vol. 8, issue 2
16
16
22
FEATURES Past Perfect . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Interest in period costuming is at an all-time high; we examine what is driving the trend.
Not So Far, Far Away . . . . . . . . . . . . . . . . . . 22 A peek inside the CDG’s growth at Comic-Con from 2005 to present.
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 President’s Letter Executive Director Labor Report
The Costume Department . . . . . . . . . . . . . . . 12 Meet the Illustrators History of Dress COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Location: Shreveport Boldface Names
Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
COVER CD Carol Ramsey’s gown for Vera Evans (Olga Kurylenko) in Magic City. Built by Mary Ellen Fields at Bill Hargate Costumes. Photo: Greg Williams, 2011 Starz Entertainment, LLC. All rights reserved. Above, center: Illustration by ACD and Illustrator Lois DeArmond
Spring 2012 The Costume Designer
3
EDITOR’S NOTE
W
hen I was asked to edit our spring issue, the first thought that came to mind is that this is a great time to be a Costume Designer. I am tickled by the opinions buzzing around me—snippets of conversation and dialogue drifting through offices and coffee houses, argued in articles, idolized in magazines, and dissected on blogs. At no other time that I can think of has Costume Design sparked such fervent opinions. Costumes can convey mood and personality in a few frames, or through the luxurious development of a character over several seasons. The public wants in. Their appetite is whet. They suddenly realize they are no longer limited by the familiar visual vocabulary of t-shirts and jeans. They have inspiration and aspiration. They can deliberate over Joan Harris’s ticking bombshell barely concealed in snug sweaters and pencil skirts in Mad Men, or the demure snootiness of Lady Mary Crawley’s lavishly detailed, empire-waisted frocks in Downton Abbey. Nor are men immune to options like Chalky’s brassy three-piece suits in Boardwalk Empire, or Ike Evans’ elegant nod to the Rat Pack by way of Marcello Mastroianni in Magic City. Is it any wonder that for the first time in decades men are sporting mustaches and hats? Viewers seem invested in the past, but interestingly, not as an end unto itself, but as a prism to more deeply appreciate the present time and their own lives. Nostalgia is, of course, not their only option. Because we are Costume Designers, the future is as fertile a field for inspiration as the past. This issue also marks the expansion of our presence in the kaleidoscopic circus that is Comic-Con, where equally ardent supporters are vividly enthusiastic. Across the board, the question I have tried to answer is, “Why?” While a sea of factors have certainly converged to foment the latest trends, the answer is likely something simple: Audiences are passionate because you are passionate, and that my dear readers, is something to celebrate.
costumedesignersguild.com EDITOR-AT-LARGE
Anna Wyckoff ASSOCIATE EDITOR
Bonnie Nipar PRESIDENT
Mary Rose mrose@cdgia.com VICE PRESIDENT
Van Broughton Ramsey vramsey@cdgia.com SECRETARY
Beth Pasternak bpasternak@cdgia.com TREASURER
Marilyn Matthews mmatthews@cdgia.com EXECUTIVE BOARD
Deena Appel dappel@cdgia.com
April Ferry aferry@cdgia.com
Salvador Perez sperez@cdgia.com
Cliff Chally cchally@cdgia.com
Brigitta Romanov (ACD) bromanov@cdgia.com
Felipe Sanchez (Illustrators) fsanchez@cdgia.com BOARD ALTERNATES
Robert Blackman rblackman@cdgia.com
Julie Weiss jweiss@cdgia.com
Mark Bridges mbridges@cdgia.com
Sharon Day sday@cdgia.com BOARD OF TRUSTEES
Peter Flaherty pflaherty@cdgia.com
Jacqueline Saint Anne jsaintanne@cdgia.com
Karyn Wagner kwagner@cdgia.com EXECUTIVE DIRECTOR
Rachael M. Stanley
Anna Wyckoff fashionpirate@aol.com
rstanley@cdgia.com MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington shuntington@cdgia.com RECEPTIONIST/SECRETARY
Cheryl Marshall cmarshall@cdgia.com PUBLISHER
IngleDodd Publishing ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com
4
The Costume Designer Spring 2012
Contributors
Our newest contributors:
BONNIE NIPAR
MARCY FROEHLICH
BRYAN KOPP
(Associate Editor, Nominees) Joined the Guild in 1997 and works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of the CDG magazine, Nipar happily took over four recurring columns. With her sense of wanderlust, Nipar enjoys searching for the treasures of Locations, and also finds “It’s a treat to honor the latest accomplishments of our peers.”
(History of Dress, text) Joined the Guild in 1992 fresh from New York and Broadway. Her designs have run the gamut from theater and opera to film and TV, from Waiting for Godot to the Miss America Pageant! She is also a co-author (with Barbara Inglehart and Pamela Shaw) of Shopping LA: The Insiders’ Sourcebook for Film & Fashion. Froehlich has long had an interest in historical costume and research, so she is delighted to contribute to the magazine in this way.
(Meet the Illustrators) Has a background in theater, which lead to a Bachelor’s in Fashion Design and Marketing from IADT in Tampa, FL. In 2008, he made the transition from working in fashion in NYC to Costume Design in LA and hasn’t looked back. A busy illustrator, Kopp aspires to eventually work up the ladder to CD. “I love that in the short time I’ve been in 892, I’ve been able to sketch many worlds and styles, from period to present, alongside great CDs—expressing their point of view and taking my illustrating to a new level with every character.” He is honored to be asked to contribute to his union’s magazine to spotlight his fellow illustrators.
ROBIN RICHESSON
JACQUELINE SAINT ANNE
STACY ELLEN RICH
(History of Dress, Illustrator) Joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist, and an educator. “I trained to 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.”
(Not So Far, Far Away) The Emmy Award-wnning Costume Designer, and former President of the CDG, continues to serve the Guild as a Trustee. Born in Panama and educated in Europe and the United States, she earned her master’s from The Ring Theatre at the University of Miami. She has designed for film, video, television, webisodes and mobisodes, ballet, IMAX, opera and theater. Chronicling our Illustrator members since the very first issue, Saint Anne is always a welcome contributor.
(Co-Contributor to Boldface Names) Stacy Ellen Rich joined the CDG in 2005 and is thrilled to be involved with the magazine. Her design career began with study in Florence, Italy, and flourished within the sphere of Chicago Theater, which catapulted her into the world of film. The journey has seen her through many amazing experiences in medias as varied as film, performance art and music video. Additionally, Rich’s designs have been on view in the Whitney Museum of American Art in New York City and the Tate Modern in London. It is her pleasure to assist in compiling the fantastic array of accolades earned by our Guild members.
Spring 2012 The Costume Designer
7
union label PRESIDENT’S LETTER Dear Friends and Colleagues, Perhaps you will remember when Deena Appel, the longtime Board member and passionately dedicated editor of the CDG magazine The Costume Designer, could no longer continue as editor of our beloved publication. Since Deena’s departure, our magazine has undergone several changes. Our last issue was guest-edited by then-CDG Communications Director Gina Silverstein, who helped make sure the issue lived up to the high standards set by Deena, our Board, and our members. We thank her—and her husband Steven, who did some great pro bono photography—for their valuable contribution. You may have noticed the spring issue you are reading includes contributions from a group of members who stepped in as volunteers and got the issue out on time, at a level that makes our Guild proud. I want to thank those members whose hard work ensured we met our deadline; their loyal gestures did not go unnoticed or unappreciated. In the near future, we would like to have a permanent editor, who may even come from that group of volunteers. I could name all of them, but prefer you please read the credits carefully to see who has written what. If you have any suggestions or comments, please let us know. Speaking of volunteers, we really are blessed with so many members giving their time. Without their generous service, I doubt the CDG could function as we do—not only with the magazine, but also with many events we’re involved in. For instance, this year’s Comic-Con Committee had trouble finding a replacement for its Chair, who couldn’t continue when she landed a big job ... when Marianne Parker and Genevieve Tyrrell heard the news, they came forward to take over as Co-Chairs, another demonstration of our members’ dedication. Another great example: Sal Perez’s career has kept him so busy that he was unable to tend to our directory, which would have gone unpublished until Christine Cover Ferro stepped in as editor. We weren’t the only ones thrilled. IngleDodd Publishing, who puts out our magazine, newsletter and directory, was happy to say the least, since they had already sold ads for the directory and were becoming quite concerned about the situation. Unlike the Annual Motion Picture Costume Exhibition, where the FIDM Archive staff do a wonderful job meticulously dressing the mannequins for the exhibition, the joint FIDM/ATAS 6th Annual Outstanding Art of Television Costume Design Exhibition, which I created and am a guest curator of, could never have been done without the tremendous hard work of Costume Designers and costumers who offered their services. All mannequins were chosen by our designers and dressed by the volunteer designers with love. For pre-production this year, I enjoyed the perk of having two volunteer assistants, Kim Ngo and Araceli Gomez, help out. I haven’t WE APPRECIATE THE ONGOING enjoyed that luxury since I stopped working on shows a SUPPORT OF OUR CORPORATE SPONSORS long time ago. The FIDM/ATAS Joint Evite for this exhibition will be DIAMOND LEVEL sent out by the middle of June. I have a great feeling that of the last five, this exhibition will be the best. Special thanks to the hard work of FIDM Creative Director Horacio Avila and his crew for meeting my wishes, demands, and big requests. He certainly lives up to his title, and I would like to express my gratitude here. See you all at opening gala… Mary Rose mrose@cdgia.com
SAPPHIRE LEVEL
RUBY LEVEL
Spring 2012 The Costume Designer
9
union label EXECUTIVE DIRECTOR Dear Members, As we approach the beginning of summer, the calendar is filling up with exciting events. We kick off the season with our District No. 2 Convention in Reno, Nev., June 22–24, where your elected delegates will meet with other delegates from Nevada, Arizona and Hawaii to conduct the business of the District. This summer also holds a trip to the General Executive Board Meetings in Vancouver, Canada, for me and CDG President Mary Rose. The business of the International Alliance is done at these gatherings, and it is always good to meet with so many other dedicated union leaders. In late June and July, the new fall TV series gets rolling and film production goes into high gear. This year, many more of our members will be working, as production returns to full schedules after several challenging economic years. But it’s not all work and no play. The Guild will once again participate with FIDM and ATAS in the spectacular 6th Annual Outstanding Art of Television Costume Design Exhibition, opening July 28 at FIDM. The event will be kicked off with a gala, invitation-only Emmy Nominee Reception, then open to the public beginning July 31. Don’t miss this opportunity to view your favorite TV costumes up close. The Costume Designers Guild will also be present again this year at Comic-Con in San Diego July 12–14. Our panels will include film and TV designers discussing the Art of Costume Design in the sci-fi and fantasy genres. You can look forward to seeing members of the Guild circulating in the Grand Hall of the Convention Center, awarding ribbons to surprised and grateful fans with outstanding costumes. The Guild will also be attending the Comic-Con Masquerade Ball on the night of Saturday the 14th, and presenting our CDG Award for Excellence. I hope that with your busy personal summer schedules you will be able to join us in participating in a celebration of Costume Design at these events. Travel safely and wisely during these summer months, wherever your travels take you... Best wishes, Rachael Stanley rstanley@cdgia.com
2012 CALENDAR June 9 18 22-24
UCLA Design Showcase West General Membership Meeting Distict 2 Convention in Reno, Nevada
July 4 Union holiday 12-14 Comic-Con Convention 19 Emmy nominations announced 28 FIDM/ATAS Outstanding Art BOLDFACE NAMES of Television Costume Design Exhibition 31 FIDM/ATAS exhibit open to public thru Oct. 20
10
The Costume Designer Spring 2012
union label LABOR REPORT 1890s: A Labor Struggle That Became IATSE “In 1893, show business was confined almost entirely to the stage. Organizing began with the first strike, which resulted in the victory of $1 a day wages for the workers of Local One. During the next 20 years, stage carpenters, property men and electricians pioneered a drive for union recognition in the theatre—and finally established their craft as one of the highest paid and most respected in America. The first Canadian local was admitted in 1898, and we were re-designated as an international union. Beginning in 1908, soon after the birth of the film industry, projectionists throughout the continent were brought into the I.A. fold; again, a battle for recognition was fought and won. Later, in the 1920s, union benefits were extended to Hollywood studios and the vast network of film exchanges throughout the United States and Canada. And finally, as soon as commercial television got a start, the I.A. assumed its natural place in this newest field of visual entertainment. Today, in legitimate theatres, concert halls, art and cultural centers, auditoriums, arenas and other similar facilities, not to mention shows that travel from one city to another including industrial productions, I.A. members play an essential role. They serve backstage as lighting technicians, carpenters, special effects technicians, riggers, prop handlers, audiovisual technicians, wardrobe personnel, makeup artists and hairstylists. Front-of-the-house roles include ushers, ticket-takers, doormen and maintenance employees. I.A. members are also integral to the production, distribution and exhibition of film and video. Among the classifications of workers we represent in this field are art directors, story analysts, animators, set designers and set decorators, scenic artists, graphic artists, set painters, grips, electricians, property persons, set builders, teachers, costumers, makeup artists, hairstylists, motion picture and still camerapersons, sound technicians, editors, script supervisors, laboratory technicians, projectionists, utility workers, first aid employees, inspection, shipping, booking and other distribution employees.� This is an excerpt taken from the I.A.T.S.E. website, where you can also find a historical timeline with archival images depicting its history. Also elaborating on the early days of our Local One are powerful images of how it all came to be. In Solidarity, Betty Madden bmadden@cdgia.com Spring 2012 The Costume Designer
11
THE COSTUME DEPARTMENT
MEET THE ILLUSTRATORS
Doctor Strange/Brad Peyton’s Strange Warner Bros. (2011)
Revolution/CD Ha Nguyen (2012)
LUCAS CULSHAW blends talent with almost military discipline in support of the Costume Designer. Raised in what he calls “the quiet farmland,” Culshaw escaped into the world of comic books during his childhood and eventually transformed his hobby into a career. First, he studied at the Joe Kubert School of Cartoon and Graphic Art, where he forged his personal motto: “Draw all the time. All. The. Time.” Culshaw later moved to Los Angeles and transitioned into Costume Illustration. CD Karen Mann says, “ ... shoots are a whirlwind ... I have sent notes to Lucas at 10 p.m. and he has managed to create sensational illustrations by 5 a.m.” Resourceful as well as adaptable, Culshaw embraces the computer-based illustration movement, enjoying the efficiency of mixing paper and tablet media. He spends his free time hiking and making short and feature length films. Among his projects is the 2011 science fiction adventure Wasteland. lucasculshaw@gmail.com + www.lucasculshaw.com
12
The Costume Designer Spring 2012
MARIANO AGUSTINO DIAZ may be one of the newest Illustrators in the CDG, but he has been active in cinema for nearly two decades. Born in Mendoza, a winemaking town in the Andes foothills of Argentina, Diaz began teaching himself various forms of artistic expression at the age of 3. His dedication and persistence have paid off handsomely. After arriving in Los Angeles, Diaz’s formidable talents in drawing, painting, and sculpting secured him a four-year apprenticeship with the Warner Bros. Art Department. At 20, Diaz became the youngest illustrator inducted into IATSE. This led to a nine-film collaboration with CD Bob Ringwood. Diaz notes, “I have two styles: raw pencil sketches and finished Photoshopped concepts.” When working digitally, he prefers using a large Wacom tablet for increased fluidity and realism. A conceptual artist at heart, Diaz delights in writing and directing his own projects when working outside of costume. marianoadiaz@gmail.com + http://marianoagustinodiaz.com
EMBARK ON A JOURNEY THROUGH THE WORLD OF CINEMA
ORCHESTRA SEATS STARTING AT $43 PRESENTED BY
TICKETS AT
OFFICIAL SPONSORS
CIRQUEDUSOLEIL.COM 877-943-IRIS
G.I. Joe: Retaliation/CD Louise Mingenbach
CONSTANTINE SEKERIS hails from Greece, where he began sketching under his grandfather’s tutelage. At 7, his father relocated his family to Los Angeles. This pivotal move enabled Sekeris to attend Art Center College of Design. There he discovered a proclivity for creature design and came to the attention of Quantum Creation FX Studios. They introduced Sekeris to his specialty, costume design illustration. Observing Sekeris’ work, one recognizes a wink to artist Drew Struzan coupled with a distinctive drama created by lifelike textures and an edgy mood. He uses Photoshop and ZBrush to provide complete wardrobe visuals before the first stitch is sewn. CD Christine Bieselin Clark comments, “Constantine has a comprehension of function which elevates his illustrations beyond conceptual. They can be also used to inform patterning and details for the workroom.” In July, he is releasing a book published by Design Studio Press entitled MetamorFX: Art of Constantine Sekeris. csconstantine1@gmail.com
Bryan Kopp brynn921@gmail.com
It is no accident that these boots were made to be tough on the outside but soft on the inside, they were developed this way over the last one hundred and forty years in response to the Australian environment.
It is the brand’s DNA. Blundstone: Tough by Nature.
To order the classic Blundstone styles of 550 (shown) and 500 in Brown or the 510 in Black at wholesale pricing, contact: Tom Tanno, ttanno1@aol. com, 818-907-9950 (o) 818-515-8079 (mobile), Blundstone, USA.
Spring 2012 The Costume Designer
13
THE COSTUME DEPARTMENT
HISTORY OF DRESS 1840 –1850 ADELAIDE BOOT: A flat, side-laced ankle boot, sometimes with a patent toe and heel. Named after Adelaide of Saxe-Coburg (the Queen Consort of William IV), it modestly covered a woman’s ankle when the crinoline hoop skirts that came into style tipped up unexpectedly.
MITTS: Fingerless gloves often made of net, varying in length from wrist to mid-arm.
PALETOT: A unisex French term referring to a short overcoat with side seams, often without a back vent. For women the garment developed in response to skirts growing ever fuller. It can also refer to a cloak with three capes and arm slits.
BERTHA: A wide collar on a dropped shoulder,
RAILROAD TROUSERS: Vertically striped
often with lace ruffles, or other decorations, covering the top of the sleeves. Originally named after Charlemagne’s mother, who was said to be demure.
pants. (See Chesterfield for picture)
SWISS BELT: A belt wider in the center front and pointed at the top and bottom.
CHESTERFIELD: An overcoat named
TARLATAN: A thin and heavily sized
after the Earl of Chesterfield that has no waist seam, but can be shaped at the sides. Either single- or double-breasted, other features include a short back vent and often a velvet collar.
plain weave cotton fabric resembling stiff cheesecloth.
VICTORIA SLEEVE: A fitted sleeve with a puff at the elbow.
ELIAS HOWE: Obtained the first U.S. patent for a sew-
WELLINGTON HAT: A top hat that bells out at the
ing machine with a lockstitch design in 1846. Isaac Singer copied his invention and eventually paid Howe royalties following a court ruling.
crown tip. In the 1800s, top hats often mirrored the shape of women’s skirts.
JEANNETTE: A choker necklace of velvet or hair, with a cross or heart at the center front.
MACINTOSH: A short frock-style coat without seams made of a waterproof India rubber cloth. In early versions, the fabric smelled foul and was unfavorably commented upon in public places. Other liabilities included a tendency to melt in hot weather until the 1840s, when the rubber was vulcanized. The style is named after Charles Macintosh, who carried the patent and first manufactured the waterproof fabric.
14
The Costume Designer Spring 2012
Illustrations by Robin Richesson rrichesson@cdgia.com Text by Marcy Froehlich mfroehlich@cdgia.com
the
Alter fashion world!
D e s ig n a s d y C o s tu m e tu S 路 n ig s e d e s ig n a s in Fa s h io n D nd handbag a , e o h s E a rn a B FA , ry e 0 0 -p ie c e h o o s e m il li n ry in th e 6 ,0 to is h e m a m in o r 路 C tu s o u n d a ri e s to R e s e a rc h c o is c ip li n a ry b d s s ro C e le c ti ve s 路 路 n im a ti o n . n d y C o ll e c ti o e s ig n , a n d a d tu S ic h n p io ra h s g a , F ti o n c o m m u n ic a p s yc h o lo g y,
Gown by: Stephen Ferradino, Class of 2010 Photo by: Volker Correll
Join the fashion revolution: mcd.woodbury.edu/fashiondesign
Mad Men CD Janie Bryant
Shameless/Courtesy Showtime
A
is set, the 1960s, Bryant calls the look, “American iconic classic silhouettes.” Enveloped by Kennedy’s Camelot and the glamorous aura it cast, she feels it represents the country at its best, and that audiences have responded to the positivity the era radiates. Also, because casual clothing is presently inescapable, Bryant feels Mad Men became a visual education in style, and has inspired younger people to dress up for the first time and older people to dress up again. Vintage clothing no longer seemed dingy because Mad Men’s clothes exude a mood both hip and fresh. The proliferation of online information and interest has also helped inform audiences—from articles, to blogs, to fan websites that focus entirely on interpreting costume design. Bryant comments that because the silhouettes in Mad Men are still used in men’s and women’s fashion today, the shapes are not incomprehensible to the modern eye. It didn’t hurt that the garments hailed from the not-so-distant past, or that fashion designers caught the ball lobbed at them and ran with it, sending Mad Men–inspired looks down runways from Paris to New York. Bryant remarks that “Costume Design and fashion design go hand in hand. One feeds the other and vice versa.” With the popularity of Mad Men, period costume entered the mainstream but was not yet fully realized. Enter HBO’s John Adams, the 2008 miniseries designed by CD Donna Zakowska. With an effect not to be underestimated—especially upon those with the power to greenlight—this miniseries wild card was met with surprising yet unequivocal success. But in 2010 when director Martin Scorsese signed on as executive producer of the HBO series Boardwalk Empire, naysayers noticed. His name carried with it a certain gravitas. “It set the bar very high,” says CD Lisa Padovani who codesigns the celebrated series with CD John Dunn. Dunn and Padovani, have been lauded, applauded, and awarded. In the midst of their third season, they feel they are on the next leg of a 24-hour feature film. Dunn describes the cultural landscape that has embraced their efforts as an “intensely technological era.... I think Americans are troubled and at times like this, they like to look back and see where they came from and what they’re made of. That’s a large part of the reason the writers are interested in period pieces right now, because there’s a sort of confusion about where we’re supposed to fit in and move forward to.” Padovani is less cerebral. “I actually feel it’s a little more about dollars and cents.” She views the boom in historical programming as a trend; which once proved profitable was immediately adopted by the mainstream. The following year was epic,
P A S TPERFECT
BY ANNA WYCKOFF
Summer 2011 The Costume Designer
17
Frank Ockenfels/AMC
survey of the decade’s Oscar costume winners suggests that period films have long been shrouded in cachet, even when box-office numbers were abysmal. In the not-so-distant past, our cultural canons seemed set: reality television ruled, costume budgets were scanty, and historical dramas—while highly respected—were musty, fussy, and despite the corsets, rather unsexy. They might fill any number of small art house theaters, but general audiences and their eyeballs, in the land that matters between the coasts, would never watch. At what point did the tide change? How did we go from Jersey Shore to Boardwalk Empire? Perhaps it has something to do with the surprising number of young men, a highly desirable marketing demographic, who first responded to the strong male leads of HBO’s episodic Rome, which debuted in 2005, then Showtime’s 2007 retort, The Tudors. CD April Ferry says Rome audiences had long found the period fascinating, but writer/producer Bruno Heller’s scope expanded to include the common man, and that technique became a new way of looking at history. Another key component is described by CD Joan Bergin of The Tudors on the website clothesonfilm.com. “I had been working quite a bit on what the Americans call making period costumes foxy.” It is perhaps the oldest adage: sex sells. But when money talks, producers listen, and when producers listen, advertisers spend. Then came Mad Men. CD Janie Bryant is a force. She is unabashed, and that is part of her charm. She has been designing sumptuously sleek ensembles for AMC’s Mad Men since 2007, and her work has come to epitomize successful Costume Design. It is accompanied by public recognition and extends to ancillary clothing lines—like her collections for QVC, Banana Republic and a capsule for Maidenform. But most importantly, her design has infiltrated the hearts of the public. Bryant offers several theories why. When describing the clothing of the period in which Mad Men
Magic City
18Carol TheRamsey Costume Designer Summer 2011 CD
Greg Williams Magic City ©2011 Starz Entertainment, LLC. All rights reserved.
with a flood of period offerings. Standouts included The Borgias (CD Gabriella Pescucci) and Mildred Pierce (CD Ann Roth.) 2011 was punctuated by the unmitigated success of Downton Abbey (CD Susannah Buxton then CD Rosalind Ebbutt); when the British costume drama exploded onto American shores, it confirmed the trend had legs. CD Carol Ramsey, whose show Magic City on Starz is the latest historic drama to capture the spotlight, further explains the phenomenon. Ramsey feels the public has always had an appetite for period films and television, but Hollywood is cyclical. She believes “great shows are the scripts, the acting, the directing, and the visuals combined,” and cable networks have led the way because they are willing to take risks with content and spend money. CD and part-time assistant professor at Parsons/The New School for Design Mimi Maxmen has an additional thought. “Now characters get undressed all the time. So, we see the insides of garments...and that is something new. I think that appeals to this culture as well. Undergarments are sexy, they’re pretty, and they’re different ... and people want to see it. That’s how things are written now. High definition and the ability to see all the details have made this more possible.” Perhaps another force behind the enthusiasm surrounding historical shows is that audiences have become more accustomed to the way period programs look.
Jeff Riedel/HBO
Boardwalk Empire
CD Lisa Padovani CD John Dunn
Helen Uffner, owner of the namesake New York costume house, is convinced the audience’s eye has become more sophisticated. “When we started,” Uffner says, “there was no eBay, and there weren’t as many online stores...but now you have flea markets and vintage shows. I think it’s a little bit easier, but albeit more expensive [to buy period clothing] and it’s more acceptable to wear it.” Additionally, she suggests that amidst the daily tsunami of electronics we interface with, vintage clothing carries with it a personable air of nostalgia. In the days of the leaning boards when CD Adrian designed the gowns for Garbo in Queen Christina or Norma Shearer in Marie Antoinette, fabulousness, not accuracy, reigned supreme. This approach continued for decades until the early 1950s, when the Neo-realist movement advocated visual accuracy to help actors more completely inhabit a character. CD Piero Tosi’s costumes for Visconti’s The Leopard in 1963 and Death in Venice in 1971 exemplify the apotheosis of this aesthetic, as does 1975’s Barry Lyndon, designed by CD Milena Canonero, whose panniers and cutaway coats are considered a touchtone of costume veracity to this day. Boardwalk Empire’s CD John Dunn says he and CD Lisa Padovani work hard to give each character a distinct look so audiences can easily track and follow their stories. Padovani explains, “We are very aware of the color and all the detail, it photographs well. I think people respond to beauty and become emotionally invested in the show if it’s a feast for the eyes.” Dunn feels the way the 1920s silhouette is worn and fits the body is also approachable to contemporary audiences. On the other hand, CD Carol Ramsey says the detail of Magic City’s wardrobe is important, but “it’s really more about creating the large structure of the show, the grand concepts. What is the arc of the characters and the arc of the whole series?” Ramsey, like the other designers, is not only trying to Summer 2011 The Costume Designer
19
Anna Karenina CD Jacqueline Durran
20
The Costume Designer Spring 2012
the 1870s, and made the two meet in the middle.” She describes the charge as “... a new kind of framework that dictates your choices. Ultimately, the director hopes that the costumes are appealing to a modern sensibility and the audience wouldn’t necessarily know why, but they feel as though they are connected.” Between elevating a project’s prestige and more deeply investing the public in both feature films and television, Costume Design has suddenly become topical. But despite the digital revolution, there are still few shortcuts. Costume Design, particularly when historically based, remains a needle and thread game. CD Colleen Atwood feels that studios and networks are simply serving the material that audiences want. “Doing good work is what is most important,” she says, “The recognition for Costume has increased with all the new media, and people are more interested than they were even five years ago.” Accompanying that interest and discourse is a more visible presence of our craft. CD Isis Mussenden feels that it is necessary for CDs to “insist on written credit when our designs are being highlighted in a magazine or newspaper. One would think this is automatic, but as many of us have learned the hard way, it is not.” Many Costume Designers are content to sit just outside of the spotlight and let their work speak for them, but in this age of omnipresent technology, shyness may be detrimental to their career, and Costume Design as a whole. Stepping up and taking credit may be anathema to some, but it is a vital component of not only being properly credited for one’s work, but also being appropriately compensated. Perhaps we can exploit this new golden age of media where accuracy and fabulousness coexist.
Laurie Sparham
evoke a specific time but also a place, in her instance Miami Beach’s Miramar Playa Hotel in 1959. She designs and builds costumes for most of the lead actors but also mixes in historical garments. “We’re still in a time where we can use a lot of the real thing. When you have a good mix of new construction and real vintage garments, it gives it an authentic feel, and an important part of my process is deciding on that mix and how that’s going to work.” Period Costume Design demands a delicate balance between fact and fiction. Dunn and Padovani address this tension by “building garments and trying to bring them down a bit so they don’t stand out as too crisp and new in a sea of vintage clothes.” However, in a distinctly modern mash up of synthesis, savvy, and strategy, there is also a neat addendum: the technique of combining several periods to define a character. When CD Jacqueline Durran designed the now-renowned green dress Kiera Knightley wears in 2007’s Atonement, she knew it would figure prominently in the film because it was important in the book. But she never imagined the response she would receive. Director Joe Wright had asked her to create period clothing for the modern eye. She in turn took all aspects of the dress required by the script—a bare back and a sweeping hem, and “combined them in a way that probably would never have been done in the 1930s. It was a conscious decision to not do it in a truly period way,” Durran explains. Working with the same director on 2012’s Anna Karenina, also starring Kiera Knightley, Durran says that this time “he wanted the 1870s mixed with the aesthetic of the New Look. Joe wanted me to take away all of the 1870s detailing and concentrate instead on the silhouette. I combined the strength and clearness of 1950s lines with
THANK YOU TO JUDIANNA MAKOVSKY FOR ASKING ME TO MAKE THE MOCKINGJAY PIN FOR THE HUNGER GAMES –DANA SCHNEIDER
www.danaschneider.com 310-435-6694
NOT SO FAR, FAR AWAY by Jacqueline Saint Anne
POW! ZAP* ZING# BOFF % ZOWIE! That’s the visual music for fans of Comic-Con, a four-day event held annually at the San Diego Convention Center. What began as a small gathering of comics and graphic novel enthusiasts is now a juggernaut which encompasses everything from anime and manga to video games, webcomics, fantasy novels, and film/television production, to name a few. Today, this collision of superheroes, vampires, and every other imaginable creature is the largest convention in the Americas, and fourth largest in the world, with attendance hitting 130,000 in 2010. The Costume Designers Guild began participating at ComicCon in 2006 when former CDG President, Dr. Deborah Nadoolman Landis, recognized both the fans’ passion for Costume Design and the opportunity for CDG Designers and Illustrators to put a face to their work. To date, more than 100 CDG members have spoken and presented their work at Comic-Con. CDs Mary Malin and Susan Nininger of the Executive Board were appointed by Landis to initiate our presence there, a position which Nininger continued to champion through 2011. In
2005, Landis negotiated Sony Pictures’ sponsorship of CD James Acheson, whose Spiderman costumes were the subject of an enthusiastic Q&A with fans. Encouraged by his warm reception, Nininger and her colleagues cultivated the CDG presence until it expanded from a single designer event to three costume panels which focus on numerous aspects of Costume Design and Illustration. Their popularity has consistently attracted audiences of up to 300 people for each panel, after which panelists can be found signing autographs for fans. CDG Costume Design panel attendees tend to be eccentric, colorful, and thrilled to be in the same room with the Costume Designers and Illustrators who have brought their favorite characters to life. Every year while walking through the halls, Landis is swarmed like a rock star by Indiana Jones fans, known as “Indyfans.” Each subsequent year’s participation at Comic-Con has required the joint efforts of about 40 Guild members. The CDG Hall Costume Awards stir great excitement among convention goers: from Thursday through Saturday of the show,
Backstage with the CDG Favorite Costume Award winners, entry title, Amaterasu, Where Are You? Comprised of a group of friends from across the country. CDG members L to R: Rita Ryack (seated), Deborah Landis, Mary Malin, Mona May, Liuba Randolph, Susan Nininger (seated), Aimee McCue, and Mary Vogt. (2007) 22
The Costume Designer Spring 2012
Left: CD Deborah Landis with “Indyfans.” (2007) Above: CD Ha Nguyen bestows a fan with the CDG Hall Costume Award for his self-made superhero costume with a cape made out of slips of paper. (2010) Below: Two fans receive CDG Hall Costume Awards for their self-made costumes and character portrayal from CD Susan Nininger. (2010) CDG Member-Delegates roam the halls seeking their personal favorites among the self-costumed fans. These original outfits are awarded the highly sought-after CDG “Hall Costume Award” and are also celebrated on the CDG website. A Masquerade is held on the final night of the Convention, and allows fans to reenact scenes on stage while wearing their personal designs. The CDG also judges the Convention’s coveted “Best Costume” Award, and a statuette and prize sponsored by International Silks and Woolens is presented to the winner before an audience of 3,000 fans. Costume Illustrator Phillip Boutte Jr., who served as Co-Chair of the CDG Committee from 2009 to 2011, contends that Comic-Con is a great educational experience for CDG members, providing a true glimpse into pop culture trends and a visual feast for hardcore people watchers. CD Sanja Hays notes that the atmosphere at Comic-Con is a revealing way to observe the continuum of film at all stages—from initial announcement to final impact on an audience. The CDG has established its presence at Comic-Con in an effort to raise awareness of our work, maintain our claim in the creative process, and to demonstrate how we are key contributors and filmmakers. In 2012, we welcome CDs Marianne Parker and Genevieve Tyrrell as the new Co-Chairs of our Comic-Con Committee. They have fantastic shoes to fill. This year’s Comic-Con will be held July 12-15, 2012. Spring 2012 The Costume Designer
23
Matthew D. Loeb
James B. Wood
I NT E R N AT I O N A L P R E S I D E NT
G E N E R A L S E C R ETA RY-TR E A S U R E R
Timothy Magee
Brian J. Lawlor
FI RST VI CE PRESI D ENT
S E V E NTH V I C E P R E S I D E NT
Michael Barnes
Michael F. Miller, Jr.
S E C O N D V I C E P R E S I D E NT
E I G HTH V I C E P R E S I D E NT
J. Walter Cahill
John T. Beckman, Jr.
TH I R D V I C E P R E S I D E NT
N I NTH V I C E P R E S I D E NT
Thom Davis
Daniel E. Di Tolla
F O U RTH V I C E P R E S I D E NT
TE NTH V I C E P R E S I D E NT
Anthony DePaulo
John Ford
F I F TH V I C E P R E S I D E NT
E L E V E NTH V I C E P R E S I D E NT
Damian Petti
John M. Lewis
S I XTH V I C E P R E S I D E NT
T W E L F TH V I C E P R E S I D E NT
Craig Carlson TH I RTE E NTH V I C E P R E S I D E NT
C. Faye Harper
George Palazzo
Thomas J. Cleary
I NTE R N ATI O N A L TR U STE E
I NTE R N ATI O N A L TR U STE E
I NTE R N ATI O N A L TR U STE E
Kelly Moon C L C D E L E G ATE
1430 Broadway, 20th Floor, New York, New York 10018 Tel: 212.730.1770 Fax: 212.730.7809 www.iatse-intl.org
in focus
location, location, location: MALLS Louisiana Boardwalk
540 Boardwalk Blvd., Bossier City, LA 71111 (318) 752-1455 Outlet stores include Banana Republic, Gap, Guess, Lane Bryant, and Nike. For one-stop shopping, it’s hard to beat the Bass Pro Shop. Mall St. Vincent
1133 St. Vincent Ave, Shreveport, LA 71104 (318) 227-9880 Anchored by Dillard’s and Sears, this “higher end” local mall is still on the small side. Gap and Banana Republic offer studio shopping with restocking fees. Pierre Bossier Mall
2950 East Texas St., Bossier City, LA 71111 (318) 747-5700 Anchor stores are Dillard’s, JCPenney, and Sears. Shoppes at Bellemead
6535 Youree Dr., Shreveport, LA 71105 (318) 222-2244 Ann Taylor Loft, Altar’d States, Coldwater Creek, JoS. A. Banks, Talbots, and Talbots Women are among the choices here. University Place Shopping Center
7080 Youree Dr. (at E. 70th St.) Shreveport, LA 71105 Bed, Bath and Beyond, Dicks, Dress Barn, Payless Shoes, Kohl’s, DSW, Super Target, and T.J. Maxx are this mall’s main vendors.
BOUTIQUES Absolutely Abigail’s
3795 Youree Dr., Shreveport, LA 71105 (318) 219-0788 Eclectic art-driven apparel with many one-of-a-kind items. Cactus Trading Co.
6658 Youree Dr., Shreveport, LA 71105 (318) 524-2141 Chez Rivage
Postcard by Steve Shook
6012 Line Ave., Shreveport, LA 71106 (318) 869-2439 Best local designer boutique, with personal services available.
Heart and Soul
JoS. A. Bank Clothiers
107½ E. Kings Hwy., Shreveport, LA 71104 (318) 865-1070 A unique shop with great denim lines; film-friendly.
6536 Youree Dr., Shreveport, LA 71105 (318) 798-6811
Imelda’s Fine Shoes
4832 Line Ave., Shreveport, LA 71106 (318) 865-0175 Stocks casual to evening shoes.
855 Pierremont Rd., Shreveport, LA 71106 (318) 868-5851 A little bit of everything, including surgical prosthesis and bras.
748 Azalea Dr., Shreveport, LA 71106 (318) 868-1804 Best “high-end” business clothes in town. Like a tiny, less moneyed Carroll and Co. Some athletic-fit suiting is also available.
Knox Goodman’s Boutique
714 Azalea Dr., Shreveport, LA 71106 (318) 861-3044 Ask for Knox, the perfectly coiffed owner, or James, the delightful manager.
CHILDREN’S STORES La Bambolina
Rachelli
4845 Line Ave., Shreveport, LA 71106 (318) 868-4788 Zoë’s Boutique
5725 Youree Dr., Shreveport, LA 71105 (318) 670-3079 A newly remodeled shop with both inexpensive and fashionable clothes.
MENSWEAR Davis Big & Tall
2907 E. Texas St., Bossier City, LA 71111 (318) 742-2660 John Pickens
Couleur Lingerie
Pope’s
6022 Line Ave., Shreveport, LA 71106 (318) 629-2080 Men’s suits: ask for Steve Laurant, who will meet you at this film-friendly shop during off hours in a pinch.
6505 Line Ave., Shreveport, LA 71106 (318) 861-1616 Stocks a range of children’s lines from classic to fashion forward. Moppet Shoppe
4840 Line Ave., Shreveport, LA 71106 (318) 865-7655 Infant and children’s clothing with a traditional Southern flair; monogramming available.
WESTERN WEAR Cavender’s Boot City
2340 Airline Dr., Bossier City, LA 71111 (318) 742-2323 Boots and clothing; film-friendly. Ranchland
3025 Bert Kouns Industrial Loop Shreveport, LA 71118 (318) 688-4291 Owner John Woodson is very film-friendly. Spring 2012 The Costume Designer
25
Photos by Shreveport-Bossier Tourist Bureau
IN FOCUS
Topps World of Western
3003 Tops Trail, Bossier City, LA 71112 (318) 746-1836 Film-friendly.
RESTAURANTS/ BARS 2Johns Steak & Seafood
RESALE SHOPS There are no vintage shops in Shreveport as we know them, but several Goodwill stores. The Goodwill at 8100 Jump Run has an attached “Unique Shoppe” that sells new clothing closeouts donated from local stores. Contact manager Jacqueline Mason at (318) 222-4342.
SPECIALTY STORES
2151 Airline Dr., Bossier City, LA 71111 (318) 841-5646 Bossier City’s best steak, with a nightly piano bar. Athena Greek and Lebanese Grill
9434 Mansfield Rd., Shreveport, LA 71118 (318) 688-2482 Similar to Hollywood Toys & Costumes, but with an X-rated room. 1750 E. 70th St., Shreveport, LA 71105 (318) 797-7843 An amazing store with arts, crafts, and fabrics. Closed Sun.
Hancock Fabrics
215 E. Kings Hwy., Shreveport, LA 71104 (318) 868-9635 26
The Costume Designer Spring 2012
India’s Restaurant
Noble Savage Tavern
5807 Youree Dr., Shreveport, LA 71105 (318) 865-4606 Open Monday through Saturday for lunch only. Takeout and desserts are yummy. 120 Texas St., Shreveport, LA 71101 (318) 226-8747 Features Cajun specialties and huge stock of Louisiana beers and good drinks. 6535 Line Ave., Shreveport, LA 71106 (318) 868-8866 Classic Italian food with a romantic ambiance. 3030 Creswell Ave., Shreveport, LA 71104 (318) 425-3862 Excellent!
Best Fabrics
2380 Barksdale Hwy., Bossier, LA 71112 (318) 549-0515 Primarily upholstery fabric and trim; not film-friendly.
3312 Youree Dr., Shreveport, LA 71105 (318) 865-5358 Vietnamese/Thai; low on atmosphere but tasty food.
Biscotti’s
Columbia Café
FABRIC STORES
Dahn’s Garden
3030 Youree Dr., Shreveport, LA 71104 (318) 868-7761 Good Indian fare; takeout available.
Chianti Hobby Lobby
(13 locations) Frozen yogurt.
6030 Line Ave., Shreveport, LA 71106 (318) 869-4260
Blind Tiger The Fun Shop
Counter Culture
Copeland’s
1665 E. Burt Kouns Industrial Loop Shreveport, LA 71105 (318) 797-0143 New Orleans-style cuisine.
417 Texas St., Shreveport, LA 71105 (318) 221-1781 Downtown bar with great food; a fun place to go with a group. Olive Street Bistro
1027 Olive St., Shreveport, LA 71101 (318) 221-4517 Italian cuisine; closed Sun. Ristorante Giuseppe
4800 Line Ave., Shreveport, LA 71106 (318) 869-4548 Tasty Italian food in a lovely setting; try the delicious crabmeat tortino. Rockin’ Rodeo
1003 Gould Dr., Bossier City, LA 71111 (318) 742-7888 Western bar/dance club that is a gold mine for “researching” characters; not to be missed. Rollin’ in the Dough
1333 Captain Shreve Dr. Shreveport, LA 71105 (318) 868-6836 Juicy burgers with homemade buns.
Sake Sushi
7511 Youree Dr., Shreveport, LA 71105 (318) 795-8084 One of the few local sushi bars serving sake. Southfield Grill
315 Southfield Rd., Shreveport, LA 71105 (318) 219-4148 Daily specials; breakfast served all day. Superior Bar & Grill
6321 Line Ave., Shreveport, LA 71106 (318) 869-3243 Mexican food; the best margaritas in town. Superior Steakhouse
855 Pierremont Rd., Shreveport, LA 71106 (318) 219-4123 Fine dining; known for steaks and swanky atmosphere. Wine Country
4801 Line Ave., Shreveport, LA 71106 (318) 629-9463 Good bistro fare with wine store and gourmet cheese shop attached. Live music Tue.-Thu. Yeero Yeero
4511 Youree Dr., Shreveport, LA 71105 (318) 219-0027 Greek food; dine in or takeout.
MARKETS Cush’s Grocer & Market
Designing
stylish...
9535 Ellerbe Rd., Shreveport, LA 71106 (318) 795-9006 Lunch available.
Products and Services. That make banking just a little easier! Here at MICU we’re showing off our talent and letting our creative side show, by finding ways to bring you simple banking.
Fairfield Grocery and Market Café
6535 Youree Dr., Shreveport, LA 71105 (318) 797-8134 Eat in or takeout; highly recommended. Maxwell’s
4861 Line Ave. (at Pierremont), Shreveport, LA 71106 (318) 865-3315 Small retail grocery store with the best deli in town.
* Bill Pay - Convenient Money Management * Courtesy Pay - Overdraft Privilege for your Share Draft Accounts * New Auto Loan rates as low as 2.75%** up to 60 months * Used Auto Loan rates as low as 3.50%** up to 60 months **(Contact Credit Union for details) * Free access to over 28,000 CO-OP Network ATMs and 800,000 ATMs worldwide through links to the NYCE, STAR, Cirrus, Pulse and Plus networks * Car buying services through Autoland, Redbook, & Executive Car Leasing * Our free checking account offers you both ATM and free debit cards with REWARDS. We also offer CURewards™ for our VISA credit card * Free Online Teller and Money Maestro Audio Teller * Real Estate loan services through West Coast Realty (personal service). If we can’t fund the loan we’ll help you find a lender who can help you.
Sunshine Health Foods We offer guaranteed lowest loan rates for all consumer loans. We’ll MEET or BEAT other approved rates from financial institutions.
5751 Youree Dr., Shreveport, LA 71105 (318) 219-4080 Mon.-Sat.: 9 a.m.-6 p.m. Closed Sun.
For DETAILS, call us toll free at For DETAILS, call us us online toll free 1-800-393-3833 or visit at at 1-800-393-3833 or visit us online at www.musicianscu.org www.musicianscu.org
MISC. The Foot Institute 1400 E. Bert Kouns Industrial Loop, Ste. 105 Shreveport, LA 71105 (318) 797-3668 Takes motion picture insurance.
Hollywood Branch
Studio City Branch
817 N. Vine Street, Suite 200 Hollywood, CA 90038
11440 Ventura Blvd, Suite 101 Studio City, CA 91604
Toll Free: 800 / 393-3833 Phone: 323 / 462-6447 Fax: 323 / 462-4411
Toll Free: 800 / 393-3833 Phone: 818 / 763-7005 Fax: 818 / 505-8407
Spring 2012 The Costume Designer
Cuadpro® Marketing 12-17
Dr. Morreale, Podiatrist
27
IN FOCUS Leone’s Shoe Repair
2412 Line Ave., Shreveport, LA 71104 (318) 221-0723 Very good and fast. Manicures by Je at Spa Blu (in Sam’s Town Hotel) 315 Clyde Fant Pkwy., Shreveport, LA 71101 (318) 424-5616 Very good, works weekends. Medical Massage Therapy by Amy Lowrey Weight No More
1953 E. 70th St., Shreveport, LA 71105 Cell: (318) 655-3159 Fantastic. Available Sat. and Sun. by appointment. Porter’s Dry Cleaners
(Several locations) 8401 Line Ave., Shreveport, LA 71106 (318) 861-6161 Roadrunner Car Wash
2615 Youree Dr., Shreveport, LA 71104 (318) 861-7660 Mon.-Sat.: 8 a.m.-5 p.m. Closed Sun. Sedona Day Spa at the Horseshoe Casino
711 Horseshoe Blvd., Bossier City, LA 71111 (318) 742-0711 Toni Gutman, Gutman Properties
Cell: (318) 349-9922 Goes the extra mile to find short-term rental homes. Yong’s Alterations
4426 Youree Dr., Shreveport, LA 71105 (318) 861-6400 Tue.-Fri.: 8 a.m.-6 p.m.; Sat.: 10 a.m.-5 p.m.
COSTUME/RACK RENTAL Studio Ops Rental
2154 Midway St., Shreveport, LA 71108 (318) 635-6794 Contact: Wade Marshall. Cell: (318) 751-9453 Shreveport’s only rental house is really a prop house with limited clothing options. Owned by Millennium Pictures, with their stock. Wardrobe Wenches
4921 Jefferson Hwy., New Orleans, LA 70121 Contact: Jillian. Cell: (504) 782-4353
CONTRIBUTOR’S NOTE: Shopping options in Shreveport are limited so do as much prep as possible in Los Angeles. Some nearby cities for higher end designer shopping: Dallas (3 hr), Baton Rouge (4 hr), and New Orleans (5 hr). Compiled by Bonnie Nipar, bnipar@cdgia.com With special thanks to our contributors: Sara Markowitz, Mary McLeod, Kimberly Adams, Susanna Puisto, and Mary Davis
28
The Costume Designer Spring 2012
MOTION PICTURE COSTUME CO.
3811 VALHALLA DR. BURBANK CA 91505 P. 818-557-1247 / F. 818-557-1695 WWW.MPCCWARDROBE.COM Spring 2012 The Costume Designer
29
IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK Pilot season has kept work at a steady pace, with CD Deena Appel having just wrapped Malibu Country for ABC—a show already generating buzz. CD Terry Gordon joined Appel for the project to design her longtime client, Reba McEntire. Lily Tomlin and Sara Rue join McEntire to star in the beach-set story of a newly divorced singer who transplants her family from Nashville to Malibu and strives to reignite her career while helping her three kids adjust to their new life. CD Blair Levin just completed the VH1 pilot Bounce, starring Dean Cain, Charlotte Ross and Kimberly Elise, with ACD Lindsey Tervo-Clemmens assisting Levin in the new locally shot scripted series. CD Bonnie Nipar just wrapped the NBC pilot Downwardly Mobile, reuniting Rosanne Barr and John Goodman in a story about the residents of a mobile home park in Arizona challenged by the economic downturn. CD Marissa Borsetto just finished her sitcom pilot Super Fun Night for CBS, about three nerdy girls trying to inject a little excitement into their lives. The locally shot comedy stars Rebel Wilson (Bridesmaids) and is produced by Conan O’Brien. ILL Gina Flanagan illustrated the design inspirations for CD Michelle Cole’s new sitcom The Soul Man, with Cedric the Entertainer for TV Land. Flanagan was happy to hold down the fort for ILL Felipe Sanchez on his most current illustration project with CD Ellen Lutter in the follow-up feature Grown Ups 2, filming on the East Coast. After putting a season of Dr. Phil to bed, CD Dina Cerchione is now designing the new Fox/Fremantle dating show Take Me Out, which launched in May. The American version of the popular, live program incorporates a pinch of The Dating Game as each episode hosts 33 real women dressed up and vying for a date with a few handsome bachelors, but with some veto power on both sides. Hilarious fun! CDs Dorothy Amos and Barbara Inglehart as supervisor teamed up with Jennifer Love Hewitt (Ghost Whisperer) again for the new Lifetime series The Client List, also featuring Cybill Shepherd. The one-hour drama is set in Texas and answers the question of what one woman is willing to do to keep a roof over her family. Last April, CD Debra McGuire finished her first season of New Girl and Touch, both for Fox. McGuire then launched into The Exes for TV Land, with enough time to wrap two pilots—NBC’s 1600 Penn, with Jenna Elfman and The Kids for the Fox network. CD Hope Hanafin and ACD Hannah Jacobs just wrapped Aaron Sorkin’s new HBO series The Newsroom, shot locally and set to air on June 24, featuring Jeff Daniels, Emily Mortimer, and Sam Waterston. Recently, the design team of CD Julia Schklair and ACD Courtney Stern has been making their mark with the TNT series Perception, starring Eric McCormack and Rachael Leigh Cook. The two also enjoyed working on the ABC pilot Devious Maids. While waiting to hear the fate of their pilot, they have returned to their ABC Family show Switched at Birth for the first season’s final episodes. 30
The Costume Designer Spring 2012
CD Salvador Perez has been scouring the country for vintage clothing for his latest design project, Liz & Dick. The TV movie chronicles the love story of Elizabeth Taylor and Richard Burton, and stars Lindsay Lohan and Grant Bowler ( True Blood ). CD Dahlia Schuette joins Perez to supervise the Lifetime original movie. CD Rodney Muñoz is proud to design his 10th season of Jimmy Kimmel Live! for ABC. The year-round production kicked off in 2002— that’s longevity!
Jimmy Kimmel Live!
CD Alexandra Welker has taken up residence in Portland for the fantasy-themed drama Grimm. She took great delight in accentuating a fire dancer’s costume with real copper during a recent episode. Welker is enjoying the switch from chipmunks (Alvin & gang) to an altogether different kind of fantasy for this crime drama. CD Kathleen Detoro is no stranger to work in New Mexico, and returned for the James Mangold-directed and Nicholas CD Welker for Grimm Pileggi-written TV pilot Vegas, starring Dennis Quaid, Carrie-Anne Moss, and Michael Chiklis. The story is based on the real-life Lamb, a former rodeo cowboy turned sheriff for almost two decades in Vegas. With ranchers, cowboys, gangsters, showgirls, and casinos, Detoro enthuses that she and her team (supervisors Mary Lane and Fran Allgood) had a great time shooting in Santa Fe and Vegas on the project. As soon as new CD Lorraine Carson joined us, she headed off to production hot spot Atlanta in order to design the TV drama Single
Single Ladies (above left) & Paula Patton
Ladies for VH1, a Sex and the City-style show set Zach Galifianakis, and Amy Poehler, with in the South. CD Ane Crabtree is working on producer Matthew Weiner (Mad Men). the Sundance Channel’s first hour-long scripted series, Rectify, in Griffin, Ga. The legal drama CD Laura Jean Shannon and her ACDs, focuses on a man newly released from death Tabitha Johnson and Andrea Sweet, are row after being wrongly convicted and how he in New Orleans for the action feature 2 Guns, adjusts to life outside the prison in his homewhich centers on a DEA agent and an undertown. CD Susie DeSanto recently completed cover naval intelligence officer tasked with inAne Crabtree the ABC pilot Nashville in the town and on the vestigating one another, only to discover the stage of the Grand Ole Opry. Connie Britton and ruse to be a mob setup. CD Christopher Hayden Panettiere star in the new drama written and produced by Lawrence is back in Louisiana, this time in Baton Rouge, working Callie Khouri (Thelma & Louise). with director Wayne Kramer (The Cooler) on Pawn Shop Chronicles, starring Paul Walker and Matt Dillon in a comedy about a missCD Florence-Isabelle Megginson has been working in New ing wedding ring and a wild-goose chase involving meth addicts, skinheads, and an Elvis impersonator. York on a new six-episode sitcom, Best Friends Forever, which shot in both Los Angeles & New York. Designing collaborations abound, and the dynamic tag team of CDs Steven Lee and DaniAt the moment, CD Danny Glicker is deftly orchestrating the design of two features: The End of the World, filming in New Orleans ella Gschwendtner have moved from Los Angeles to the Big Apple for their next season of America’s Got Talent. with CD Shawna Trpcic assisting, and Labor Day, filming in New England with ACD Jennifer Starzyk assisting. Evan Goldberg and Seth Rogen direct and star in the comedy with James Franco, Jonah ILL Phillip Boutte Jr. collaborated with CD Arianne PhilHill, Danny McBride, Jay Baruchel (all playing themselves) as celips again for the 2012-13 Madonna World Tour and new album, lebrities at a party facing the apocalypse. Glicker’s second film is a MDNA. The team, including ACD Terry Anderson and ACD Jason Reitman adaptation of the novel Labor Day by Joyce Maynard. Laura Morgan, prepped in New York, with the show unveiling last month in Israel. Starring Kate Winslet and Josh Brolin, it’s about a single mom who harbors, then falls for, an escaped convict over an eventful Labor Day weekend. CD Caroline B. Marx is in New Orleans and enjoyIn the world of the big screen this June, CD Frank Helmer is in town designing the urban high school dance comedy School ing putting the final touches on the whimsical film Barefoot. Evan Rachel Wood, Scott Speedman, J.K. Simmons, Kate Burton and Treat Dance, written and directed by Nick Cannon, featuring music and Williams star in the comedy that centers around a female psych padance sensation The Rangers, along with supporting roles from tient who falls in love with her doctor. music industry heavyweights. CD Leah Butler just put the final touches on the tightly budgeted feature, Mocking Bird, here in CD Juliet Polcsa is in the Pittsburgh area shooting Promised Land Los Angeles. This month, CD Francine Lecoultre has launched into her latest feature The Possession of Michael King, written and for Focus Features. The film reunites the Good Will Hunting team of directed by David Jung. director Gus Van Sant and writer/actor Matt Damon. John Krasinski is co-writer and stars alongside Matt and Frances McDormand. CD In addition to television shows, there are a number of features Olivia Miles and ACD Brigitta Romanov traveled to Baltimore shooting in Atlanta, with CD Johnetta Boone designing the earlier this year to design the indie feature Jamesy Boy, with Maryremake of Steel Magnolias. Queen Latifah, Phylicia Rashad, Alfre Louise Parker, Spencer Lofranco, Ving Rhames, and James Woods. The two report eating record amounts of crab cakes, crab chowder, Woodard, Jill Scott, and Condola Rashad star in the feature directed by Kenny Leon (A Raisin in the Sun). Boone reports that the Magnolias experience was incredible. CD Ruth Carter has dovetailed from TV to features on three recent projects: wrapping a recent Disney MOW, Teen Beach Musical, then designing the TV movie Being Mary Jane, with Gabrielle Union for BET in Atlanta. Currently, Carter is in New Orleans through Labor Day for the Sony feature The Butler, based on the story of Eugene Allen, the White House butler who served eight U.S. Presidents for three decades. CD Carol Ramsey isn’t resting on her Magic City laurels, but is engrossed in her latest film, Identity Thief , shooting through June. The Universal feature stars Melissa McCarthy, Jason Bateman, Amanda Peet, and Ellie Kemper (McCarthy’s Bridesmaids co-star) in a cross-country, road-trip comedy, with ACD Christine Jordan and ACD/ILL Lois DeArmond rounding out Ramsey’s team. CD Wendy Chuck is in Winston-Salem, North Carolina, also coincidently, Jamesy Boy crew: L to R: ACD Brigitta Romanov, Eric Brecka, designing a comedy revolving around a road trip that is sure to CD Olivia Miles, Breanne Hardwick, Sister Daniels, Kim Chewning be a madcap adventure: You Are Here, starring Owen Wilson, Spring 2012 The Costume Designer
31
IN INFOCUS FOCUS
BOLDFACE NAMES BOLDFACE AT WORK and oysters. They are now back in town, shooting the second part of Jane by Design’s first season, which aired earlier this month on ABC Family. Dead Man Down, a dark revenge thriller has had CD Renee Ehrlich Kalfus in New York and Philadelphia designing through June for a cast that includes Colin Farrell, Noomi Rapace, Dominic Cooper, Terrance Howard, and Armand Assante. CD Kristin Burke has just wrapped The Conjuring, a spooky New Line/Warner Bros. feature set in 1970s Rhode Island. The bio film is based on a true account from Ed and Lorraine Warren, the preeminent ghost hunters of our time. Burke stated that meeting Lorraine herself and the real family traumatized by ghosts in their home was scarier than making the movie, and she hopes the production “did them proud.” CD Mark Bridges is currently designing the film Captain Phillips for Sony/Columbia Pictures, starring Tom Hanks as an American cargo ship captain taken hostage by Somali pirates. The film, based on actual events from 2009, is now shooting in Malta, Morocco, the United Kingdom, and the United States, and is helmed by British director Paul Greengrass. CD Sanja M. Hays with ACD Irena Stepic Rendulic and ILL Christian Cordella are working on the sixth installment of the Fast and Furious franchise, with Hays and Stepic Rendulic having teamed up for every F and F release to date. The entire cast has returned, including Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez, Tyrese Gibson, and Ludacris. Shooting commences this July in the UK and Canary Islands; production wraps in the fall.
and more. With studios digging back into history for their latest programming, designers are required to adjust budgets and use ingenious techniques to get the job done. CD Debra McGuire recently hosted The Vault, a new show for HSN that showcases an exclusive line of jewelry inspired from Universal Pictures’ most iconic films. On a recent ABC webisode, CD Susanna Puisto discussed the Costume Design decisions she faced weekly for the actresses in the series Body of Proof. While she loves to indulge in high fashion for her leading ladies which include guest star Rita Wilson, Puisto reins it in to fully realize the characters.
Corrections: CD Marylou Lim was omitted as Co-Designer in the last issue in Boldface Names for the comedy feature Casa de mi Padre. Lim shared design credit with CD Trayce Gigi Field.
BOLDFACE ENTREPRENEURS CD Allison Leach designed “British Invasion”-inspired uniforms for the new Gordon Ramsay Steakhouse at the Paris Hotel & Casino in Las Vegas. Allison joined forces with local L.A. uniform manufacturer Mandel to create a custom line for the high-profile Ramsay venture with Caesar’s Entertainment that opened last May. The line features classic British banker stripes and adjustable suspenders for the men, and 007-inspired, black turtleneck dresses for the hostesses.
BOLDFACE PRESS While the explosion of period pieces in television has become a beloved niche for viewers, it has also presented many creative challenges for the Costume Designers tasked with the job of where to source, rent, buy, and in many cases, build from scratch, the designs required to evoke the period. A recent Wall Street Journal article, “Get Me Wardrobe,” sheds light on these creative dilemmas and the financial ramifications that arise for the Costume Designers who work their magic weekly: CD Carol Ramsey for Starz’s Magic City, CDs John Dunn and Lisa Padovani for HBO’s Boardwalk Empire, CD Ane Crabtree for Pan Am, and CD Delphine White for the John Dunn upcoming TV drama Copper, 32
The Costume Designer Spring 2012
L-R: Allison Leach, Kami Manouchehri, Joey Lugassy of Mandell Uniforms and staff
YOUR ONE STOP SHOP FOR ALL YOUR DESIGNING NEEDS Civilian Costumes for Men, Women and Children Period and Western Costumes Uniforms: Police, Fire, Paramedics, Airline, Trade, Service, School & all US and Foreign Military Patches and Badges - exisƟng or made to order On-site 6-head Embroidery Machine Designer’s Oĸce and Trailer Supplies Research Library and Color Copier Show Packaging and Episodic Packaging Deals Tailoring Shop/Made to Order ProducƟon Oĸces with 24/7 access, internet ready Cages open 24/7 with trailer access VIP Fiƫng Rooms and Laundry Room DomesƟc and InternaƟonal packing and shipping
Costume Rentals Corporation 11149 Vanowen St., No. Hollywood, CA 91605 Contact: Mel Sabino, Linda Allegro Tel (818)753-3700 • Fax (818)753-3737 crcresearch@hughes.net www.costumerentalscorp.com
CRC_Ad_horiz.indd 1
7/25/11 11:36 AM
Spring 2012 The Costume Designer
33
IN FOCUS
BOLDFACE NAMES BOLDFACE ENTREPRENEURS Weekend Lovers is a co-venture between CD Agata Maszkiewicz and her sister Karolina. This one-stop shop for unconventionally chic brands like Michel Berandi, Wren, and Capture is punctuated by an edgy array of accessories by Lumi, Bones and Feathers Collective. The menswear by Riff Atelier and Darker strikes a similar tone. Exquisite reproductions of Empire and Biedermeier furniture by Vienna Woods provide a luxe backdrop that can also be purchased. CDs will find the studio and stylist policy both savvy and accommodating. Weekend Lovers 351 South La Brea Avenue Los Angeles, CA 90036 info@shopweekendlovers.com
Weekend Lovers
34
The Costume Designer Spring 2012
On Saturday, May 5, at 12 p.m. PST, CD Luke Reichle launched his Web series Secrets of the Red Carpet: Style From the Inside Out.
Luke Reichle
With 25 years’ experience in pre-camera prep, Reichle knows that beauty begins below the surface. His internal exercises quiet the critic and instill as much confidence as his time-tested styling secrets. Positivity pervades as personal style becomes something accessible and adaptable.
Streaming live on emPOWERme.tv
BOLDFACE HONORS Congratulations to CD Mark Bridges, the 2012 recipient of the Academy Award in Best Costume Design for the multiple Oscar-winning film The Artist.
Mark Bridges
Sean Penn
Karen Patch and Michael Alba Bravo to CD Karen Patch who was nominated for the David di Donatello Award—the Italian equivalent of the Oscar—for Best Costume Design for the film This Must Be the Place, starring Sean Penn and Frances McDormand. Spring 2012 The Costume Designer
35
IN FOCUS
BOLDFACE NAMES BOLDFACE HONORS On May 10, Boardwalk Empire CDs John Dunn, Lisa Padovani and their team received the Variety Ensemble Award at the annual Designing Women Gala hosted by New York Women in Film and Television.
CD Bernie Pollack (right) CD Bernie Pollack was honored with The Star Award at the Dallas International Film Festival celebrating his storied career on April 20, 2012. Actors Harrison Ford and Robert Redford sent videos congratulating Mr. Pollack for this honor. Pollack is now in his 48th year of designing for film and television.
Jewtopia CD Caroline B. Marx had an all-star film release of Jewtopia at the opening of the Newport Beach Film Festival on April 26, 2012. Jewtopia is based on the hit off-Broadway play of the same name. It follows the travails of two friends, one Jewish, the other Gentile, navigating the wilderness of dating, love, and marriage. The ensemble cast includes Jennifer Love Hewitt, Wendie Malick, Rita Wilson, Jon Lovitz, Peter Stormare, Camryn Manheim, and Nicollette Sheridan. CD Kim H. Ngo was invited to attend the 55th Annual San Francisco International Film Festival to be present at the screening of the film she designed, Somebody Up There Likes Me.
Bollywood Beats In Daytime Emmy news for Outstanding Achievement in Costume Design/Styling, CD Joyce Kim Lee (Costume Design) and CD Kiki Garwood (Styling) and team were nominated for the Nickelodeon show The Fresh Beat Band. 36
The Costume Designer Spring 2012
Compiled and written by: Suzanne Huntington, shuntington@cdgia.com Stacy Ellen Rich, lastace@mac.com
Kevin Sullivan, The Orange County Register
CD Karen Patch, Luisa Abel (makeup), Kim Santanio (hair) for the film, This Must Be the Place
COSTUME CO-OP
Custom made and Alterations for the Entertainment Industry
om costumeco-op.c
11501 N. Chandler Blvd., North Hollywood, CA 91601 Tel: 818 752-7522 Fax: 818 752-7524 mail@costumeco-op.com
New research shows that staying active and eating healthy aren’t just good for your heart. They also may reduce the risk of Alzheimer’s disease. To learn more about Alzheimer’s and what you can do, visit alz.org/californiasouthland. Thinking ahead now might make all the difference tomorrow.
BM[ PSH DBMJGPSOJBTPVUIMBOE t
SERVICING THE MOTION PICTURE INDUSTRY SINCE 1977 Civilian Wardrobe 2 1750 – 1970’s Uniform Wardrobe 2 1750 – Present New State of the Art Prep Spaces 12980 Raymer Street, North Hollywood, CA 91605 5FM t 'BY
SCRAPBOOK
Photo: Liam Daniel
In the 1992 film Orlando, CD Sandy Powell takes a tour de force gallop through costume history re-imagining Tilda Swinton, first as a man, then a woman, arraying her in time periods from Elizabethan to present day with an emphasis on decadence. Swinton is shown here in a Robe à la Française.
38
The Costume Designer Spring 2012
Ah, the good old days – back when cruising was king and tweeting was strictly for the * birds. Back then, looking cool was hip. Nowadays, is a low 1.99% APR auto loan from First Entertainment. There’s no nickel-and-dime application fees here either – some banks charge up to $60, we charge nada! Apply online 24/7 and you may be eligible for immediate approval. New or used, it’s okay with us – rates for both, as low as 1.99% APR. And talk about true-blue commitment – with 100% financing and terms up to 60 months, everyone’s sure to think we’ve flipped over each other. But listen Daddy-o, like all good things, this offer is here for a limited time. and finance with us. Did you know, it often makes more sense to take the manufacturer’s rebate over their insanely low interest rate? See how your payment is lower AND you pay less for the vehicle over the life of the loan – talk about cool! Visit www.firstent.org, call 888.800.3328 or stop by a branch now before this rate is history.
Purchase Price:
$30,000.00
Rebate:
$2,000.00
Amount Financed:
$28,000.00
$30,000.00
With Us
@ the Dealer
Rate:
1.99% APR
0% APR
Term (months):
60
48
Monthly Payment:
$490.65
$625.00
Total Payments:
$29,439.00
$30,000.00
*APR = Annual Percentage Rate. 1.99% APR is the preferred rate for new vehicles up to 60 months at a monthly payment of approximately $17.53 per $1,000 borrowed. Additional rates, starting as low as 2.49% APR, and terms may apply, call 888.800.3328 for details. Rate of 1.99% APR is for used (maximum age 6 years old) vehicles up to 60 months at a monthly payment of approximately $17.53 per $1,000 borrowed. Amount financed may not exceed the MSRP or 110% of the high Kelley Blue Book NADA value for new (100% for used), including tax, license, GAP Insurance and Mechanical Breakdown Protection. Rates are subject to change without notice. No additional discounts may be applied to these rates. All loans subject to credit approval. Existing © 2012 First Entertainment Credit Union / Redbeard First Entertainment auto loans may not be refinanced under the terms of this offer. Offer expires June 30, 2012.
Everyone is eligible to join. 888.800.3328 t www.firstent.org
The Official Magazine of the Costume Designers Guild
Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604 costumedesignersguild.com
Non-Profit Org. U.S. Postage Paid Santa Ana, CA Permit No. 450