue. 2. If you’re going on location, you can reference back issues of this magazine for previous location columns.Also, on IMDb—“search” and then “power search.” There’s a place to list a specific location. This will give you an alphabetical list of all the films shot in that location so you can look up who shot there recently. 3. Update your IMDb credits! IMDb has become your de facto resume, so why not make it accurate; especially for TV designers who are rarely listed. It’s a tool that I use often for researching this magazine so I know firsthand how frustrating it is when you’re not listed. Imagine how many potential employers have viewed your incorrect page?
“
”
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
Lois De Armond (Asst. Costume Designers) l.dearmond@costumedesignersguild.com
Dana Onel (Illustrators) donel@costumedesignersguild.com
Tanya Gill (Commercial Costume Designers) tgill@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 BOARD OF TRUSTEES
Peter Flaherty, Chair pflaherty@costumedesignersguild.com
Jacqueline Saint Anne jsaintanne@costumedesignersguild.com
Deena Appel dappel@costumedesignersguild.com
Marilyn Matthews mmatthews@costumedesignersguild.com LABOR DELEGATE
Betty Madden bpmadden@aol.com EXECUTIVE DIRECTOR
Cheryl Downey
MATINEE NEW YORK VINTAGE
cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley rstanley@costumedesignersguild.com
PROVIDING WARDROBE FOR FILM, THEATER AND FASHIONISTAS Call for a private appointment or send us your costume list and we will ship out samples on spec.
ADMINISTRATIVE ASSISTANT
Suzanne Huntington shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY
Cheryl Marshall cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
(212) 996-7080 coolvintage@earthlink.net
www.vintagecoolclothes.com
PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com
4
The Costume Designer Spring 2008
Contributors
Cover artwork by CDG Illustrator E.J. KRISOR Detailed pencil drawing, painted in color using “Painter,” a computer program by Corel.
COSTUME DESIGN CENTER Costume Rentals • Manufacturing • Prep Spaces
Tel: 818.954.1297 • Fax: 818.954.2667
© and ™ 2007 Warner Bros. Entertainment Inc. All rights reserved
6
The Costume Designer Spring 2008
AUDREY FISHER
ROBIN RICHESSON
Audrey Fisher joined the Guild in 2000 and is currently the Costume Designer for the new HBO original series, True Blood. Fisher was in her second term representing Assistant Costume Designers on the Executive Board when she reclassified to Designer. “Associate editing the CDG magazine allows me to indulge one of my first loves and keep up my writing chops. I appreciate the creative outlet and the opportunity to learn more about our colleagues and their designs.”
(History of Dress, Illustrator) joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist,and an educator. “I trained for work as an illustrator for print (publishing) so when the CDG began the magazine, I was pleased to be asked to illustrate for it. I love working in film, but I have to admit, I missed seeing my work in print! The History of Dress column is a great way for me to learn more about clothing and participate in this publication.”
J.R. HAWBAKER
KARYN WAGNER
(Location: Chicago) joined the Guild in 2006 and currently works as an Assistant Costume Designer for film and television. Originally from Chicago and the Goodman School of Drama, she calls Los Angeles and the CDG home now. Excited to be writing again, Hawbaker is thrilled to contribute to the magazine, “Our Guild members are all storytellers, on screen and on the page, and I am only too happy to contribute to a magazine that narrates their stories.”
(History of Dress, Copy) A Costume Designer for film and television, Wagner ran for the CDG Board four years ago and is now the newly elected CDG Treasurer.“I wanted to give back a little of what the Guild has given me. I have found the experience to be rewarding and inspiring. I trained as a historian, and I love to watch the evolution of culture and clothing, so I volunteered to write the History of Dress column. I always learn something new and have so much fun writing it.”
THE UNION
LABEL
PRESIDENT’S LETTER
Dear Members, hen I came home from three days of negotiations and picked up the mail that had been piling up, I found my IATSE Bulletin Magazine. After reading the first page I wondered, how many members really read this magazine? Of course, I’m the first one to acknowledge that I don’t always read it from cover to cover, but after reading President Short’s message on page 4, I was concerned. “We are now living in one of the most challenging times for working families in decades. Both nationally and internationally, we are seeing upheavals and disruption unlike any we have seen since the first half of century. Within the entertainment industry, recent events have had effects that will take years to resolve…” Not that I haven’t heard this before, but after three days of talks at the negotiations, and discussions about the future of television at the Television Academy Board of Governors meetings, it really resonated strongly. How can we avoid being cognizant about the state of the industry! We cannot. It concerns me greatly, as President, to think about the future of our now 730 members who will have to work in this changing world. As for the invasion of computers, I cannot stop it! As the saying goes, “If you can’t beat ’em, join ’em.” That’s why I’m trying to help our members, by giving them ammunition to fight with.The new CDG Board does understand this and is eager to help.They have agreed to my Budget Committee’s recommendation to spend more money on internal education. We will have more computer courses and how-to seminars that are more membership beneficial. The 3rd Annual Exhibition, The Outstanding Art of Television Costume Design, is upon us. My longtime brainchild became a reality in 2006. Out of my desire to showcase Costume Designers who work mainly in television and my role as both President of the Guild and ATAS Governor, the FIDM & ATAS joint venture with yours truly as the guest curator was born. It is now solidly established as an annual event at the FIDM Museum. The opening gala, tied to the Emmy season, also serves as a reception to celebrate the Emmy nominees. Both the film and TV events are generously financed by FIDM, and with Academy of Television participation in the TV exhibit. The ever-generous museum director, Robert Nelson, and the President of FIDM, Toni Hohberg, invite not only the Academy members, but also extend an invitation to all our CDG members, to celebrate our peers’ work. Join me for FIDM/ATAS Gala Opening & Nominee Reception on Saturday, July 26.
W
In Solidarity, Mary Rose MRose@costumedesignersguild.com
COSTUME PLOT PRO CLASS
IMPORTANT DATES June 2, 7 PM EBOARD MEETING June 6–8 IA DISTRICT II, SAN JOSE (CDG will send seven elected Delegates)
June 7 UCLA DESIGN SHOWCASE WEST June 21, 10 AM GETTING THE JOB SEMINAR, CDG June 23, 7 PM GENERAL MEMBERSHIP MEETING July 26 FIDM/ATAS OUTSTANDING ART OF From left: Maria Shicker, Morgan Tree Newsome, Sharon Day, Carol Buele, instructor/CD Jim Lapidus, Cendra Martel, Jessica Torok, Austin Myers, Cynthia Obsenares, Shawnelle Cherry, Kristine Haag 8
The Costume Designer Spring 2008
TELEVISION COSTUME DESIGN EXHIBITION OPENS, LOS ANGELES July 26 COMICON SAN DIEGO August 4, 7 PM EBOARD MEETING
COSTUME RENTALS CORPORATION 11149 VANOWEN STREET NORTH HOLLYWOOD, CA 91605 TEL: (818)753-3700 FAX:(818)753-3737
CONTACT: MEL SABINO
Spring 2008 The Costume Designer
9
Dana Schneider
UNION
LABEL
Custom Jewelry Made For Film
From the Desk of the Executive Director Hello, Members he IATSE started negotiations with the AMPTP in early April, 14 months before the expiration of our current contract. While progress was made, talks were temporarily tabled due to the fast-approaching SAG and AFTRA negotiations. I’m grateful to President Short for his proactive leadership. While the cost of healthcare and the requirements of the so-called Pension Protection Act pose real challenges, I am confident that the IA will bring stability to our truly threatened industry. It is sobering to hear that network viewing is down 20% since the WGA strike and that prime-time television on all five networks (one night in early April) carried only reality programming. Future syndication income for networks is clearly being decimated. Feature film production is being persuasively courted by many U.S. states previously absent from the location radar. Michigan, for example, is offering producers cash rebates as high as 40% of production costs. Clearly, the film and television industry is changing rapidly. One of the best ways to improve your skill set as a freelance artist is to become comfortable, even adept with software that can save you time and enhance your designs.To support you in this process, your Guild leaders are offering you various computer training opportunities. As I write this, 14 members just completed a nine-hour Costume Plot Pro Workshop here at the Guild and another six members completed a 30-hour Photoshop Class at Studio Arts through Contract Services. In fact, because of the large number of our members interested in Photoshop for Film and Television, two additional classes have been scheduled. Other members are enrolling at Studio Arts for Corel Painter and Illustrator Classes while still others are taking advantage of the growing number of entry-level computer classes offered at Valley College. Helen Butler also details a great opportunity for MAC users in this issue. It’s exciting to hear members feeling newly empowered! Please check that your e-mail is current with the Guild so that you’re sure to receive my e-mails about all these course offerings. Because time is of the essence, information on these classes is only being relayed via e-mail. See you in class!
T
Speed Racer Wolverine Californication IVL W^MZ W\PMZ Ă… TU[
Based in Ohio With frequent trips to LA
In Solidarity, Cheryl cdowney@costumedesignersguild.com
FEBRUARY 2008, NEW MEMBERS
310-435-6694
___ LIVI[KPVMQLMZ KWU RM_MTZa(LIVI[KPVMQLMZ KWU
L-R front row: Carolyn Berger, Nia Hooper, Jill Chizaver, Hermineh Yahiayan. L-R back row: Heidi Zimmerman, Leah Katznelson, Jennifer Dios, Roni Burks
10
The Costume Designer Spring 2008
UNION
The Costume Designer thanks Helen Butler Laura Goldsmith JR Hawbaker Suzanne Huntington Marlene Stewart & The Kobal Collection for their generous support
Assistant Executive Director’s Report Dear Members,
I
need to remind you of a few mistakes that consistently occur for our members. 1. We have been informed by Local 705 that if you are prepping a show here in Los Angeles, you must have an L.A. supervisor to work with you even if the company has hired a supervisor on location. Please refer your production manager to Local 705 for clarification. 2.There is NO provision under the Basic Agreement contract that allows the production company to ignore the requirement to pay you a fifth day if you have worked four days in a workweek. It does not matter if it is the first week worked, last week worked, or a week with a holiday. Please refer your accountants and production managers to the Guild office for clarification. 3. While on location you must receive 75 hours to MPIP each week. Check your pay stubs to be sure you are receiving the proper amount of hours. 4. Costume Designers and Assistant Designers must be paid daily or weekly and cannot be paid hourly rates. 5. Under the Basic Agreement contract, the company is obligated to pay 30 cents per mile for you to travel from studio to location. This rate does not cover the use of your personal vehicle while working for the company. If you are shopping and transporting costumes for the company, you should negotiate up to the government rate of 50.5 cents per mile. Also, consider negotiating a weekly car allowance with your production.This car allowance should be ample enough to cover wear and tear on your vehicle as well as the rising cost of gas. Carefully consider how many miles you will average per week before settling for a car allowance. If the company refuses to pay a reasonable amount for car allowance or mileage, please feel free to request that they rent you a vehicle to use during work hours. It is never your responsibility to incur personal costs in order to work for the production company. Please remember to call the Guild office if you have any questions about contract issues. In Solidarity, Rachael rstanley@costumedesignersguild.com
LABEL
Labor Report HOLLYWOOD TO THE DOCKS: L.A. Workers Fight for Good Jobs
O
n Tuesday,April 15, 2008, a rally of Los Angeles Federation of Labor Unions (including our IATSE Locals) started a three-day walk from the La Brea Tar Pits on Wilshire to the docks at the Port of Los Angeles. This was done to call attention to the 350,000 union middle-class jobs that are up for contract negotiation in 2008. We walked 200 strong, ages 6 to 70.Along the way, people stepped out of their businesses, offering words of support, while motorists honked and waved.We rallied with various groups along the way for better wages and healthcare and slept at a church and a labor hall. On Day 3 with tender feet, we walkers continued on to Harbor-UCLA Medical Center and a Healthcare Rally. Four miles from the docks a chant was led by Maria Elena Durazo, Executive Secretary-Treasurer, L.A. County Federation of Labor, AFLCIO:“Are we tired?”“No,” came the response 200 strong.“Are we ready to give up?”“No.”“What do we want?”“Good jobs.”“What do we want?” “Healthcare.”“What do we want?”“Dignity and respect.”“When do we want it?”“Now.” The walk was about the children we passed on the school grounds. It was about future workers and a living wage. Vote NO on Prop 98 to assure continued rent control so working families can live in the community where they work. In Solidarity, Betty Madden, CDG Labor Delegate bmadden@costumedesignersguild.com
Clockwise from left: Hollywood to the Docks event—Janice Hahn speaking; California Fed. of Labor Executive Sec., Art Pulaski, County Supervisor candidate, Mark Ridley-Thomas flank L.A. workers supporter; CD Bonnie Nipar (center) on day three of the walk. Spring 2008 The Costume Designer
11
A DESIGNER IN FOCUS:
Marlene Stewart I
t seemed as if Marlene Stewart had been absent from the business for a stretch and then came back with a vengeance designing three films in a row. Stop-Loss, Tropic Thunder (due this summer) and the Night at the Museum 2: Escape From the Smithsonian (shooting as we speak). In reality, Marlene has made at least one or two movies a year since 1988. She often spends her time off in Europe and in 2003 moved to the Bay Area to spend time with her biggest supporter, her ailing father. In August of last year, her father Bill, also an artist, passed away. That, along with the fact that she does not lean toward self-promotion, could be why it seems that she’s been MIA. After 20 years as a Costume Designer (and still going strong), it’s great to hear how it all started and to share the view looking back. What’s your background? After I graduated from UC Berkeley with a degree in history, I headed to Europe.Then I moved to NYC and attended F.I.T. to learn the mechanics of production and design and also worked as a stylist for a while. However, I missed California, so I moved back to Los Angeles and finished my degree at FIDM. I opened my own bicoastal business designing a clothing line called Covers that sold in all the major department stores. After six years, I called it quits. It was a difficult but fortuitous time.
How did you get started in the business? In 1984, a stylist friend asked me if I wanted to go on an interview with her. I met the director, Mary Lambert, showed her my portfolio, and then a strange thing happened… I got the job.They wanted someone to design clothing rather than just “style” it. Well, the client was Madonna; and then and there I started a great working relationship designing her tours and videos (and a film) for about eight years. During that time I also worked with the Rolling Stones, Annie Lennox, Janet Jackson, Cher and some others. In 1989, I got a call from Oliver Stone to interview for The Doors. It was the perfect match for me. Music and clothing. I had done some other film work in England and several TV pilots but this was my breakthrough opportunity. I loved the project. I had a chance to use all my skills … my love of research (history) and clothing design and of course, I was very fortunate to work with such an incredible director and talented crew. Although I did have formal training as a clothing designer and worked in the industry for many years, I really learned about filmmaking on the spot. I never had the opportunity to work with another designer to learn any skills so I had to figure it out through trial and error (of which there were many!). How have you seen the business of Costume Design change? Certainly the process of filmmaking and the role of the Costume Designer has changed since I started in the ’80s. The rise of the “blockbuster” and the influence of music videos. The use of technology in process and presentation has been transformative and certainly has affected the way I work. Emailing fitting photographs has become common practice, and getting notes from the director and producers instantaneously. It’s also becoming necessary to present images on a website to share not only with directors and keys but the studio as well. They want to see design and color options on the actor in costume. This requires illustrations that can be easily manipulated. Then there are the designs that that are duplicated through CGI to create armies, groups and multiple creatures.
Stewart (center) on the set of Gone in Sixty Seconds 12
The Costume Designer Spring 2008
Ali, 2001 Spring 2008 The Costume Designer
13
However, the “more things change, the more they stay the same” so despite all the new technology, Costume Designers still have to interpret the script, and design costumes that will inform and bring life to each character. Your work is so eclectic that it’s hard to pigeonhole you. Has that helped or hurt your career? Since my background is both in history and fashion, I feel comfortable in both period and contemporary films, and fantasy films allow you to design costumes that are purely out of your imagination. So my focus has usually been to work with interesting directors and actors and that has led me in many different directions. It might have been smarter for me to focus on one genre of filmmaking, as it’s easier for an agent to market you. Everyone else likes “specialists” but I’ve always liked variety. How do you work from genre to genre? In some sense a period film is easier to do conceptually, as there are usually more parameters in place. As a designer, one can say, “this is the silhouette of the period,” “these are the colors,” etc. At a certain point, having limits allows the director and the actors to stop creating and allow you to just design the film. The difficulty comes when several films are prepping the same period so even if the principal wardrobe is made to order, there is still a limited amount of period clothing at the costume houses for secondary and background characters. Contemporary films, although seemingly the easiest, can be the most difficult to design because everyone has an opinion. I find that there are always the same questions such as,“Is it sexy enough?” or“hip enough?” even when it’s irrelevant to the character’s wardrobe or the story. For fantasy films you have to build many costumes that require long lead times, but the actors are still cast at the last minute. I’m currently designing costumes (in multiples) from medieval Russia to the civil war. We have been prepping for about 21⁄2 months and still don’t have most of the actors. So we are building to fit men from size 40 to 46. Not easy for a fitted garment with amour.
The Adventures of Rocky & Bullwinkle, 2000
What is your design process? One has to try and define the visual vocabulary by understanding the director’s “eye.” How does she or
The Holiday, 2006 14
The Holiday, 2006
The Costume Designer Spring 2008
To Wong Foo Thanks for Everything, Julie Newmar, 1995
he “see” this world? Colorful, or emotional in black and white, smooth, cold, edgy, classic, innovative, historical, transcendent, funny, playful, realistic, surrealistic, and so on. The key for me is to discover the “code” of the film, after that it’s a matter of creative extrapolation. I design characters that fit into a particular world, by referencing art, fashion, history and all the other visual libraries that one has (and one can google!). Then I move to a more organic level by draping the fabric. The real challenge is knowing who’s calling the final visual shots on the film. That is to say how much influence does the production designer, the DP, the producer or actor have on the film? Lesson #1 .... be sure to include everyone in the process! You’ve worked with several notoriously difficult collaborators in front of and behind the camera. How do you navigate those waters? I suppose the benefit of working with demanding directors is that one is called upon to develop confidence and to be fearless. I’ve learned the most from the most difficult situations. The trick is to be strong enough to have a definite idea and a point of view, but to be flexible when that idea is not accepted. I have been a Buddhist for many years, which has helped me understand that challenges usually come when my ego is involved. Costume Design is a team effort that involves many people, and one has to be diplomatic enough to navigate the waters of creativity where ideas can become personal property all too easily. An unusual number of your assistants have gone on to become designers. While many designers are threatened by an assistant who “wants to be a designer,” you don’t seem to be? I’ve worked with many talented people. I suppose I am fairly egalitarian, in that I am not worried about my assistant having access to directors and actors. I always feel that everyone brings something to the table. I suppose the only trait that I’m uncomfortable with is if an assistant is overly ambitious and using a project to promote themselves rather than the overall success of the department.
Coyote Ugly, 2000
Stop-Loss, 2008
Falling Down, 1993
Spring 2008 The Costume Designer
15
Who are some of the Designers who’ve worked with you over the years? Sal Perez, Christopher Lawrence, Alex Friedberg… Some are designing on their own ... all are surely talented and capable of doing their own shows. Holly Davis, Ira Hammons, Lisa Lovaas, Chrisi Karvonides, Lisa Tomczeszyn, Nancy Collini, she has worked with me since The X-Files, and I’m now very excited to be working with Terry Anderson. What do you like best about designing? I couldn’t think of another kind of work that would allow me to indulge in all my favorite pastimes ... exploring different cultures, researching various time periods, and people’s lives, designing clothing, working with talented collaborators and crew members, and traveling. I find it incredibly stimulating and challenging to get a script and discover a new world in the process of creating the wardrobe for the characters. Being a Costume Designer has allowed me the privilege of having so many amazing and inspiring experiences. It has certainly enriched my life. Least? There is no such thing as “no” for a Costume Designer (although I have heard that some use the word).There is usually more drama behind the camera than in front of it .... and sometimes it’s about wardrobe (and I can’t figure out why). I have to be an actor to do my job as a designer (and I never wanted to be an actor, in fact, I am too shy). I don’t remember it’s “only a movie.” I can lose my perspective as to what IS important in life if I’m not careful (happens daily) and that there is never any real vegetarian food on a film set.
Marlene Stewart with her father, Bill
SELECT CREDITS Night at the Museum 2 (2009) Tropic Thunder (2008) Stop-Loss (2008) The Holiday (2006)
Your favorite job? The Doors. Great director. No rules. Freedom to express in design and music. Most interesting? For JFK, I got to meet the real strippers that worked at Jack Ruby’s club. Fabulous gals in their late 70s. Heard all their stories about Jack Ruby and Lee Harvey Oswald. Filming on the 3rd floor of the book depository in Dallas. I also heard from every conspiracy specialist one can imagine. On Ali, meeting Muhammad Ali in person, seeing his magic tricks, researching his life and times; and being a witness to his incredible journey. Not to mention working with one of my favorite actors,Will Smith.
Hitch (2005) 21 Grams (2003) Tears of the Sun (2003) Ali (2001) Coyote Ugly (2000) The Adventures of Rocky & Bullwinkle (2000) Gone in Sixty Seconds (2000) Enemy of the State (1998) The X-Files (1998) The Saint (1997) Space Jam (1996)
Best locations? The Saint: London and Moscow, Ali: Africa, Tropic Thunder: Kauai. Paradise for three months. Do you see yourself doing anything else in the business? I do love to invent stories and characters and have everyone hang on my every word. Just don’t know if I could make it as a writer .... though I’d like to design a better sense of humor for my characters. One thing I would like however, is to get some residuals for our designs! If you could go back, is there anything you’d do differently? If I could go back, I would not waste time being upset about things that are not important in the scheme of things. I would spend more time enjoying the people I work with and appreciating all that they do. I would take more pictures (I never did) and I wish I would have said thank you more often. Deena Appel dappel@costumedesignersguild.com
16
The Costume Designer Spring 2008
The Phantom (1996) To Wong Foo Thanks for Everything, Julie Newmar (1995) The River Wild (1994) True Lies (1994) Dangerous Game (1993) Point of No Return (1993) Falling Down (1993) JFK (1991) Terminator 2: Judgment Day (1991) The Doors (1991) Wild Orchid (1990) Pet Sematary (1989) Madonna: Ciao, Italia! - Live From Italy (1988) Siesta (1987)
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
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
18
(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.
The Costume Designer Spring 2008
THE COSTUME DEPARTMENT
HISTORY OF DRESS A-Z
K
affiyeh/Kufiyah: Is not
technically a turban. It is really a rectangular piece of cloth, folded diagonally and then draped over the head, not wound like a turban. Yasser Arafat, the Palestinian leader, has made the kaffiyeh famous in recent times. However, the kaffiyeh is not solely Palestinian. Men in Jordan, Saudi Arabia and the Arab Persian Gulf states wear kaffiyehs in colors and styles that are particular to their region. Jordanians, for example, wear a red and white kaffiyeh, while Palestinians wear a black and white one. And a man from Saudi Arabia would likely drape his kaffiyeh differently than a man from Jordan. The black cord that holds the kaffiyeh on one’s head is called an ekal.
Kalasiris: A form-fitting sheath for ancient Greek women, extending from breast to ankles. It was adapted from the ancient Egyptian model which was usually held up by one strap. The kalasiris later evolved into a skirt.
Kilt: Breacan an Fhéilidh or Féileadh Mòr was originally a length of thick woolen cloth made up from two loom widths sewn together to give a total width of 54 in to 60 in and up to seven yards in length. The great kilt, also known as the belted plaid, was an untailored garment made of the cloth, hand gathered into pleats and secured by a wide belt. The upper half was often worn as a cloak draped over the left shoulder or head for protection and could also serve as a camping blanket. It was worn over a full-sleeved garment gathered along the arm length and ending below the waist and is called a léine. The solid colour léine of the Irish were also often soaked in goose grease to make them waterproof.
Kapa : Hawaiian cloth made of bark. Khirka or Khirka: Is a mantle worn by Moslem dirvishes.
Illustrations by Robin Richesson robins.nest@verizon.net
Knickerbockers: Loose short pants, banded below the knee. Often worn for sports or a sporty look. They are also called knickers.
Karyn Wagner kwagner@costumedesignersguild.com
Spring 2008 The Costume Designer
19
THE COSTUME DEPARTMENT
MAC TUTOR: ONE TO ONE
O
K. I can’t believe I made this cool website . . . by myself! Well, I did get help. After only four one-hour lessons with a One to One trainer at an Apple store, I learned how to build a website from scratch, turn pictures of my costume design work into a slide show, add music, and much more. I have owned every model of Apple laptop since the first one came out. I still own that first one, and it probably qualifies for the Smithsonian. Nevertheless, I never quite learned all the bells and whistles over the years, just enough about a few of the software programs to get my job done. The techno-babble stuff about operating systems went over my head. When I recently thought about launching a website (formally known as a portfolio and resume), I imagined I would have to hire someone. Instead, Apple trainers helped me build and maintain my own website and learn more about the inner workings of my laptop, including its operating system. I learned about slick system preferences and tech tools that can make my job simpler. There’s a terrific Time Machine program that helps me back up important documents, and then there are the fun things like iPhoto, iMovie, GarageBand and more that I have
20
The Costume Designer Spring 2008
yet to dig into. The Web Gallery is a wonderful tool for sending large volumes of fitting photos to directors and producers. A one-click wonder. Helen Butler HButler@costumedesignersguild.com I purchased Apple’s One to One series to brush up on old things and to learn some new tricks. The most valuable to me professionally was learning how to create a website with iWeb (which came on my computer). It’s so easy, if I can do it, anyone can. Not only is it fun, but more importantly, it can make communication with the director and producers very efficient. I recently designed two films out of the country and being able to share conceptual ideas on a Web page and then mirror those ideas by uploading my fitting photos was awesome. From fitting to Web page in 15 minutes! A click of the button and you can have an instant conversation with your director in Hong Kong. In my experience, not only have the directors and producers loved it, the studios were also impressed with the presentations. It’s simply a great way to communicate and include everyone. Laura Goldsmith ohanksmom1@sbcglobal.net
Apple’s One to One service offers a personal trainer at any Apple store. They coach you on any element of their product line.Your private Apple tutor can create a program customized for your level of experience. The One to One instruction costs $99 for up to one hour of personal training per week, for an entire year. That’s 52 private lessons! You can bring your own computer (or iPod), or you can learn using the equipment in the store, and you can access a class at any Apple store. So you can continue learning even when you’re out of town. The instructors are great and patient. For those of you who are missing your old polaroids or still struggling with your digital camera, if you haven’t learned how to e-mail your fitting photos or if you’re ready to move on to your very own website, it’s time to join the fray.This is no longer an optional tool, this technology is key to your success.
Fine men’s and women’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
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
G O W N R E N T A L S
www.onenightaffair.com
Let MICU find the perfect fit for you with unbeatable rates! Musicians’ Interguild Credit Union offers a wide array of savings and loan products, SURPASSING the big banks with the BEST RATES in town! Whether your needs are BIG or SMALL, Musicians‘ Interguild Credit Union promises to BEAT or MATCH any approved loan rate!* With Musicians’ Interguild Credit Union’s unsurpassed service and personal attention to your needs , BANKING JUST GOT EASIER!
Cuadpro® Marketing 08-14
*For DETAILS call us toll free at 1-800-393-3833 Visit us online at www.musicianscu.org
22
The Costume Designer Spring 2008
IN FOCUS
A LOOK BACK
M a r l e n e S t e wa r t ’s D o o r s o f P e rc e p t i o n
Photos by Carolco/The Kobal Collection
R
eleased in 1991, The Doors is both Oliver Stone’s homage to the infamous ’60s rock group and a biography of the band’s lead singer, “electric poet” Jim Morrison. The film follows the group from its gentle hippy inception in 1965 Venice, California, to its demise in 1971 with Jim’s drug-addled death in Paris, France.Val Kilmer personifies the Lizard King, turning in a powerful performance demonstrating both the charisma and despair of the late Jim Morrison. When Oliver Stone asked Marlene Stewart to design the costumes for The Doors, she welcomed the opportunity, and dove into working on her first big Hollywood production. Her costumes for the film illustrate each period of Jim Morrison’s short but prolific career, beginning with the carefree mid-’60s fashion of a UCLA student, moving through the psychedelic rocker wear of a rising star, and ending with the anti-establishment, Army-surplus look of a man on trial. Along the way, we get wonderful glimpses of the times, like a fun scene at Andy Warhol’s factory, complete with Edie and many colorful characters; party scenes at Morrison’s house replete with stoned rockers and imaginatively costumed groupies; and concert after concert overflowing with hippie chicks and Doors fanatics. The film begins with Jim as a child witnessing a car accident in the New Mexican desert; the wounded Native American man he sees becomes Jim’s silent shaman, one of many spiritual guides who appear during Jim’s drug-fueled hallucinations. The presence of these ghostly Native Americans in traditional garb, juxtaposed with the band’s ’60s
rock royalty costumes, underscores Jim’s struggle to maintain his connection to the natural while reveling in his sudden fame and fortune. While Jim spirals into addiction, the people around him tell the story of the times through their costumes. Jim remains the explosive center of the story, and Marlene costumes him in the well-known rocker uniform that he made famous: black shirt worn open, sexy black leather pants with conch belt, and well-loved boots. The members of the band are distinct characters, each maintaining their specific look throughout the film: keyboardist Ray Manzarek (Kyle McLaughlin) is the band’s beatnik father figure in Nehru jackets; bassist Robby Krieger (Frank Whaley) is the sweet kid brother in simple bohemian looks; and drummer John Densmore (Kevin Dillon) is the good-looking wingman in fashionable bachelor wear. Jim’s lover, Pamela Courson (Meg Ryan), is a long-suffering rock widow: Marlene costumes her in the beginning in simple free-spirit looks, but as she descends into a more abusive and addictive relationship with Jim, her costumes become more sophisticated and layered. The Doors is a visual feast, with Marlene Stewart’s costumes offering a detailed glimpse into the world of Jim Morrison and his entourage. These pitch-perfect costumes make Oliver Stone’s compelling film even more enjoyable, as they help to re-create the complex, psychedelic world of the Doors and their music. Audrey Fisher afisher@costumedesignersguild.com
Spring 2008 The Costume Designer
23
IN FOCUS
location, location, location: SOURCES FABRIC & TRIMS Action Fabrics & Trim
214 E. Chicago Ave. (630) 323-1962/ (630) 323-5529 Active-wear fabrics Horween Leather Company
2015 Elston Ave. (773) 772-9235 Tannery will sell hides from showroom. See Curtis Thomas Fishman’s Fabric
1101 S. Des Plaines St. (312) 922-7250 www.fishmansfabrics.com $$$ but “best of the best” fabrics in town International Importing Bead Company
111 N. Wabash Ave., Suite 714 (312) 332-0061 Swarovski, fire-polished beads, buttons Renaissance Buttons
826 W. Armitage Ave. (773) 883-9508
Textile Discount Outlet
2121 W. 21st St. (773) 847-0572 Closed Sat. Huge W.H. some vintage, barter! Like Ragfinders/no min. Vogue Fabrics
621 W. Roosevelt Rd. (312) 829-2505 Evanston (better selection) 718 Main St. (773) 272-2025 www.voguefabricsstores.com Second to none remnant table in the city MENSWEAR
VINTAGE & THRIFT Brown Elephant—Clark
5404 N. Clark St. (773) 271-9382 Large, organized venue
George Greene
49 E. Oak St. (312) 654-2490 Fine menswear Jake on Rush
Silver Moon Vintage
1755 W. North Ave. (773) 235-5410 1900s–1960s. Most upscale, quality Vintage in Chicago
939 N. Rush St. (312) 664-5553 Jake on Southport
Strange Cargo
3741 N. Southport Ave. (773) 929-5253 www.shopjake.com Designer boutique/designer jeans $$$
3448 N. Clarks St. (773) 327-8090 www.strangecargo.com Funky, trendy, novelty, ’70s/’80s. Like Aardvarks
Mark Shale
900 N. Michigan Ave. (312) 440-0720 Magnificent Mile
Una Mae’s Freak Boutique
Roberto’s
1422 N. Milwaukee Ave. (773) 276-7002 The original one. Same partners as Los Feliz
214 South State Street (312) 786-1531 Men’s and boy’s clothing
Village Discount Thrift
BOUTIQUES
3301 W. Lawrence Ave. (708) 388-4772 4027 N. Kedzie
Blake
2448 N. Lincoln Ave. (773) 477-3364 Very designer. $$$ Florodora
330 S. Dearborn (312) 212-8860 Carries independent & local designers
MALLS
Ashland/Belmont off the Red Line North Side/Boys Town-Lakeview Assortment of shops. Unisex, rave, hipster, goth Mega Mall
Ikram
873 N. Rush St. at Chestnut Ave. (312) 587-1000 Avante-garde. Beautiful selection. $$$
2500 Milwaukee Ave. (773) 489-2525 North Side/Logan Square Ghetto bling The Magnificent Mile
Store B
1472 N. Milwaukee Ave. (773) 772-4296 Vintage, purses P.45
1643 N. Damen Ave. (773) 862-4523 Fashiony women’s Untitled
2707 N. Clark St. (773) 342-0500 1941 W. North Ave. Trendy young men/women U.S. #1
1460 N. Milwaukee Ave. (773) 489-9428 Levi’s. Leather goods, engineer boots. Some vintage denim. $$
24
The Costume Designer Spring 2008
Michigan Ave. between the Chicago River and Oak St. between the Loop and the Gold Coast Neimans, Bloomies, Nordstrom, Macys, Lord & Taylor, Burberry, Hugo Boss, H&M, etc. North & Clybourn Intersection off the Red Line
North Side/Lincoln Park Victoria’s Secret, Gap, Banana Republic Oak Street Shopping
Oak St. between Michigan Ave. & Rush St. www.oakstreetchicago.com/ Designer, Chanel, Barneys, Hermes, Bang & Olufsen
Old Orchard Mall
66 Old Orchard Shopping Center Skokie, IL (847) 674-7070 North Suburbs/Skokie State Street Shopping off the Red Line
Sears, Macys, Men’s Wearhouse, Carson Prarie Scott,TJ Maxx, Nordstrom Rack
GOOD E ATS Ann Sather (pancakes, brunch)
929 W. Belmont Ave. (773) 348-2378 Amazing eggs and the advise-giving guru Green Dolphin Street (international fusion)
2200 N. Ashland Ave (773) 395-0066 www.jazzitup.com Retro dinner club, live music, dancing. Reservations
R&R SPAS Kaya Day Spa
112 N. May St. (312) 243-5292 Great staff, friendly Elizabeth Arden Red Door Salon & Spa
919 N. Michigan Ave. (312) 988-9191 Affordable spa & massage MUSEUMS Art Institute of Chicago
111 S. Michigan Ave. (312) 443-3600 www.artic.edu Museum of Contemporary Art
220 E. Chicago Ave. (312) 280-2660 www.mcachicago.org
Giordano’s
MISC.
730 N. Rush St. (312) 951-0747 Deep-dish pizza
Blick Art Supply
Japonais (Japanese fusion)
600 W. Chicago Ave. (312) 822-9600 Asian fusion, fine dining and great cocktails Signature Room (American traditional)
Hancock Building, 875 N. Michigan Ave. 96th Floor (312) 787-9596 Cocktails & bird’s eye view of the city $$$ Sushi Samba Rio
504 N. Wells St. (312) 595-2300 Sushi hot spot Tavern on Rush (burgers, American)
1031 N. Rush St. (312) 664-9600 Rush St. dining compound lovingly dubbed “Martini Park”
1574 N. Kingsbury St. (312) 573-0110 North Ave. Shopping District 36 S. State St. (312) 920-0300 The Loop
Volo Restaurant (wine bar)
HEIRESS THE
J E W E L R Y
C O L L E C T I O N
As Featured In . . .
SANTA
MONICA
•
NEW
YORK
•
LONDON
602.684.6133 • www.HeiressVault.com F O R R E N TA L & P U R C H A S E
Fantasy Headquarters
4065 N. Milwaukee Ave. (773) 777-0222 Halloween novelty/walkabouts, Krylon, Ben Nye, adhesives, wigs Kane County Flea Market
Randall Rd. between Rte. 64 & Rte. 38 (630) 377-2252 www.kanecountyfleamarket.com Pearl Art Supply & Craft
225 W. Chicago Ave. (312) 915-0200 Compiled by Chicago native J.R. Hawbaker jrhawbaker@gmail.com
Victory’s Banner (vegetarian)
2100 W. Roscoe Village (773) 665-0227 Vegetarian café that serves up sugar packets with inspirational sayings
ACCESSORIZE WITH ONE-OF-A-KIND VINTAGE COUTURE
Sirius 7 Jewelry
ADDITIONAL CONTRIBUTORS
Deena Appel,Tanis Alexander, Sharon Day, Roseanne Fiedler, Lisa Marie Harris, Joyce Kim Lee
Handcrafted custom designs
2008 W. Roscoe St. at Damen (773) 348-4600 Wine flights & food bites
Amy Cousin
Walnut Room–Macys 7th floor (American traditional)
www.sirius7jewelry.com amy@sirius7jewelry.com
111 N. State St. (312) 781-3125 Chicago landmark restaurant with traditional fare
1120 India Hook Road Rock Hill, SC 29732 803-448-6431 skype: amycousin
Spring 2008 The Costume Designer
25
IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK CD Ileane Meltzer is back to work designing Monk, now in its seventh season. Tricia Gray is Costume Designer for the Broken Lizard comedy The Slammin’ Salmon, shooting in Los Angeles, starring Michael Clarke Duncan and Bill Paxton. Jacqueline Saint Anne designed the 1915 period costumes of Tennessee Williams’ play Summer and Smoke. The USC Opera opened on April 25 at the Bing Theater. Also in and around town is CD Julia Schklair-Schultz with the CBS drama pilot The Mentalist, starring Simon Baker and Robin Tunney. Judy Ruskin-Howell is designing the untitled Wayans Brothers’ comedy project in Los Angeles with Laura Frecon working as her Assistant. ACD Olivia Miles joins the latest season of Entourage for returning CD Amy Westcott. CD Audrey Fisher is currently designing Alan Ball’s HBO show True Blood, debuting this fall. Based on Charlaine Harris’ gothic novels, the hour-long episodic features vampires living side by side with humans in small-town Louisiana. Marie France is designing with CDG member Pat Welch supervising, the new NBC comedy pilot Zip. Steven Weber stars as a single dad living in Beverly Hills running cons to provide for his three kids. Melina Root is happy to be joining the crew of ABC’s Brothers & Sisters as the Costume Designer for the second & third seasons. Valerie Laven-Cooper, longtime designer and stylist for Tim Allen, wrapped up his latest comedy Crazy on the Outside. Allen’s
Allen and CD Laven-Cooper
directorial debut, shot in Los Angeles stars Allen, Sigourney Weaver, Kelsey Grammer, Ray Liotta, and Jeanne Tripplehorn. Keri Smith has begun her second season of My Boys on TBS. CD Frank Helmer is designing the dark romantic comedy Barry Munday, starring Patrick Wilson and Chloë Sevigny. Wilson, a consummate ladies man, wakes up to discover he’s lost the family ‘jewels’ in addition to being named in a paternity suit. CD Abram Waterhouse is back for the third season of Showtime’s hit series Dexter. Magali Guidasci designed
26
The Costume Designer Spring 2008
the pilot 1%. Shay Cunliffe is in town, designing the Nick Cassavetes film My Sister’s Keeper, starring Cameron Diaz and Abigail Breslin. Daniel Orlandi is back on design duty for Ron Howard’s Angels & Demons after the writers’ strike put the film on hold. Liuba Randolph designed Brittany Murphy’s costumes for the feature thriller Across the Hall. Phillip Boutte illustrated for Brittany Murphy designer Bobbie Mannix’s in Across the Hall Kelloggs spots. CD Aggie Rodgers just wrapped the indie feature Mission Street Rhapsody in her backyard of San Fran, starring Benjamin Bratt.The film chronicles a former gangbanger Latino father in San Francisco’s Mission District who discovers and comes to terms with his son’s homosexuality. Shawnelle Cherry is designing Without a Paddle 2 in Portland, Oregon, with CD Kevin Ackerman working with her as her costumer. CD Caroline B. Marx is currently shooting Disney’s High School Musical 3: Senior Year, the last film of the multi-billion-dollar franchise. Caroline is recreating the look for the big screen. Artist and newcomer to the Guild, Karen Yan, is the Illustrator for HSM3, shooting in Salt Lake, Utah. Dana Campbell is back from Charleston, South Carolina, where she designed the thriller The New Daughter, starring Kevin Costner as a divorced father whose daughter starts to exhibit ominous behavior. Campbell also designed a trio of Tennessee Williams one-act plays discovered after his death that are running in Los Angeles at the Davidson/Valentini Theater through June 8. Michael Dennison is designing W., the Oliver Stone biopic of George W., starring Josh Brolin and Elizabeth Banks as Mr. and Mrs. Bush, shooting in Shreveport, Louisiana. CD Christopher Lawrence is on his way to Nashville to design The Hannah Montana Movie. He is excited to be designing the complete wardrobe for Miley Cyrus, even if it becomes a line for a discount store! Deborah Ferguson is the designer for Billy Ray Cyrus’ hosting duties on Nashville Star 08. She plans to change his look and style for this NBC prime-time show airing in June. ACD Monique Long tackled her fifth year designing the Academy of Country Music Awards live from Las Vegas, Nevada (May 18). CD Nancy Steiner is designing Youth in Revolt in the Detroit area with director Miguel Arteta, starring Michael Cera. CD Molly Maginnis headed back to Pittsburgh, Pennsylvania (did her masters at Carnegie Mellon), to design DreamWorks’ romantic comedy She’s Out of My League—about an average guy
meeting the girl of his dreams. CD Ann Major is shooting a direct-to-video adventure feature for MGM titled The Reef, filming in Hawaii. Major is also designing the CGI heavy, Internet show Gemini Division consisting of 50 threeminute webisodes, starring Rosario Dawson. CD Johnetta Boone’s latest project Cadillac Records is a period piece set in 1950’s Chicago that chronicles the rise and fall of Chess Records which launched the careers of the legendary Etta James, Muddy Waters, and Chuck Berry. It stars Adrien Brody and Beyonce Knowles as Etta James. Susan Lyall’s current design project with Uma Thurman is Motherhood, a comedy with Thurman playing a bohemian west village writer with two small children trying to navigate a particular day in May. Juliet Polcsa is designing the new film Brooklyn’s Finest, shooting in where else? Brooklyn, New York!, starring Richard Gere, Don Cheadle, Ethan Hawke, Wesley Snipes and Ellen Barkin. CD Albert Wolksy collaborated with director Mike Nichols again, for the Broadway play The Country Girl, written by Clifford Odets. ACD Susan Kowarsh Hall worked with Wolsky from Los Angeles to create the 1950’s classic with Morgan Freeman, Frances McDormand and Peter Gallagher which opened on April 27 at the Bernard N. Jacobs Theatre. April Ferry is off to Boston for the second time in a row to design the futuristic actioner The Surrogates with Bruce Willis. She’s hoping the weather is better than it was this winter. Designer Marie-Sylvie Deveau and ACD Anita Cabada are on the David O. Russell, Kristin Gore (yes that Gore) film Nailed, starring Jessica Biel, James Marsden, Jake Gyllenhaal and Catherine Keener and shooting on location in Connecticut & South Carolina. Ariyela Wald-Cohain just wrapped the kids’ pilot The Cousin’s Clubhouse. The main character is “Mother Earth” and her puppet animal friends live in her garden. CD Julie Weiss and ACD Michael Crow are in China filming the 1940’s romantic drama Shanghai, starring John Cusack as an expat who returns to Shanghai in the months before Pearl Harbor. Erin Lareau returned from styling a live show in Shanghai with 215 performers presenting Nike designs for the U.S.A. and China’s Olympic team uniforms. Lareau has also been busy styling commercials for The Cousin’s Clubhouse, Direct TV directed by Mother Earth Christopher Guest, starring
Spring 2008 The Costume Designer
27
NBC Universal
UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK
BOLDFACE NAMES COSTUME BOLDFACE AT WORK
28
Costume Rentals, Manufacturing, Alterations, Alterations, Fitting Rooms & Offices
Ed Begley Jr. and John Michael Higgins, and the “What Happens in Vegas Stays in Vegas” campaign. Karyn Wagner just returned from work out of the country and headed straight to Chicago to design Formosa, which will continue filming in Taiwan. Kasia Walicka Maimone is on location in Toronto designing the Mira Nair feature Amelia, starring Hilary Swank. Penny Rose is back in England for the bigbudget action adventure Prince of Persia: Sands of Time, based on the video game. Laura Goldsmith just finished designing a trio of feature films: Push (shot in Hong Kong), Group Sex (Los Angeles) and A Perfect Getaway (Puerto Rico).
BOLDFACE PRESS CD Randall Christensen, now designing Season 6 of Dancing With the Stars, was featured in Us Weekly magazine’s “Hot Hollywood” edition with a piece featuring “tug of
DWTS’ Randall Christensen
818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION WWW.NBCUNI.COM/STUDIO
The Costume Designer Spring 2008
war” with celebs Kristi Yamaguchi, Marlee Matlin and Cheryl Burke. Access Hollywood also followed Christensen and his ACD team of Steven Lee and Daniela Gschwendtner downtown and in fittings (aired April 15). Oksana Nedavniaya’s illustrations are featured in the book The Chronicles of Narnia: Prince Caspian: The Official Illustrated Movie Companion, along with a discussion with CD Isis Mussenden, who enlightens readers with the intricacies involved in designing the film. The website Style Spy proclaimed CD Janie Bryant “the most influential person in fashion right now” for her “meticulously assembled wardrobe” for AMC’s Mad Men. CD Ann Major was interviewed on Ann Major on beaconstreetgirls.com for creating the set the look for Hannah Montana’s
IN FOCUS first season. It is currently up on the website designed for girls aged 7–12. The April issue of W Magazine titled “Dressing the Part” singles out CDs Mary Zophres, Jacqueline Durran and Karen Patch with a discussion about their characterZophres, Durran & Patch in W. driven inspirations. Oprah has gone behind the seams with CDG members Patricia Fields and Bob Mackie. While the four Sex and the City stars appeared to promote the upcoming feature film, Fields gave a tour of the department as the girls gushed about the complete trust they have in Pat’s choices. On a subsequent episode from Cher’s new Las Vegas show, Cher the Colosseum (Caesar’s Palace), Mackie displayed sketches and Cher and Mackie costumes featuring their latest and most spectacular, crowdpleasing collaborations. CD Tracy Tynan’s home in Joshua Tree was featured in The New York Times. Speed designer Kym Barrett was interviewed in the LA Times (Sunday Calendar, May 11) about the great Cher the Colosseum lengths Barrett went to to be true to the comic character.
BOLDFACE HONORS CD Catherine “Cat” Marie Thomas joins the ranks as New York’s 2008 Women in Film & Televsion Designing Hollywood honoree. CD Dana Rebecca Woods was nominated for the 2007 San Francisco Bay Area Theater Critics Circle Award for Best Costume Design in a Musical for her work on Blues in the Night. CD Laura Angotti won the Best Costume Design Award for her work on the short film Gator Armstrong, at the Malibu Film Festival. Passions producers, cast and crew attended Diana Eden’s farewell send-off celebration at The Bridge as she moves to Las Vegas, where she will be the Associate Designer on a big theatrical production opening at the Venetian Hotel.
LABELS, LABELS, LABELS Working on a future label cover? Please submit your new labels to the CDG office attn: Deena Appel
Tynan’s Joshua Tree home
Spring 2008 The Costume Designer
29
BOLDFACE NAMES BOLDFACE FESTIVALS & EVENTS COME CHECK OUT OUR NEWLY IMPROVED RENTAL OFFICES AND STAR FITTING ROOM Rental offices include:
Designer Cynthia Obsenares joined several production designers speaking on the Digital Summit Design panel hosted and moderated by ADG President Tom Walsh at the NAB Conference in Las Vegas in April. The dialogue focused on how HD and digital formats are impacting the role of
• High-speed wireless internet access with wireless printing and faxing • Digital camera and printing to use with your fittings • Keyless 24-hour entry • In-office refrigerator and coffee maker • Full service workroom led by master tailor Gilberto Guzman
818.982.3611 • Fax: 818.982.1905 7243 Coldwater Canyon Ave. North Hollywood, CA 91605
www.EasternCostume.com
L-R: ADG Pres. Tom Walsh, Yoojung Han, Cynthia Obsenares, Elaine Maser, John Mott
designers. Illustrator Derek Sullivan traveled to the Tribeca Film Festival, where the independent thriller he designed, From Within, made its debut. The Festival International Cinema & Costume of Moulins-Sur-Allier, France, will award Costume Designer Anthony Powell as their 2008 guest of honor during opening ceremonies June 26. The festival will also be screening Powell’s films Tess, Death on the Nile, Indiana Jones and the Temple of Doom and Hook as well as offering his masterclass. CD Deborah Landis will also be on a panel with John Landis following screenings of The Blues Brothers and Kentucky Fried Movie, which are screening out of competition.
BOLDFACE ENTREPRENEURS CD Tashiba Jones-Wilson has launched (with sister Zakiya), clothing line ZMJ Denim, a mix of classic chic- and street-couture denim geared for the fullfigured junior and contemporary woman in sizes Tashiba Jones-Wilson’s jeans co. ranging from 14 to 32. More info available at www. zmjdenim.com. Cynthia Obsenares has partnered up with director/cinematographer Bruce Dickson to establish an independent, multi-media production company called BCurious Productions. They are in post-production on a documentary on the roots of Afro-beat in Nigeria, obtaining the rights to a collection of books and short stories by a Filipino novelist, and in development on two projects. They are currently seeking financing for an indie feature based on a novel by Harry Crews.
30
The Costume Designer Spring 2008
Contact Cynthia at cobsenares@hotmail.com. Alix Friedberg (along with Local 705 member Kelly Mijailovic), became increasingly baffled by the lack of simple, beautiful, well-made, modern wedding and bridesmaids dresses, so they’ve started a line called Alix & Kelly. An exclusive line of wedding gowns, an extensive line of bridesmaids dresses, flower girl dresses and neckties. Made to order on short notice (of course!). They’re inviting members to come check out the showroom www.alixkelly.com. Janie Bryant recently designed the uniforms for the exclusive “invitation only” club The Doheny.
Bryant’s uniforms for The Doheny
CD Astrid Brucker has a new line of handbags and clothing. Her necklaces were recently featured in Suze Yalof Schwartz’s online Glamour Magazine blog titled How to Wear Huge Necklaces. www.astridland.com. Compiled by Suzanne Huntington shuntington@costumedesigners -guild.com
Spring 2008 The Costume Designer
31
Eli Stone
Miss Guided Costume Designer:
Costume Designer:
JUDITH R. GELLMAN
VICTORIA AUTH
Swingtown The Big Bang Theory
Costume Designer:
JILL OHANNESON
Costume Designer:
MARY T. QUIGLEY
Assistant Designer:
JOYCE KIM LEE
Terminator: The Sarah Connor Chronicles
Life Costume Designer:
WENDY GREINER
Costume Designer:
AMANDA FRIEDLAND
Unhitched
New Amsterdam
Costume Designer:
Costume Designer:
MARIE ABMA
NICOLE GORSUCH
Tracey Ullman: State of the Union
Californication Costume Designer:
Costume Designer:
PEGGY SCHNITZER
Weeds Costume Designer:
LINDA BASS
32
The Costume Designer Spring 2008
JANE RHUM
In Plain Sight Costume Designer::
MICHELE REDE
Miss Guided ABC/Richard Cartwright, Eli Stone ABC/Ron Tom, The Big Bang Theory Warner Bros./CBS/Ron Batzdorff, Swingtown CBS/Andrew Macpherson, Life NBC/Universal/Trae Patton, Terminator: The Sarah Connor Chronicles Fox/Jill Greenberg, Unhitched Fox/Scott Schafer, New Amsterdam Fox/Julie Dennis-Brothers, Californication Showtime/Randy Tepper, Tracey Ullman: State of the Union Showtime/Cliff Lipson, Weeds Showtime/Cliff Lipson, In Plain Sight USA
WHAT’S ON
Superhero Movie The Weinstein Co./Sam Emerson, Leatherheads Universal Studios/Melinda Sue Gordon, Forgetting Sarah Marshall Universal Studios/Glen Wilson, The Life Before Her Eyes Magnolia Pictures/Phillip Caruso, Big Mama Universal Studios/K.C. Bailey, Speed Racer Warner Bros. Ent., What Happens in Vegas 20th Century Fox/K.C. Bailey, The Love Guru Paramount Pict,/George Kraychyk, Indiana Jones and the Kingdom of the Crystal Skull Lucasfilm/David James, Sex and the City: The Movie Newline/WireImage/Craig Blankenhorn, You Don’t Mess With the Zohan Columbia Pictures, Get Smart Warner Bros. Ent./Tracy Bennett
WHAT’S OUT Superhero Movie Leatherheads
Costume Designer:
CAROL RAMSEY
Costume Designer:
Assistant Designer:
LOUISE FROGLEY
LOIS DE ARMOND
Forgetting Sarah Marshall
The Life Before Her Eyes
Costume Designer:
LEESA EVANS
Costume Designer:
Assistant Designer:
HALA BAHMET
CHRISTINE WADA Speed Racer Costume Designer:
Baby Mama
KYM BARRETT
Costume Designer:
Assistant Designers:
RENE EHRLICH KALFUS
STACY CABALLERO, MICHELE HARPER Illustrator:
FELIPE SANCHEZ What Happens in Vegas Justice
The Love Guru
Costume Designer:
Costume Designer::
Costume Designer: RENE EHRLICH KATHLEEN DETORO KALFUS
KAREN PATCH Illustrator:
Assistant Designer:
THAO VU
ELIZABETH SHELTON Indiana Jones and the Kingdom of the Crystal Skull
Sex and the City: The Movie
Costume Designer:
Costume Designer:
MARY ZOPHRES
PATRICIA FIELD
Assistant Designer:
JENNY EAGAN Get Smart You Don’t Mess With the Zohan
Costume Designer:
Costume Designer:
DEBORAH LYNN SCOTT
ELLEN LUTTER
Assistant Designer:
THAO VU
Spring 2008 The Costume Designer
33
SCRAPBOOK
Madonna and Marlene Stewart “Vogue,” American Music Awards, 1991.
34
The Costume Designer Spring 2008
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 sellers’ 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 $600 million + Sellers paid on time… every time
WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES: Fine & Decorative Arts, Antiques, Rare Coins & Currency, Illustration Art, Comics & Comic Art, Civil War & Americana, American Indian Art, Rare Books & Manuscripts, Entertainment Memorabilia, Jewelry & Timepieces, Natural History, Sports Collectibles, Vintage Movie Posters, and Stamps.
CONSIGN NOW! Doug Norwine, 800-872-6467 ext. 1452 (DougN@HA.com) WE PAY FINDERS’ FEES! 3500 Maple Avenue 17th Floor Dallas, Texas 75219 800-872-6467 • HA.com
To receive a complimentary book or catalog of your choice, register online at HA.com/CDG14736 or call 866-835-3243 and mention reference #CDG14736.
Annual Sales Exceeding $600 Million 350,000+ Online Registered Bidder-Members
TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Scott Peterson 13256; Bob Merrill 13408; John Petty 13740; Mike Sadler 16129; Ed Griffith 16343; Andrea Voss 16406; Jacob Walker 16413; Charlie Mead 14736 16418; Eric Thomas 16421; Douglas Nyholm 16431; Ashley Taylor 16436. This auction is subject to a 19.5% Buyer’s Premium.
Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604
Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450