The Official Magazine of the Costume Designers Guild
Costume Designers Guild Local 892–I.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604 costumedesignersguild.com
COSTUME DEPARTMENT BEST CONTEMPORARY CLOTHING AND ACCESSORIES COLLECTION IN L.A. MEN’S & LADIES’ ALTERATIONS AND MADE-TO-ORDER WALKABOUTS, TITANIC ‘EXTRAS’ COLLECTION AND OTHER SPECIALTY ITEMS FOX STUDIOS PRODUCTION SERVICES 10201 W. Pico Blvd. • Los Angeles, CA 90035 310.FOX.INFO • 310.369.1897 www.foxstudioscostumes.com costumes@fox.com
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vol. 6, issue 2
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20
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FEATURES A Designer in Focus . . . . . . . . . . . . . . . . . . . 12 Rita Ryack
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter Executive Director Assistant Executive Director Labor Report
The Costume Department . . . . . . . . . . . . . . . 18 Meet the Assistants History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Process: From Sketch to Screen, The Spiderwick Chronicles A Look Back at Casino Boldface Names COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com
What’s In/What’s Out . . . . . . . . . . . . . . . . . . 32 Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
COVER Hairspray, 2007 Designed by Rita Ryack
Spring 2010 The Costume Designer
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EDITOR’S NOTE do love what I do for this magazine. I get to explore what interests me in the hope that it also interests you too. I can share my passions (merchandising, creative rights, collaborative spirit), bring to light the goings on behind the scenes (sketch to screen, our many Q&As), follow who’s doing what (What’s On/What’s In, Boldface Names), meet new and also seasoned designers and understand how they work. After all, we are all alike. We all seek out really good scripts, new challenges and long-term working relationships. We all face the same budgetary struggles from the smallest of films to the most epic costume dramas. We all care deeply about our vision. And yet to hear the story told from another designer’s perspective, it somehow makes us feel a little better … to know that we’re basically all in the same boat. For the spring issue, Rita Ryack was extremely open and generous in her time spent on “A Designer in Focus” on page 12. Thank you Rita for answering every question thoughtfully and fully while at the height of designing the Oscars and prepping a feature film in New York. Robin Richesson has been a faithful contributor to this magazine from the very first issue (History of Dress A-Z, now on T), so I’m thrilled to be able to highlight her work with longtime collaborator Joanna Johnston on The Spiderwick Chronicles (The Process: Sketch to Screen on page 20). I’ve been waiting for the chance to illuminate the “other” road to a single costume in this column. Up until now, we’ve shown the rarely-seen detail sketches that lead to a final illustration, but often our path involves many different designs to reach a singular, approved final costume. It’s a pleasure to give the work we never see, a place to be noticed. There are a number of references to digital technology and ability in the Union Label letters. Robin Richesson and Joanna Johnston would not have been able to continue their 16 years of collaboration without embracing the new digital world and long-distance communication. Isn’t it time you do too? There are so many classes to choose from including those through Contract Services, Tuesdays: Tea & Technology at the CDG, MAC One to One etc. No more excuses. It’s all out there for the taking. Learn and grow and stay current along with your peers. One more note… Sandy Powell. For anyone watching the Oscars, our Career Achievement Award honoree and three-time Oscar winner may have been misunderstood. Sandy wrote to me, concerned that “I really have upset people which I absolutely didn’t mean to do.” She hopes that her colleagues and peers understand the “sentiment of her speech.” Below is what New York magazine had to say.
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costumedesignersguild.com 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
Marilyn Matthews mmatthews@costumedesignersguild.com EXECUTIVE BOARD
Sharon Day sday@costumedesignersguild.com
Salvador Perez sperez@costumedesignersguild.com
Deena Appel dappel@costumedesignersguild.com
April Ferry aferry@costumedesignersguild.com
Lois DeArmond (Asst. Costume Designers) ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators) fsanchez@costumedesignersguild.com BOARD ALTERNATES
Valerie Laven-Cooper vlavencooper@costumedesignersguild.com
Susan Nininger snininger@costumedesignersguild.com
Robert Blackman rblackman@costumedesignersguild.com
Julie Weiss jweiss@costumedesignersguild.com BOARD OF TRUSTEES
Deena Appel. dappel@costumedesignersguild.com
Marcy Froehlich, Chair mfroehlich@costumedesignersguild.com
Peter Flaherty pflaherty@costumedesignersguild.com
Jacqueline Saint Anne
SANDY’S DANDY: In Defense of Sandy Powell, the Blasé Oscar Winner
jsaintanne@costumedesignersguild.com EXECUTIVE DIRECTOR
Cheryl Downey cdowney@costumedesignersguild.com
By David Edelstein, The Projectionist
ASSISTANT EXECUTIVE DIRECTOR
It would be nice to let the damn Oscars go already, but among the burning Twitter issues—Elinor Burkett’s dementia, Sean Penn’s mumblecore— there’s one that really galls my kibe: the abuse for costume designer Sandy Powell for seeming blasé about receiving her third Oscar for The Young Victoria. People who work with Powell describe her as refreshingly b.s.-free, so she wasn’t about to put on a teary little show. More than that, she showed humility in daring to say out loud what many believe: that it’s much easier to win an Oscar for period films or “costume dramas” in which you notice the costumes than for modern, more realistic films in which the costumes don’t call as much attention to themselves. In that case, though, designers work closely with the actors, study the psychology of the characters, and endlessly confer with production designers and cinematographers to adapt to the overall mood and mise-en-scène. So pace the Twitterati, Sandy Powell is my new hero —and she wore, for my money, the best damn dress in the whole snoozer.
rstanley@costumedesignersguild.com
Rachael M. Stanley ADMINISTRATIVE ASSISTANT
Suzanne Huntington shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY
Cheryl Marshall cmarshall@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
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The Costume Designer Spring 2010
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UNION LABEL PRESIDENT’S LETTER Dear Colleagues and Friends, “Spring is here and the deadline for next magazine is upon us!” so says our magazine editor, Deena Appel, with a smile. So, here I am sitting in front of my computer on this gloomy day, watching the rain. But how can I complain when every bit of vegetation in the whole city is covered with fresh young shades of green that I haven’t seen for more than a few years. The flowers that have suddenly broken through the ground in our garden are blooming—reminding me that they were there all the time, and that all that was needed was a little rain. Now, if only all those shows that disappeared from Hollywood would sprout like my garden … that would be a welcome comeback and an even better shade of green. Judging from how many pilots were green-lit this season, the films that are being made right here in Hollywood and members calling to report work, maybe things are really happening in this city again. There are also signs that small productions are taking advantage of the California’s Incentive Plan for the Film Industry, a day late and a dollar short … but better than nothing! Please know that I am very aware of the hardship of some of our members, as is the Eboard. Those who have written letters asking for help should know we are doing everything we can. I want to share a few bright happenings to look forward to in the spring and early summer. “The Art of Costume Illustration” exhibition (the first of its kind) is set for May 15, again in collaboration with our friends at FIDM. FYI, more and more events are switching to email invitations only. Many claimed that they didn’t receive an invitation to the FIDM Film Costume Exhibition Gala Opening. Please watch for an EMAIL invite and information in your weekly CDG Emails so you don’t’ miss the event. If you don’t receive something by early May, please call the CDG office to inquire. The Creative Emmy Awards and Primetime Emmy Awards have been moved up this year to August 21 & 29, which is absolutely crazy early! So, for those who are submitting work for Emmy consideration, go online to make sure you are entered before the deadline. Don’t miss it. Nominations will be announced on July 8. For the TV Academy peer group members, the FIDM/ATAS joint “Outstanding Art of Television Costume Exhibition” Opening Gala & Emmy Nomination Party will be on Saturday, July 24. Please make a note of it. For those of you who “just don’t do email” (hard to believe you’re still out there), we’ve been warning our members that it’s time to be computer-savvy. If I can do it, so can you! Get with the program if you want to stay in touch—from communication to social events to being competitive in the workplace today. Just do it! Have a wonderful spring! In Solidarity, Mary Rose mrose@costumedesignersguild.com
NEW MEMBERS
2010 CALENDAR May 15 15-16 22 31 June 7 28
(left to right) Jo Rosen, Zachary Bilemdjian, Mei-Ling Hubbard, Lanette Little, Kellen Richards, Mayumi Masaoka,Vincent Songcayawon
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The Costume Designer Spring 2010
July 1 5 22-24 19 24
The Art of Costume Illustration—FIDM Opening Gala IATSE District 2. Local 892 represented by 7 Delegates New Member Orientation, Guild 9 AM Office closed for Memorial Day Executive Board Meeting, 7 PM, CDG Offices General Membership Meeting. Nominations from the floor for open seats. Written acceptance of nominations are due Office closed for 4th of July holiday San Diego Comic-Con Executive Board Meeting, 7 PM, CDG Offices Opening of FIDM/ATAS Exhibit
August 2-6 IATSE Executive Board Meeting, in Philadelphia 18 Election ballots mail
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UNION LABEL EXECUTIVE DIRECTOR
Dear CDG Members, “Production is forecast to increase in Southern CA this year. This will follow a trend begun in mid-2009, when producers began to take advantage of the CA tax incentive program.” So says the L.A. Economic Development Corp.’s annual state-ofthe-industry report. According to your responses to the CA Incentive Show Report questionnaire I sent out last month, CDG members worked on six feature or TV series productions (out of 60) that would not have been shot here in Los Angeles, were it not for the CA incentive money. Surely more than six of our members worked on the now nearly 70 feature or television shows produced here in Los Angeles, thanks to CA offering financial incentives?! If your questionnaire is no longer handy, it’s vital that you phone or email me your information and here’s why. To keep the film and television incentive money in the pipeline during California’s dire budget times, it is essential that the CDG and our sister IA locals demonstrate to Sacramento that this incentive has a strong ripple effect on our local economy. The legislature needs to see clearly that this money is not corporate welfare, making studios richer. It is creating jobs for our hard-working members, as well as for the many vendors we patronize during the course of every project. So right now and in the future, let me know any and every time you work on a show being made with CA tax incentives! You may have heard of a new foundation called Bring Hollywood Home. While its slogan captures what we’re striving for, the foundation’s aggressive emphasis on bigticket fundraising may have unintended consequences. The public and the politicians need to be educated that the taxpayer money going to film incentives is well spent on creating middle-class jobs and that it’s not the domain of movie moguls who don’t need a tax break. Call if you have any questions. Good news … our Musicians Interguild Credit Union reports that delinquencies and charge-offs have been declining for several consecutive months now. According to the Los Angeles Times, more than 30 TV pilots are slated for production, and filming in Los Angeles has increased 25% during the first quarter of 2010. Fingers are crossed for our members, indeed for our whole business. When you start your next show, remember, it’s a requirement of membership that you call in your work, union and nonunion. Or, you can now complete the Report Work Form in the Members Only section of the CDG website www.costumedesignersguild. com. This is the only way we know how many of you are working, where you are shooting, and what the going rates are. It’s also how we organize nonunion shows so you can get your health and pension benefit hours and our plans can get the employer contributions they deserve. We’re all in this together. May you all be reporting new work soon!
THANK YOU CDG CORPORATE SPONSORS WESTERN COSTUME CO. Diamond Sponsorship WARNER BROS. Sapphire Sponsorship
GENERAL MEMBERSHIP MEETING RETOOL Karyn Wagner Valerie Laven-Cooper
2010 DIRECTORY VOLUNTEERS Directory Editor Salvador Perez Oneita Parker Alison Schmidt Liz Jett Christine Jordan Christine Bieselin Clark Kristine Haag Alexandra Welker Jennifer Soulages
Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
In Solidarity, Cheryl cdowney@costumedesignersguild.com
West Coast Scott Anderson 323-650-8875 East Coast 201-708-1600 Costume Designers Guild
Toll Free 800-227-1724
Directory of Members
2010
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The Costume Designer Spring 2010
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The Costume Designer Spring 2010
Costume Illustration is an art that has long gone under-appreciated by many within and outside our industry. This May, the CDG is partnering with FIDM on a new show that honors our members’ work entitled “The Art of Costume Illustration.” The artistic qualities, technical aspects and complexities of illustration will be beautifully displayed in this exhibit, curated by our own Mary Rose. Finally, our collaborators and the public will be able to see just how much this art form has grown and moved into the digital age. Most designers, at some point in their career, will work with a director or producer or even a studio who will want to see the actor’s face Photoshopped onto the costume illustrations to fully visualize the characters. The members of the CDG who specialize in costume illustration are some of the most talented our Guild has ever seen. They are brilliant artists and many are superb computer technicians. Gone are the days of sitting at an easel and leisurely designing and sketching beautiful color renderings. In film and television today, prep time has been drastically reduced, casting is usually late, and designers are expected to work quickly, efficiently but most importantly, creatively. Producers and directors want to be able to see color and fabric changes and design alterations immediately. Now, working on computers has made that possible. Today, much illustration work is a combination of freehand drawing and computer rendering. We value the traditional art of painting beautiful pictures, and we celebrate the many new formats of costume illustration that have emerged in more recent years. Whenever a costume is being illustrated on a union film in our jurisdiction, it must be done by a CDG Local 892 member. A Costume Illustrator has been trained to understand how to represent fabric, texture, age and wear, and the drape of a costume. This makes the process of “illustration to construction” much smoother. Illustrators understand the language of design and will be able to interpret the designer’s vision in an artistic and practical way. Many production companies hire “concept artists” to help sell an idea to the studio before production begins. These concept drawings will often show people in “costume” as part of the sketch and are usually drawn by talented members of the art department. However, legally, they cannot design or illustrate costumes. It is the job of the Costume Designer and Costume Illustrator to create ALL character costume designs and illustrations. We celebrate the art of costume illustration and the artists behind the page. In Solidarity, Rachael Stanley rstanley@costumedesignersguild.com
Healthcare Reform Passed! Many provisions will be implemented over time, but here is a general calendar. Keep in mind that it is too soon to tell exactly how and when each of these will become part of MPIPHP coverage. It is possible, for example, that certain provisions in the current IA contract will remain in force until a new three-year IATSE contract is implemented in 2012. 2010 • Provide immediate access to insurance for people with none—because of pre-existing conditions • Rebate up to $250 to Medicare prescription drug beneficiaries who have reached the coverage gap called the “doughnut hole” • Prevent insurance companies from imposing lifetime caps on coverage • Require insurers to allow young people to stay on their parents’ insurance policies through age 26 2011 • Require individual and small-group market plans to spend 80% of premium dollars on medical services and large-group plans to spend 85% on medical services 2012 • Expiration of current IATSE contract, however, nothing in this healthcare reform will require members to change their current insurance plan coverage of preventive care or their primary-care physician 2014 • Provide subsidies for families earning up to 40% poverty level • Require most employers to provide coverage or pay a penalty • Require most people to obtain coverage or pay a penalty 2018 • Impose an excise tax on high-end insurance policies, so-called “Cadillac Plans.” According to Sen. Barbara Boxer, this allows “all health plans additional time to become more efficient and avoid paying the tax. And it excludes stand-alone dental and vision benefits from the calculation so that workers will still get those needed employer-provided benefits.” Stay tuned. Stay healthy. Betty Madden bmadden@costumedesignersguild.com Spring 2010 The Costume Designer
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A DESIGNER IN FOCUS:
“
RitaRyack scar-nominated Costume Designer Rita Ryack was born and bred in Boston, Mass., but claims she never really grew up. She has extensive technical training in fine arts, set and costume design from Brandeis, Bennington and the School of the Museum of Fine Arts. While at the Yale School of Drama, Rita was taught to “develop a point of view and defend it.” Still as outspoken as ever, her sense of humor clearly propels her through this business. Rita proudly claims, “Whenever I start a project, I feel as if I’ve never designed a costume before. I hope that means my work will always be fresh.”
O
I don’t like to be thought of as a designer who always makes safe choices.
How did you get started as a designer? When I graduated from Yale, Robert Brustein brought me to the American Repertory Theatre at Harvard, where I met the director, Peter Sellars, who hired me to design the costumes for My One and Only on Broadway. That musical was ultimately directed by its star and choreographer Tommy Tune (and a lot of other Broadway luminaries and show doctors). When you’ve been involved with a Broadway show labeled “in trouble” and it’s multiple incarnations on the road to New York, you feel that nothing will ever intimidate you again. Ha! My One and Only was a success that ran for three years, so I had some visibility.
I later met the producers for After Hours, who introduced me to Martin Scorsese. It was the perfect first feature. I was fearless, because I knew nothing about making films. Continuity? I was a brash, young designer enjoying her moment of hotness. How has the business changed over the years? You feel the presence of the conglomerates: unreasonably low budgets, compressed prep time, late casting. The actors are often over scheduled so production is reluctant to bring them in early. You have to go through gauntlets of fretful executives and committee approvals, that’s all very stifling. Then there’s the paranoia about demographics forcing you to dumb everything down. Few movies are made in Hollywood; there’s less product in general. So many studios have closed their workrooms and libraries and have auctioned off their collections. The private shops have been forced out of business, because of the lousy economy. Some of the great craftspeople are gone or retired. I’m sad to see our resources dwindle, and costume design mixed up with red-carpet fashion and celebrity styling. The red carpet may keep the industry going, but I want to tell stories.
Ms. Ryack
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The Costume Designer Spring 2010
With all that whining, I’m thrilled to have survived in a deeply competitive business, particularly given my anarchistic spirit, and I’m going to try to stop complaining. Let us move
How the Grinch Stole Christmas
”
Both John and Daniel have gone on to become very celebrated designers. Many designers would be threatened by an assistant who “wants to be a designer,” why aren’t you? I should hope assistants want to be designers. Why wouldn’t you want an additional eye? Why not be generous? We develop close relationships with assistants, and they usually become de facto co-designers anyway. Really. Having a creative exchange is a good thing. Loyalty and appropriate credit are rare commodities in the film business.
on bravely and master the technology that’s changing so fast. I’m designing a 3D film now. Let’s work on getting hired for animated films. Your work is so extraordinarily eclectic. Is that by choice? In the theater, my stuff was characterized as “haute couture meets lunacy,” a descriptive quotation I love. I worked happily on non-mainstream stuff with the most interesting writers and directors, which carried over to my movie career. In the end, I have been pigeonholed but in a good way. I’m definitely attracted to the funny dark side. I think my style is visually consistent and mainly editorial, because I find humans and clothing endlessly fascinating. Nevertheless, I did design one after another lawyer or cop movie for a while.
You’ve consistently collaborated with directors and actors. Ron Howard, Martin Scorsese, Robert De Niro and now, Adam Shankman. How do those relationships start and grow? I’ve been fortunate enough to meet the right people at the right time. It’s wonderful to be able to work with the same people enough to develop visual shorthand. Then your schedules get out of sync, and they meet someone new, and you never see them again. I’m only a little bitter. BTW, it’s also ideal to work with filmmakers, production designers and cinematographers with similar sensibilities.
I think we should all be able to do everything. I haven’t been asked to do a film that takes place earlier than the 1940s, although I designed everything from Oedipus at the Holy Place to Figaro for the theater. If you love the theater so much, Rita … why don’t you marry it and leave us alone? [She says] What’s your design process? Research is my favorite part of designing. I love libraries and museums, and exploring new places and cultures. How many professions allow you to delve into the lives of wiseguys, murderers, politicians, fashionistas, homeless people, psychiatric patients, good cops, bad cops, musicians, journalists, astronauts, doctors, sports figures, farmers, Who’s Who and Smurfs? For The Grinch, I looked at 1950s cookbooks and lamps. For Cat in the Hat, I studied painters as different as Wayne Thiebaud and Grant Wood.
that the subtleties of proportion can produce completely different characters. We also sought out prototypes for his characters, and I would hound them and visit their homes and go through their photos albums and closets.
Sometimes I start with fabric. When I do have time to sketch, I try to channel the characters by creating dialogue in speech balloons for them. I do tiny, illegible doodles on Post-its, lots of ideas on a page. I’m a free associate-er, which is important to my process. Robert De Niro was the first actor to ask me to bring in racks of stuff to try until we built a character together. It’s how I learned
I resist formalizing designs too early. I’d rather “build” in the fitting room where I can see in three dimensions. I’ll bug the actors to death if they’ll tolerate it. My studio is a big mess of crap and toys and books and color. I figure if I assemble enough elements and throw them into the air, they’ll come down and organize themselves coherently.
Apollo 13
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The Costume Designer Spring 2010
Hairspray
The Human Stain
The Human Stain
You’ve shared your designer credit (John Dunn, Daniel Orlandi). How does that collaboration work? Both John and Daniel assisted me before their careers took off. John worked with me in theater and a few of my first films, so we have a long history and friendship, and have a hilarious time together. On an early film, we were so slap-happy after dressing 123,078,564 period extras that we made them get into transparent garment bags for their Polaroids. On the two films where I’ve shared credit, I had overlapping projects. A co-credit can be an incentive to the people who inspire you to work with you again. Plus, studios are touchy about exclusivity.
A Bronx Tale
You were nominated for an Oscar for The Grinch but most lighter fare is mostly overlooked come award season. Why do you think? It was fantastic to be nominated by the Academy and the CDG, but the studios market historical pieces more strenuously. I rarely get screeners for contemporary comedies so the nominators are more likely to see the extravaganzas. Modern dress certainly involves as much thought, and challenge and your choices have to be extremely judicious. The clothing accomplishes the same purpose as period costumes do, without announcing the designer’s presence. What are the films that stand out to you now? Cape Fear was fun because Max Cady is such an extreme character; the world of Casino was so rich and colorful and sleazy, and the collaboration with the actors was so satisfying; Wag the Dog is intelligent and edgy; and Hairspray is a musical that’s secretly subversive. I wish Hairspray could have been my day job forever. And Teeth,
Cape Fear
Wag the Dog
a low-budget independent, brilliant horror movie, directed by Mitchell Lichtenstein, was the most fun of all because we had complete freedom to make the movie we wanted.
A Bronx Tale was one of the most interesting and difficult. Robert De Niro and Chazz Palminteri were the only professional actors. It was real wiseguys and Hell’s Angels and street kids. We worked part of the time out of the basement of a funeral home, and then out of a freezing, abandoned fruit store. Imagine 50 fat wiseguys in your fitting room all at once, trying on period suits. What do you like best about being a costume designer? Being a social anthropologist.
2010 Academy Awards
Least? Disrespect. Committee decisions. Rushing. Politics. Most of all … getting up early. If you could go back, is there anything you’d do differently? I would have gone to medical school. I’d have taken more academy [technical] training at art school. Worked harder at anatomy and studied painting too. I want to do a franchise musical that will support my career as a world-famous car– toonist. Any last thoughts? I wish there were more opportunities and resources to make big period movies in the States. I’d like to design one. Here.
Deena Appel dappel@costumedesignersguild.com
Rush Hour 2
The Grinch
The Grinch
Ryack’s free-association sketches
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The Costume Designer Spring 2010
THE COSTUME DEPARTMENT
THE COSTUME DEPARTMENT
HISTORY OF DRESS A-Z
Miss Hoffman is one of those rare birds … you know, the ones born and raised in Los Angeles! She lived in NYC briefly to attend NYU’s Tisch School studying costume design and theater. She explains, “I come from the NYC theater scene so being around that heightened creativity and fast pace later hooked me on film and TV.” While working as a Costume Trainee on the second Chronicles of Narnia in Prague, Hoffman had the opportunity to learn every facet of the costume department from dressing extras to breaking down costumes. Now back home in Southern California and working with designers Frank Helmer, Mona May and Genevieve Tyrrell, Hoffman employs her adaptability, acute awareness for upcoming trends, education in costume history, fresh spirit and “tireless energy” to help energize departments and achieve her designer’s vision. “I can shop L.A. inside and out and never lose the excitement of the search!” CD Mona May expounds, “Courtney’s extensive knowledge of period and current fashion gives her an edge and a fresh perspective. I enjoy her spirit and positive attitude.” CD Genevieve Tyrrell loves the “enthusiasm and creativity she brings to any assignment.”
courtneyehoffman@gmail.com
Norman Rockwell meets Big Wednesday, Jennifer Starzyk hails from Massachusetts and Laguna Niguel. Her leg up began as a freelancer working for Louise CoffeyWebb, who specializes in curating historical costumes. After graduating summa cum laude from Woodbury University, Starzyk received a call to work on a lowbudget movie. “I had assumed that working in costumes was not as creative as fashion design. It wasn’t until I worked on my first project that I realized how wrong I was! I was bitten by the bug right away.” Currently, she works with CD Nancy Steiner and “loves anything fashion related,” combined with “a good sense of humor.” The recipe gets you through the day! Believing one can still get the job done with a nice manner, Starzyk strives to be conscientious with vendors and the workroom. When Starzyk isn’t busy explaining to Jordanian customs why a plaid patchwork Thom Brown suit and shorts for Sacha Baron Cohen’s Bruno cost $2,000, she is devouring fashion magazines (the more foreign the better), reading photography & home décor books, sailing or horseback riding. Starzyk understands how a sense of purpose can drive meaning into any work and finds “the most interesting thing about our job is how many ways you can do it!”
JESSICA WENGER
JENNIFER STARZYK
COURTNEY HOFFMAN
MEET THE ASSISTANTS
Jessica Wenger, as a daughter of an architect, thought she knew the pressures of maintaining a design job but admits, “I don’t think there is much that prepares anyone for this whirlwind industry!” As an ACD, Wenger calms that whirlwind by being voraciously organized and a purveyor of speed. She tries to take all fitting notes on the computer so that they are ready to be sent out to whomever needs them at a moment’s notice. Wenger explains, “[ACDs] have to be the most organized, be on top of everything, and they have to think before everyone else does. Nothing should fall through the cracks with a good ACD.” Also, having painted all of her life, Wenger loves to illustrate. “Drawing for me is a way to keep my sanity, and it is the best medium for self-expression. I couldn’t live without it.” Her advice to burgeoning ACDs: 1. Get your emails sent to your phone. 2. Always have water and a snack in your car for those traffic jams across the valley. 3. Enjoy your car—you’ll be living in it!
Jess.m.wenger@gmail.com
can’t live without a great designer and crew, coffee, Wi-Fi, music
around the hips of women and men of various ancient cultures. Greek maidens would tie it in an intricate Herculean knot as a symbol of virginity, to be untied by her husband on their wedding night.
TREWS: A Celtic garment of breeches and hose knitted in one piece. Close fitting and worn under kilts by Highlanders and Irishmen. Now you know what they wear under there!
TALAR: Latin for ankles, hence “Talaric,” an ankle-length
TUPAK OR TUBBECK: The tubular dress
chiton or tunic and “Talaria,” winged slippers that fasten at the ankle. In mythology, winged shoes were worn by the Greek god Hermes and his Roman counterpart Mercury, and also by Iris, Eos, Eros, the Furies and the Harpies.
of Burmese men and women. Long, straight yardage of cotton or silk is wrapped round the body to form a straight silhouette, over which is worn a shirt or simple white-cotton jacket.
TALLITH, TALETH, TALLIT, TALLIS, TALITH, TALIT, TALIS: The Jewish prayer shawl or tasseled white scarf bordered with blue is worn over head and shoulders. It is worn mostly by men for Morning Prayer, although in more reformed communities, some women may wear it. The tallit itself has no religious significance, but it holds the tassels or tzit-tzit, which remind the Jews of the commandments.
TIMIAK: The hooded shirt of a Greenland Eskimo man, woman or child. It is made of bird skins sewn together with the soft down worn next to the body. The long sleeves and neck are edged with dog fur. TORERO OR MATADOR COSTUME:
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T
AENIA: A narrow girdle, belt or even apron worn
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The Spanish bullfighter costume is named “traje de luces,” or suit of lights, because of the elaborate decoration and golden embroidery. Consisting of a short, tight jacket with extensive epaulets, tassels and knee-length embroidered pants, it is completed by a shirt and tie, colored stockings and black shoes. Toreros also wear the Montera, a black two-knobbed hat, as a sign of respect.
TUQUE AND THE TOQUE: The tuque comes from the knitted caps worn by French Canadians. Originally made as woolen nightcaps, the coureurs des bois kept them on for warmth during the day. They have evolved into what we now call a watchcap. The toque, on the other hand, is a type of hat usually made of felted or woven wool with little or no brim. Very popular in the 13th through 16th centuries in Europe, they had a major resurgence in the 1920s. Another popular version is the toque-blanche, the standard chef’s hat.
TYUBETEVKA: A pillbox type of hat with flat or peaked crown ornamented with varicolored embroidery. It is also known as the Uzbek cap and is popular all over Central Asia and Russia.
Illustrations by Robin Richesson rrichesson@costume designersguild.com Text by Karyn Wagner kwagner@costume designersguild.com
JR Hawbaker jhawbaker@costumedesignersguild.com 18
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IN FOCUS
THE PROCESS: SKETCH TO SCREEN THE SPIDERWICK CHRONICLES 2008 Designer: JOANNA JOHNSTON Illustrator: ROBIN RICHESSON Materials: The original sketches were done in traditional watercolor with colored pencil details. Multiple revisions were done digitally. Though Johnston made mockups of some of the clothes, the final character and costume were completely digital. This story is not unusual to many of us but the glimpse behind the scenes of another designer’s process is a rare treat. When developing a fantasy film, you may have to go through dozens of ideas, good and otherwise, to arrive at a singular costume that defines the character. Now, we have the chance to see how designer Joanna Johnston and Illustrator Robin Richesson explored many possibilities for Thimbletick, the magical creature known as a “house brownie” (a sort of Jekyll and Hyde) from the beloved children’s book-series-turned feature film. Johnston and Richesson started with a faithful adaptation of the character from the original book illustrations, when some of the producers decided that young audiences might relate better to a more contemporary look. You can see the evolution from the early color sketch to the digital black-and-white renderings done while exploring a more modern side to Thimbletick. Luckily for the fans (and Johnston & Richesson), the illustrations may have helped the powers that be to embrace the character’s Old World charm. Richesson never had time to paint the final costume illustration in color. After meeting briefly at an AFI panel on costume design, Johnston and Richesson have since done seven films together starting with Forrest Gump in 1994. More recently, they’ve been able to collaborate long distance (Spiderwick included). They have their long-term rapport and digital technology to thank for that.
Final sketch
Johnston: “Robin and I speak the same language. She knows very quickly what my intention is, but she will also have fabulous thoughts of her own to bring into the mix. She is enormously talented. Our collaborative process is always fun and I absolutely love working with her. We’re like an old married couple at this point.” Richesson: “I really admire Joanna as a designer and her complete immersion into even the smallest details of the characters. We really connect, especially on color. I feel she really uses color to find the emotional core of the character. To me, this seems to be a very subtle, complex, and smart way to approach it. Deena Appel, dappel@costumedesignersguild.com
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IN FOCUS
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WESTERN COSTUME CO.
A LOOK BACK
MADE TO ORDER TAILORING While many call themselves custom tailors, few truly live up to the name. Nestor Alban and Jack Kasbarian have been Western Costume’s head tailors for the past 12 years. From fine men’s custom suits to spacesuits and everything in between, Nestor and Jack are perfectionists in every detail of their work.
Rita Ryack: Casino Hits Fashion Jackpot artin Scorsese’s 1995 masterpiece, Casino, set in glittering 1970s Las Vegas, tells the tale of mobster Sam “Ace” Rothstein (Robert De Niro) and his volatile marriage to hustler Ginger (Sharon Stone). Based on screenwriter Nicholas Pileggi’s reportage, the film unveils America’s gaudiest playground, underscored by the lush costume and production design which have become Scorsese’s signature. Casino’s costumes, designed by Rita Ryack and co-designer John Dunn, embrace the same fabulously detailed extravagance as the award-winning film. Due to Rita’s scheduling conflict between Casino prep and Apollo 13 filming, she brought on her trusted collaborator and former assistant, Dunn, to help bridge the overlap. Even though the epic script required inspired and historically accurate period costumes, the costume department contended with a low-ball budget, insufficient staff, and a primitive shop in a Vegas warehouse with a car seat for a sofa. While the budget was $500,000, $1 million was spent to bring the team’s brilliant vision to the screen. As Janet Maslin gushed in her New York Times review: “Outlandish and yet becoming, the flashy 1970s costumes are a movie in themselves thanks to Ryack and Dunn, who show off Ms. Stone to traffic-stopping effect and find Ace more colors than there are in the rainbow.” Stone, who Rita calls “the perfect Ginger,” was “an amazing collaborator” who dazzles in vintage and made-to-order Mafia princess costumes. When Ace first spies Ginger on a casino surveillance camera, she’s spectacular in a vintage, beaded whiteand-gold halter gown, and he falls instantly in love. Hosting her first party as Mrs. Rothstein, she appears in a sparkling gold, floorlength Bob Mackie which Rita found in the archives. Then in the
M
pivotal scene when she’s thrown out first by Ace and then his psychopathic henchman, Ginger wears an ill-fitting, gold-motorcycle leather pantsuit with a suede crocodile collar. “The outfit was constructed to fit poorly,” explains Rita, “to show the character’s weight loss from drug use, and Stone knew how to work it.” And finally, fashionista to the end, Ginger drops dead in a purple Pucci, a “funny and ironic choice,” Rita adds, “because one day, you’re in, the next, you’re out.” As Rita reports, Lefty was a pathologically neat and flashy dresser in coordinated pastels and patent-leather shoes (because he could easily clean the scuffs). Rita pumped up the color on De Niro because “no other actor could wear pink, lilac, apricot and baby blue and look so dangerous.” De Niro’s 70 made-to-order suits had colorful period silk linings with shoes custom-made to match, and his monochromatic shirt and tie theme—which De Niro and Scorsese loved—was developed from experimentation and became a character choice. Once again, Maslin appreciated the stories that Ace’s costumes told: “Costume and character are well linked, as when Ace sits in his office in a shirt, white socks and turquoise loafers, keeping his turquoise pants on a hanger unless company appears.” With only seven weeks of prep, hundreds of period principal costumes, day players and background, real wiseguys, and two shifts of crews working 24/7 in the desert, it’s no wonder Rita still marvels how they got the Casino costumes on the screen. Proud of her artistic contribution to this landmark film, Rita reports that she’s watched Casino “1,435,654,109 times,” and guesses her work “paid off—or will—in heaven!” Audrey Fisher afisher@costumedesignersguild.com
MILLINERY From crowns to caps to cloches, veteran milliner Harry Rotz draws on more than 30 years of experience to create the perfect look to fit any designer’s needs. His unique expertise ranges from perfectly copying period hat pieces to creating the most imaginative headwear for fantasy movies.
LADIES COUTURE She was Tzetzi Ganev’s right hand for over 20 years and for those of you who don’t know her, let us introduce Nancy Arroyo. For the last two years she has been Western Costume’s Head Cutter/Fitter and has successfully tackled challenging projects including making custom clothing for musicians and film actresses. We are proud to add that her garments have been seen on the runway during New York Fashion Week for several seasons.
SHOE SHOP Mauricio Osorio has been creating custom footwear for over 25 years at Western Costume. Among the items on his resume are shoes and boots for Russell Crowe in “3:10 to Yuma”, Kate Winslet in “Titanic” as well as replica Ruby Slippers and several pairs of shoes for Shaquille O’Neal. In addition to his skills with custom shoes, Mauricio manufactures a wide variety of leather goods. Mauricio’s leather garments have been seen on the runway during New York Fashion Week.
L.A.’s Only One Stop Shop 11041 Vanowen Street | North Hollywood CA 91605 | P 818.760.0900 | F 818.508.2190 | www.westerncostume.com
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The Costume Designer Spring 2010
IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK It’s pilot season! And CD Debra McGuire is busy designing three of them. First off, NBC’s Untitled Adam Carolla Project pilot, which stars Carolla as a contractor whose life is turned upside down when his wife leaves him. Next, ABC’s Happy Endings, currently shooting here in Los Angeles, starring Elisha Cuthbert in a relationship drama. Finally, CBS’ Team Spitz, a multicamera ensemble comedy centered on a bombastic high school football coach played by Rob Riggle, also shooting locally. CD Marissa Borsetto is also having a busy pilot season, designing two back-to-back Seth Gordon pilots: one for Fox, still untitled, starring Christian Slater, and ABC’s Southern Discomfort, directed by Andy Cadiff. CD Linda Bass is finishing up the Fox pilot Nevermind Nirvana with Weeds director Scott Ellis. The comedy revolves around two grown Indian-American brothers who clash with their traditional immigrant parents about assimilation issues. Bass then returns for her third season designing Weeds. CD Joseph Porro recently wrapped NBC’s big-budget, superhero pilot The Cape, and he reports the show is chock-full of fun costumes and special effects, and Lois DeArmond was on board to il-
lustrate. CD Melina Root pulled double duty while designing Brothers & Sisters and did the pilot Hitched with ACD Michele K. Short at Warner Bros. Liuba Randolph designed the pilot for the webisode dramedy Trauma Team, which is a “vigilante doctor show” that has a tie-in with the video game of the same name. The game will be released on May 18, and the pilot should go live simultaneously. CD Mona May just finished designing The Defenders, a CBS pilot shot in Los Angeles and Las Vegas, and she says Jim Belushi and Jerry O’Connell had a great time playing two flashy Vegas defense attorneys. After wrapping the first season of Modern Family, Carol Ramsey is happy to be designing the ABC pilot Body of Evidence on location in Providence, R.I., with ACD Ellen Falguiere and Illustrator Lois DeArmond. The drama, written by Chris Murphey, unfolds around crime-solving medical examiner Megan Hunt, played by Dana Delany. From Hawaii: CD Kathryn Morrison, on hiatus from FX’s Terriers, designed the Hawaii Five-0 pilot, directed by Len Wiseman, starring Scott Caan and Taryn Manning. She reports there were long days but great local colleagues and gorgeous environs made it all worth it, with fun and laughs for all. In the midst of designing Justified for FX, CD Ane Crabtree took time out to head to Boston, where she recently wrapped the CBS pilot The Quinn-tuplets, starring Amber Tamblyn. The show is based on an Israeli series about the first
single woman to give birth to quintuplets via test tube, and follows the lives of the mother and children from the 1980s to present day. In Chicago, CD Shawna Trpcic is shooting the Fox pilot Pleading Guilty, directed by Jon Avnet and starring John Larroquette. Shonda Rhimes’ new ABC pilot Off the Map is being designed by CD Christine Peters and was shot in Puerto Rico. It tells the story of three disillusioned doctors who relocate to a remote jungle clinic to rediscover their passion for medicine, and Daniel Minahan directs. CD Frank Helmer is designing the pilot Nomads, produced by Tony and Ridley Scott for CBS/ CW. Helmer is prepping both in Los Angeles and Bangkok, then shooting in the resort town of Hua Hin, Thailand. CD Mary Vogt and ACD Laura Frecon teamed up recently for an Alltell Wireless commercial, and also the NBC pilot The Event. The thriller stars Blair Underwood as the U.S. president caught in the midst of an assassination plot. Frecon has now joined CD Janie Bryant as ACD for Season 4 of AMC’s Mad Men, filming around town and at L.A. Center Studios. From the Seinfeld Stage at CBS Radford, CD Terry Gordon recently wrapped the new comedy series Romantically Challenged, directed by James Burrows. The sitcom, starring Alyssa Milano, revolves around a foursome of longtime friends living and working in Pittsburgh. CD Joyce Kim Lee has started backup on Season 2 of her show The Fresh Beat Band on Nickelodeon. CD Jim Lapidus signed to design the fifth season of Dexter, and Gail McMullen is joining the team as his ACD. CD Robert Blackman is busy designing the new TNT drama Rizzoli & Isles, based on the popular mystery novels of Tess Gerritsen. The series films locally with Angie Harmon in the lead and Lorraine Bracco playing her mother. Meanwhile in New York, CD John Dunn just wrapped the final episodes of HBO’s Atlantic City gangster drama Boardwalk Empire, directed by Martin Scorsese. Steve Buscemi stars as politician gangster Nucky Thompson in the Prohibition Era series slated to air in September. All from the busy New Orleans’ desk: CD Alonzo Wilson is designing HBO’s Treme, filming on location in New Orleans. Set
Alonzo Wilson sketching for Treme 24
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IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK post-Katrina, the drama tells the story of The Big Easy’s recovery through familiar but fictional New Orleans characters drawn from quirky real-life locals. The eclectic cast includes local musicians, chefs and Mardi Gras Indians! Kathleen Felix-Hager is designing a movie for ABC Family titled Revenge of the Bridesmaids, starring Raven-Symone. And CD Christopher Lawrence is at work on The Fields, directed by Ami Canaan Mann (daughter of Michael Mann). Sam Worthington stars in this Galveston bayou thriller about two detectives, a hard-drinking local and his New York transplant partner, and the 30-year-old murders they are trying to solve. CD Alexandra Welker is in town shooting a Universal liveaction and CG–animation film about the Easter Bunny called I Hop. The human star is James Marsden, and the Easter Bunny is “voiced” by Russell Brand. CD Jacqueline West is designing Water for Elephants, based on the popular novel by Sara Gruen, with Stacy Caballero assisting. The movie, starring Reese Witherspoon and Robert Pattinson, is being shot mostly in Los Angeles and possibly Tennessee. While on her Office hiatus, Alysia Raycraft is in Prescott, Ariz., designing the indie Queens of Country, a wacky comedy set in small-town America. When local beauty
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The Costume Designer Spring 2010
queen Jolene, stuck in a loveless marriage, seeks her soul mate through her love of music and is led to her friend Carrie-Ann, comedy ensues. CD Mary Zophres is designing the Jon Favreau–directed feature Cowboys & Aliens, with ACD Marjorie McCown. Shooting in Los Angeles and New Mexico, the sci-fi Western is based on the Scott Mitchell Rosenberg comic novels about extraterrestrials who land in Arizona in the mid-1800s and plan to take over the Wild West. In Detroit, CD Aggie Rodgers is just starting a film with Richard Gere called The Double. CD George Little will be shooting Northern Lights with longtime collaborator, director John Moore, in Michigan. The story, in the mold of Top Gun, follows the adventures of three young pilots, each determined to be the best at extreme flying, powering their planes to 10 x G-force, upside down, 10 feet off the ground! CD Sandra Hernandez is teaming up with writer/director Dito Montiel on Son of No One, a New York City crime thriller starring Al Pacino and Katie Holmes. CD Juliet Polcsa is also in New York working on AMC’s new series about political intrigue called Rubicon. In Berlin and Los Angeles, CD Kimberly Adams is finishing up The Apparition, a supernatural thriller directed by Todd Lincoln for Joel Silver’s Dark Castle Entertainment. From all over the world: CD Sanja Hays is at work on Fast Five, the fifth installment of the Fast and Furious franchise. Hays has designed all of the F&F films, and on Fast Five reteams with director Justin Lins shooting in Rio, Puerto Rico and Atlanta. CD Wendy Chuck is working with director Al-
exander Payne for the fifth time on the George Clooney movie The Descendants, shooting on Oahu and Kauai through the end of May. Currently in Hungary, CD Shay Cunliffe is prepping Monte Carlo, a giddy story of mistaken identity set in France; she is happy to be working again with director Tom Bezucha. CD April Ferry is headed to India to design The Life of Buddha, and she thinks she’ll be there for a long time and will enjoy her nice long prep.
BOLDFACE HONORS
youtube.com/watch?v=SHTxlz9xBZY. Booth Moore interviewd CD Colleen Atwood for a March 7 Los Angeles Times article entitled “Reinventing Alice’s Look for the 21st Century.” Atwood spoke of her 21st-century redress of characters for the film version of Lewis Carroll’s classic, as well as her inspiration from the Elizabethan Era and how she created symmetry for Alice’s evergrowing and shrinking dress: http://articles.latimes.com/2010/ mar/07/image/la-ig-alicecostumes-20100307. CD Jim Lapidus was interviewed by the Sundance Channel’s Full Frontal Fashion column on his designs for 24. Read the fun and thorough
In March, CD Dana Rebecca Woods was nominated for Best Costume Design at the LA Weekly Theatre Awards for the play Stick Fly at the Matrix Theatre. Although she didn’t take home the trophy, Woods still made the best of it by having a great time at the event.
BOLDFACE PRESS New 892er CD Alonzo Wilson sat down in front of the camera for a behind-the-scenes interview about the new HBO seriesLapidus Treme. Wilson, show creators, and crew talk about the painstaking efforts to maintain the integrity and authenticity of the rich culture and people of New Orleans post-Katrina. Check it out: http://www.hbo.com/treme#/treme/about/video/the-making-oftreme.html/. Also on the small screen, CD Ane Crabtree gives us a candid look at the costume research and influences that helped create the costumes for Timothy Olyphant’s Kentuckyborn character, Raylan Givens, on FX’s Justifed: http://www.
CD Lapidus behind the scenes of 24
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BOLDFACE NAMES BOLDFACE PRESS
MOTION PICTURE COSTUME CO. 3811 VALHALLA DR. BURBANK CA 91505 P. 818-557-1247 F. 818-557-1695 WWW.MPCCWARDROBE.COM
Jim Lapidus bids farewell to 24 article online: http://www.sundancechannel.com/fullfrontalfashion/blog/2010/01/everything-you%E2%80%99ve-always-wanted-toknow-about-the-clothes-on-%E2%80%9824%E2%80%99-but-wereafraid-to-ask/. The latest issue of Emmy magazine features several 892ers: CD Mary Quiqley reveals her formula for dressing the colorful geek squad of CBS’s sitcom The Big Bang Theory, and in the article “The Magic Makers,� which focuses on five prime-time shows, True Blood CD Audrey Fisher, ACD JR Hawbaker and the TB costume shop are pictured during a costume fitting with vampire Pam, played by Kristin Bauer.
CostumeRentals offers year-round access to the Guthrie and The Children’s Theatre Company’s combined inventory of extraordinary costume pieces.
BOLDFACE FESTIVALS AND EVENTS CD and AMPAS Governor Jeffrey Kurland chaired the Academy Awards Governor’s Ball this year. Kurland was responsible for the
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
Ov er 30,000 costumes Designs by leading theatrical designers Storybook and fa ntasy characters
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The Costume Designer Spring 2010
CD Kurland designs the Governor’s Ball overall physical ambiance and design of the ball from color palette to silverware, inclusive of music and a wait staff of 300. He worked closely with Wolfgang Puck, Mark of MARK’S GARDEN, and the wonderful production team. It took approximately six months to plan and realize and it was the first time that a Costume DeSpring 2010 The Costume Designer
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FILMMAKERSDESTINATION.COM 818.777.2722 • 800.892.1979
BOLDFACE NAMES BOLDFACE FESTIVALS AND EVENTS signer (or any other designer) chaired the Governors Ball. This March, CD Arianne Phillips was a featured guest speaker at a Costume Council Luncheon at LACMA’s Bing Theater. Phillips, along with pop culture and style journalist Rose Apodaca, conversed on the dynamic personalities of their clients, and the relationship between film design and the seasonal shifts in fashion. Congratulations are in order: CD Susan Lyall has been selected as 2010’s featured Costume Designer for Designing Women, an event sponsored by Variety and New York Women in Film & Television, to be held May 25 in New York. CD and fine artist Maria Schicker’s paintings will be shown at Museum Otto
CD Schicker’s fine art
Designing
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where she’s been a member and lay officer for years. The benefit proceeds will go toward building renovations, and the event will feature a fashion show, bazaar, auction, and celebrity guests. CDGers interested in donating product, clothing, shoes, accessories, etc., can contact McGuire directly at debramcguire@ohrhatorah.org. Oklahoma City Museum of Art will celebrate “How Costume Creates Character in Sketch to Screen: The Art of Hollywood Costume Design.” The Motion Picture Academy exhibit will be on display from May 6 through August 15. The exhibition will be accompanied by a 14-week film series showcasing many of the greatest examples of costume design in motion pictures as well as public lectures given by Ex Officio Deborah Landis and fashion historian and collector, Sandy Schreier. The Rubicon Theatre Co. will be showcasing three of their most prolific designers includ-
Dix in Gera, Germany, through May 2010. CD Francine Lecoultre also presented her new art and textile collection at the famous Brewery Art Walk this April. CD Debra McGuire is helping spearhead an upcoming fundraiser for the Ohr Ha Torah Congregation in Venice,
Costume Rentals Manufacturing Alterations Fitting Rooms & Offices
Froehlich’s designs for Hamlet ing CD Marcy Froehlich with a special exhibition open to the public through May 16. Froehlich has designed 17 shows for the Rubicon including Hamlet for which she received an Ovation nomination. Compiled by: Suzanne Huntington shuntington@costumedesignersguild.com Audrey Fisher afisher@costumedesignersguild.com
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WHAT’S ON Costume Designer:
Costume Designer:
MARY KATE KILLILEA
JULIA CASTON
Pretty Little Liars NCIS: Los Angeles
Costume Designer:
Costume Designer:
MANDI LINE
DARRYL LEVINE
Assistant Designer:
ERIKA WALTHALL
The Pacific
You Don’t Know Jack
Costume Designer:
Costume Designer:
RITA RYACK
PENNY ROSE
Military Designer:
Assistant Designer:
JOE HOBBS
MARIA TORTU
Amish Grace
Sons of Tucson
Costume Designer:
Costume Designer:
VAN BROUGHTON RAMSEY
JUDITH R. GELLMAN
Who Is Clark Rockefeller? Costume Designer:
Parenthood
CHRISTOPHER HARGADON
Costume Designer:
LAURA GOLDSMITH
Assistant Designer:
ROSLYN HANCHARD
Hawthorne Costume Designer:
KARYN WAGNER
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The Costume Designer Spring 2010
Dark Blue Costume Designer::
BOBBIE READ
The City of Your Final Destination/Screen Media Films; The Last Airbender/Paramount Pictures; The Kids Are All Right/Focus Features; Death at a Funeral/Screen Gems; Robin Hood/Universal Pictures; MacGruber/ Universal Pictures; Get Him to the Greek/Universal Pictures; The A-Team/Twentieth Century Fox; Jonah Hex/Warner Bros. Pictures; Grown Ups/Columbia Pictures; Knight and Day/Twentieth Century Fox; The Runaways/Apparition,The Kobal Collection
The Middle
Make It or Break It
The Middle/ABC, Michael Desmond; Make It or Break It/ABC Family, Isabella Vosmikova; Pretty Little Liars/ABC Family; NCIS/CBS, Joseph Cultise; The Pacific/HBO; You Don’t Know Jack/HBO; Sons of Tuscon/ FOX, Patrick Wymore; Amish Grace/Lifetime; Who Is Clark Rockefeller/Lifetime; Parenthood/NBC, Art Streiber; Hawthorne/TNT, Eric McCandless; Dark Blue/TNT, Richard Foreman, Jr
WHAT’S IN The Last Airbender The City of Your Final Destination
JUDIANNA MAKOVSKY
Costume Designer:
Assistant Designers:
Costume Designer:
HOLLY DAVIS LISA TOMCZESZYN
CAROL RAMSEY Assistant Designer:
Illustrators:
ELLEN FALGUIERE
The Kids Are All Right
GLORIA SHIH CHRISTIAN CORDELLA
Death at a Funeral
Costume Designer:
Costume Designer:
MARY CLAIRE HANNAN
MAYA LIEBERMAN
Robin Hood Costume Designer:
MacGruber
JANTY YATES Assistant Designers:
Costume Designer:
SHARON LONG, ANDREA CRIPPS
SUSANNA PUISTO
Illustrator:
LORNA E. REVITT The A-Team
Get Him to the Greek
Costume Designer:
Costume Designer:
BETSY HEIMANN
LEESA EVANS
Assistant Designers:
Assistant Designer:
ANN FOLEY, ALISON FRASER, LUISA DALMAGRO
MARIAN TOY
Jonah Hex Grown Ups
Costume Designer:
MICHAEL WILKINSON
Costume Designer:
Assistant Designer:
ELLEN LUTTER Assistant Designer:
DAN MOORE
TOM KELLER
Illustrator:
PHILLIP BOUTTE, JR. Knight and Day
The Runaways
Costume Designer:
Costume Designer:
ARIANNE PHILLIPS
CAROLE BEADLE
Assistant Designer:
Assistant Designer:
LAURA MORGAN
ROB SADUSKI
Spring 2010 The Costume Designer
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SCRAPBOOK
Michael Jackson and Designer Rita Ryack, Bad 1987. 34
The Costume Designer Spring 2010