The Costume Designer - Summer 2006 by Costume Designers Guild

vol. 2, issue 3

FEATURES Celebrating Costume Design . . . . . . . . . . . . 10 FIDM/ATAS “The Outstanding Art of Television Costume Design”

Collaborations . . . . . . . . . . . . . . . . . . . . . . . 12 J.J. Abrams: Writer, Producer, Director

Emmy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Q&A With Nominees and Winners

Comic-Con: CDG Costume Design Panels . . 18

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report

The Costume Department. . . . . . . . . . . . . . . . 20 Meet the Illustrators History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . 26 COSTUME DESIGNERS GUILD 4730 Woodman Ave., Suite 430 Sherman Oaks, CA 91423-2400 phone: 818.905.1557 fax: 818.905.1560 email: cdgia@earthlink.net

COVER Los Angeles native Donfeld (born Donald Lee Feld) attended Chouinard Art Institute before being hired as Art Director in 1953 by Capitol Records. As a wonderful painter and illustrator, Donfeld established himself quickly as one of the most sought-after Costume Designers in Hollywood. Donfeld’s work has garnered four Academy Award nominations (Prizzi’s Honor, Tom Sawyer, They Shoot Horses, Don’t They, and Days of Wine and Roses) and an Emmy nomination for Wonder Woman starring Lynda Carter, pictured on our cover.

The Costume Designers Guild, Local 892, would like to thank The Kobal Collection for their continued contribution to this magazine.

Courtesy Warner Bros. TV / DC Comics / The Kobal Collection

Summer 2006 The Costume Designer

EDITOR’S NOTE

y first ‘grown up’ book as a child was Costume Throughout the Ages by Mary Evans. It was a gift from my mother and thus my fascination with all things worn started early. Reading film credits was a special part of watching the midday matinee with her in our home in Seattle. Artistic credit is the well-deserved notice that we are fighting to secure and preserve today. A cause that is near and dear to my heart. I was overjoyed on the opening eve of the FIDM/ATAS’ “The Outstanding Art of Television Costume Design” to see luminaries such as Nolan Miller, Jean-Pierre Dorleac and Bob Mackie surrounded by press, students, and fans of all ages. Acknowledgment is paramount to achieving our goals in the world of theatrical endeavors.We must continue to build our future, maintain our traditions and all the while celebrate our accomplishments. This third-quarter issue is in honor of Television Costume Designers.While most of my work is in this area,I applaud those with whom I compete for work! Congratulations to the superb Emmy nominees and thanks again to several other members who have contributed to this issue including Susan Nininger and Bess Stansell. Bravo, Costume Designers rule!

“

In Solidarity, Sharon Day SDay@costumedesignersguild.com

Things may come to those who wait... but only the things left by those who hustle.

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-Abraham Lincoln

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

VICE PRESIDENT Pamela Shaw vicepresident@costumedesignersguild.com

SECRETARY Barbara Inglehart secretary@costumedesignersguild.com

TREASURER Mary Rose treasurer@costumedesignersguild.com MEMBERS AT LARGE

Deena Appel DAppel@costumedesignersguild.com

Hope Hanafin HHanafin@costumedesignersguild.com

Jacqueline Saint Anne JSaintAnne@costumedesignersguild.com

Carol Ramsey CRamsey@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper VLCooper@costumedesignersguild.com

Sharon Day SDay@costumedesignersguild.com

Karyn Wagner KWagner@costumedesignersguild.com

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

Audrey Fisher Asst.CostumeRep@costumedesignersguild.com COSTUME ILLUSTRATOR REP

Robin Richesson IllustratorRep@costumedesignersguild.com COMMERCIAL COSTUME DESIGNER REP

Susan Nininger CommercialRep@costumedesignersguild.com LABOR REP

Betty Madden bmadden@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair PFlaherty@costumedesignersguild.com

Cliff Chally CChally@costumedesignersguild.com

Marilyn Matthews MMatthews@costumedesignersguild.com

Shay Cunliffe, Alternate SCunliffe@costumedesignersguild.com EXECUTIVE DIRECTOR

Cheryl Downey cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR

Rachael Stanley rmstanleycdgia@earthlink.net

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

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PRESIDENT’S LETTER The Nielsen Ratings

Dear Friends, one With the Wind is still the most successful film of all time. Yet the first time GWTW was shown on television, more people saw it than in 40 years of continuous theatrical re-release. Inexplicably, costume design for television, and especially contemporary costume design for television, has been marginalized as an art form by our industry. Historically, opera designers looked askance at theater designers who looked down on film designers who begrudged television designers. It’s our television designers who have the most profound influence on world culture—consider the ratings. Last night, the three CSI shows, two Law & Orders, Cold Case and Grey’s Anatomy dominated Nielsen’s top 10. Combined, they were seen by nearly 58 million viewers. According to Nielsen Media Research,“As of September 26, 2005, there are an estimated 110.2 million television households in the U.S. A single national ratings point represents 1% or 1,102, 000 households.” Those people were staring at your clothes. In fact, popular websites exist so viewers can (attempt to) look like your characters. Moderately popular television shows will be seen by many more people than any movie. And then, there are the reruns and the reruns.Your hair will be gray by the time the studios squeeze their last dime from any successful show. Nielsen is not engaged in an academic exercise. They are performing an expensive and comprehensive service for networks and their advertisers.“Our clients rely on the depth of our data and related services to perform a host of different analyses on all aspects of viewing behavior. Which ZIP codes are tuning to the football game? Do pet owners prefer sitcoms? These answers help clients place advertising effectively, to determine if a program is working well on a particular day, or decide if pairing it with another program would yield better results.” Costume Designers are contributing to each production’s success and, more profoundly, to the enrichment of each network and cable company. This is big business. Our role and the role of costume in characterization on TV, has never been recognized or recompensed adequately.We must take responsibility to abolish this cycle of invisibility and demand our fair share for our contribution. That’s why the FIDM/ATAS’ “The Outstanding Art of Television Costume Design”exhibition at the FIDM galleries is so significant.With the Web shopping and TV fashion mania at its zenith, our designers COSTUME DESIGN should be featured regularly in the TV Guide magazine, guest on talk CENTER shows, and be an integral marketing member of studio promotional strategy. Actors, so far as I can see, dominate the frame of the small screen. Most are clothed by CDG designers. Our work sells shows and sells product, which pays the Nielsen’s to do what they do. “The Outstanding Art of Television Costume Design” celebrates our most powerful and persuasive gifts—the art of dressing characters imperceptibly. When costumes go unnoticed, as in the top 10 shows listed above, our virtuosity is hidden. Sure, the fabulosity of glitz and glamour is the stuff for which we’re famous and we take full credit for the fun and the feathers.We love those costumes too. In Solidarity, Deborah Landis president@costumedesignersguild.com

Costume Rentals • Manufacturing • Prep Spaces

The Costume Designer Summer 2006

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It’s our television designers who have the most profound influence on world culture— consider the ratings.

”

NOTEWORTHY EXHIBITIONS The Costume Institute, Metropolitan Museum of Art – New York, NY 212-535-7710 “The ‘Hundred Antiques’ in Chinese Textiles” Feb. 8 through July 30, 2006. This installation will highlight examples of dress and furnishing textiles from the Museum’s collection dating from the 17th century to the late Qing dynasty, decorated with the “hundred antiques” pattern. “The Fabric of Life: Ikat Textiles of Indonesia” Feb. 28 to Sept. 24, 2006. This exhibition explores the imagery, forms, and functions of one of the most important, widespread, and technically sophisticated of all Indonesian textile traditions—the colorful and boldly patterned fabrics known as ikat. “AngloMania: Tradition and Transgression in British Fashion” May 3 through Sept. 4, 2006. The Annie Laurie Aitken Galleries. AngloMania focuses on British fashion from 1976 to 2006, which is presented as a series of tableaux based on Britain’s rich artistic traditions. The Museum at the Fashion Institute of Technology –

27th at 7th Ave., NYC, New York, NY 212-217-7642 http://www.fitnyc.edu/museum Fashion and Textile History Gallery: “The Tailor’s Art” May 23 through Nov. 4, 2006. The Museum at FIT reveals “The Tailor’s Art,” the second rotation of the permanent Fashion and Textile History Gallery. With all-new objects, the gallery will explore the art of tailoring. “Love and War: The Weaponized Woman” Sept. 9 through Dec. 16, 2006. Modern fashion is often inspired by what might be called the discourse of silk and steel. As designers seek to express both sensuality and power, they draw on two important sources of inspiration: 1) lingerie, which is symbolically associated with the naked body, intimacy and seduction and 2) armor and military uniforms, which are associated with power, protection, and

— Summer 2006

discipline. “Love and War: A One-Day Symposium” Sat., Sept. 9, 2006. 9 a.m.–5 p.m. Kent State University Museum – P.O. Box 5190, Rockwell Hall, Kent, Ohio 44242-0001 Tel: 330-672-3450 Fax: 330-672-3218 museum@kent.edu http://www.kent.edu/museum “Spirals & Ellipses: Clothing the Body Three-Dimensionally” Sept. 1, 2005, through Oct. 1, 2006. The exhibition will spotlight such individualistic thinkers as Madeleine Vionnet, Madame Grès, Charles Kleibacker, Halston and Isabel Toledo. “The Age of Nudity” Mar. 9, 2006, through Jan. 7, 2007. The period of fashion began with the study of children’s linen frocks which were popular in the 18th century and began to influence women’s clothing during the 1780s. “Oscar de la Renta: American Elegance” May 11, 2006, through May 27, 2007. The career of Oscar de la Renta, along with examples of the elegant day and evening wear that he created for discerning women, will be featured in this exhibition. Los Angeles County Museum of Art (LACMA) – 5905 Wilshire Boulevard, Los Angeles, CA http://www.lacma.org 323-8576000. Visit the Collections online and The Doris Stein Research Center. http://collectionsonline.lacma.org “Breaking the Mode: LACMA’s Contemporary Fashion Collection” (working title) Sept. 17, 2006–Jan. 14, 2007. Creating clothing, for protection, profession, or spectacle, has undergone dramatic change over the past 25 years. A number of designers have introduced subversive elements into the fashion system, examining and deconstructing its entrenched conventions and changing the rules about what is aesthetically pleasing and fashionable.

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From the Desk of the Executive Director Hello Friends, hope to inspire you to follow the example of your CDG colleagues.These members have been wholeheartedly using their creative and organizational talents for the good of us all. New committees have been recently formed by your Executive Board. Each group is in search of a few more good wo/men. I urge you to add your talents and views. Perhaps you have an idea for a committee? Or services we haven’t yet thought of? Contact us! Get involved! • Labor Committee: Betty Madden, bpmadden@aol.com.The CDG is committed to labor issues. If you like politics and local government; help represent us at vital, informative meetings. Contact Betty! • Festival and Exhibitions Committee: Mary Malin, Chair, trappings@aol.com and Susan Nininger, Co-Chair, sniningerstudio@sbcglobal.net. With the help of our new publicist, Lisa Taback, plans are underway for Costume Designers to be honored (for the first time) in October at the Scottsdale Film Festival.The CDG seeks new forums to educate both the public, the fashion industry, and the movie business about our creative contribution. Make your voice heard! • Commercial Committee: Susan Nininger seeks the participation of all our Commercial Designers/Stylists to help raise the Guild’s profile in this booming field. • Media Committee: Sharon Day, SDay@costumedesignersguild.com, editors, graphic designers, photographers and amateur journalists wanted! • Media Web Subcommittee: We are currently searching for a new Webmaster. Our website needs your help.This is an ambitious, ongoing project vital to us all.We need your expertise. Contact Sharon. • Publicity Committee: Deena Appel is working closely with CDG publicist Lisa Taback to promote your work—lisa@LTLA.com. Let us know what you are working on! • Trainee Committee/Human Resources Committee: Valerie Laven-Cooper, Labor Report VLCooper@costumedesignersguild.com. July 2006 The Trainee Committee is developing a This is a good time to slow our pace and take in the world around us. Sit down with pilot program and the HR Committee is a glass of wine, a cool summer beverage, and share the time with a friend or loved creating an internal structure for the one. Let’s make every moment count. Can you tell I’ve just gotten back from vacaadministration of the CDG. Got organition? If you ever want to experience oneness with Mother Earth, take Coast Highway zational skills? We need you! 101 up to Vancouver and then the Trans-Canada Highway1 east across Canada. • Reality Committee: Barbara Palmer, The California Labor Federation and AFL–CIO, CAMPAIGN INSIDER ask: Are babpalmer@aol.com. “Reality” is planyou ready for the fight against Arnold? The CAL FED’s Biennial Convention will take ning an event designed to show reality place July 25 and 26. Local 892 is allowed two authorized delegates, but guests are television producers why they need welcome with prior approval. Email sfrost@calaborfed.org or call (510) 663-4046. Costume Designers on every single Come and experience democracy in action. production. The Bush-controlled National Labor Relations Board (NLRB) is about to decide • HSH (Home Sweet Home) Committee three cases collectively called the “Kentucky River”decisions.The NLRB has not heard is being formed which will focus on oral arguments in any case since Bush took office. Labor has the right to be heard. buying our own building! Got real Write or call your Congress people at (202) 244-3121 during the week of July estate connections or architectural tal10. Ask that they put pressure on the NLRB to hear oral arguments in the ents? Please let Cheryl know. “Kentucky River” cases. For more information: www.unionvoice.org/campaign/ “It takes a village” to raise our image krivercases. and enrich CDG members. Be part of our President Short said recently, “Whether you are Republican, Democrat or exciting progress. Don’t forget to “Phone Independent, I cannot emphasize enough how critical this issue is to all of us Home” when you start a new production regardless of political party affiliation.” One person, one vote, one voice, all heard and please send your deal memos! when all speak together. ACT NOW! We are the mighty; we are the strong; and we prove it every day in the passion In Solidarity, we share for storytelling through the art of costume design. Cheryl cdowneycdgia@earthlink.net Betty Madden CDG, Local 892, Labor Representative bmadden@costumedesignersguild.com

The Costume Designer Summer 2006

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Assistant Executive Director’s Report Deal or No Deal

ou have just been offered a project and they want to offer you a flat rate deal. Do you know what that really means? According to our contract, if you accept a “flat rate”for the entire run of the project such as $20,000 for eight weeks of work, you can be forfeiting your right to vacation pay, holiday pay, severance pay, and sixth or seventh day pay. Under the Basic Agreement, all sixth and seventh days are paid at overtime and you receive seven hours on a sixth day and eight hours on a seventh day into the health and pension plans. Make sure your flat rate is going to cover those additional pension hours as well as the additional overtime. You should never accept a flat rate that equals less than scale on any project under the Basic Agreement. This is a violation of our contract. The CDG also highly discourages a flat weekly rate. By accepting this you undermine the efforts of those who fought so hard for overtime benefits. Keep things clean and easy! Quote your five day weekly rate and be sure you receive your overtime pay when you work a sixth and seventh day. Remember, the producers have already agreed to these terms when the Basic Agreement was negotiated.Also be aware that idle days for distant location can not be forfeited under any circumstances and are not included in flat rate or overscale deals. Be sure to call the office if there is anything in your deal that you don’t understand.That is what we are here for!!

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

Rachael Stanley rmstanleycdgia@earthlink.net

310•244•7260 WWW.SONYPICTURESSTUDIOS.COM

Spring 2006 The Costume Designer

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The Costume Designer Summer 2006

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

he Academy of Television Arts & Sciences and the Museum at The Fashion Institute of Design & Merchandising present this first-time-ever exhibition showcasing 40 years of television’s most memorable Costume Designs opened with a gala party on July 8, 2006. Celebrating Television Costume Design from 1966 to 2006, the exhibit features more than 140 costumes and sketches from a variety of television genres and categories: Westerns, Sci-fi, Prime-time Soaps, Classic Sitcoms, Comedy/Variety Series, Miniseries and Movies of the Week. This expansive exhibition includes costumes from such popular programs as The Wild, Wild West (1965–69), Solid Gold (1970), The Carol Burnett Show (1968–78 ), The Sonny and Cher Show (1976–77), The Thorn Birds (1983), Battlestar Galactica (1979), Dynasty (1981–89), Moonlighting (1985–89), Quantum Leap (1990–93), I Still Dream of Jeannie (1991), Alias (2000–present) and Deadwood (2003–present). Many generations of Hollywood Costume Designers and CDG members are represented, highlighting the contributions of our work to this magical medium The Television Academy began to recognize outstanding Costume Design in 1970 when the first Emmys were presented in this category. Many Emmy-nominated costumes for the 2004–2005 and the current season, 2005–2006, are on view. Guest curator Mary Rose is Treasurer of the CDG Executive Board and multi-term ATAS Governor for the Costume Design and Supervision Peer Group. In addition to her long career as a Costume Designer, Mary has produced multiple blockbuster costume design exhibitions in Japan, and this show is enriched by her experience. “The Outstanding Art of Television Costume Design” is open to the public and runs through Saturday, September 9, 2006. FIDM Museum & Galleries, 919 So. Grand Avenue, L.A. 90015 (213) 624-1200 ext 2224. Admission is free.

1. Mary Rose with Emmy nominee Cate Adair 2. Desperate Housewives costumes 3. Bob Mackie’s sketch graced the cover of the invite 4. Legendary Bob Mackie with Carol Burnett’s “Miss Starlett” costume 5. Designers Albert Wolsky and Jean-Pierre Dorleac 6. Designers Darryle Johnson, Julie Weiss, (Supervisor) Joyce Goodwin, Cate Adair receive their Emmy nomination certificates with Mary Rose 7. Guest curator Mary Rose with costumes from the nominated Elizabeth I, CD Mike O’Neill 8. Emmy nominee Julie Weiss, Mrs. Harris 9. The Sopranos costumes by Emmy nominee Juliet Polcsa 10. Nolan Miller with his designs for Dynasty 11. Rome costumes by Emmy nominee April Ferry 12. Costumer Leigh Stanton, Designer Wendy Benbrook and Supervisor Wanda Leavey, 2006 Emmy winners MADtv 13. Ret Turner’s costumes for Barry Manilow’s Copacabana 14. Erin Lareau, 2006 Emmy winner for Benise: Nights of Fire 15. Emmy nominee Darryle Johnson, Everybody Hates Chris 16. Randall Christensen, Emmy winner for Dancing With the Stars 17. Tonian Hohberg, President FIDM Museum & Galleries, Alan Perris, COO ATAS, guest curator Mary Rose and Betsy Potter, ATAS Board of Governors • All photos courtesy of FIDM / Berliner Photography

Celebrating Television Design

NBC Universal

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

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

Summer 2006 The Costume Designer

J.J. ABRAMS: WRITER, PRODUCER, DIRECTOR In Time magazine’s 2006 special issue, “The lives and ideas of the world’s 100 most influential people,” guest reporter Tom Cruise said, “It’s hard to convey with brevity the extraordinary experience of knowing and working with J.J. Abrams. He was born to impinge and invade pop culture. Any person who has been exposed to his TV creations, Alias or Lost, has felt the rapture of his storytelling. He is a story dealer. He delivers what could be called the Lay’s of yarns: you can’t watch just one.” WHAT QUALITIES DO YOU LOOK FOR IN A COSTUME DESIGNER? I’m always hungry for smart and vocal collaborators. Someone who I communicate with well and who isn’t afraid to present unexpected ideas that can help define a character’s history or attitude. HOW WOULD YOU EXPLAIN THE PROCESS OF COLLABORATING WITH THE COSTUME DESIGNER? It’s all about discussion; reference photos, even spitballing. One great idea from the Costume Designer can become the key to finally defining a character. I’ve worked with extraordinary Costume Designers who have brought a depth and reality to the characters. That contribution is priceless. HOW DOES A COSTUME DESIGNER SUCCESSFULLY TRANSFORM A CHARACTER FROM YOUR ORIGINAL INTENTION ON THE PAGE? The explo-

ration of ‘who your characters are’ is ongoing. I’m definitely of the mind that the script may seem to have all the answers but once an actor is wearing the clothes he or she BECOMES that character.The Costume Designer is critical in that discovery process. Like a wonderfully written scene, the right clothes help validate and inspire the performance. HOW DOES COSTUME DESIGN CONTRIBUTE TO THE STORY, CHARACTER AND EVEN THE ACTOR’S PERFORMANCE? Costume Designers can galvanize the characters. Colleen Atwood was remarkable on Mission: Impossible III—she made it look so easy. “Ethan Hunt” felt perfectly dressed, both as a man AND as a spy. She also designed the most stunning (and comedic) dress for Maggie Q in the Vatican sequence. That dress, essentially, WAS the scene. Linda Serijan-Fasmer gave Felicity a sweater obsession. It felt right, that she was self-conscious, hiding herself. Insecure. Those sweaters were a huge part of the character.

The Costume Designer Summer 2006

But Laura Goldsmith was the constant mindblower. She’d take the scripts and every week create stunning characters that would just pop.The makeup, the set design, music and editing would all work together to create the final illusion; but somehow I think Laura’s costumes were THE crucial piece of it. I’m sure they gave Jennifer Garner the inspiration to realize those characterizations. AFTER FIVE SEASONS, DO YOU HAVE A FAVORITE ALIAS? My favorite will always be the pilot. But when we did our opening-title sequence for Season Four, we had something like 200 different “Sydneys” to use under the credits. It was amazing, watching the images flash on screen. We had so many insane costume changes to work with it was like watching 30 years from any other series. IS THERE ANY DIFFERENCE IN DESIGNING FOR THE LARGE OR SMALL SCREEN? Honestly, outside of the additional resources of money and time (of which there’s never enough anyway), I really do not. I’ve never approached TV as “TV.” It’s always been,“Let’s do the best job, have the most fun, with the most respect and hard work possible.” WHERE DO YOU SEE THE COSTUME DESIGNER’S PLACE OF VALUE IN RELATION TO THE PRODUCTION DESIGNER, CINEMATOGRAPHER AND EDITOR? I believe that each role is of absolutely equal importance. Imagine ANY of those crafts or any role in a film or TV show done badly. It negates everyone else’s work if someone’s doing a negligible job. You can’t quantify the pieces. It’s the aggregate that matters. WAS THERE A TELEVISION CHARACTER WHOSE STYLE YOU EMULATED GROWING UP? Mr. Rogers. No, I’m kidding. I don’t think so. I have absolutely no sense of style. Look at me. Deena Appel dappel@costumedesignersguild.com

Credits Director, Writer, Producer, Creator: Lost 2004 [Kathryn Morrison, Roland Sanchez] Alias 2001–06 [Laura Goldsmith, Linda Serijan, pilot] Felicity 1998-02 [Linda Serijan-Fasmer]

Director, Writer: Mission: Impossible III 2006 [Colleen Atwood] Star Trek XI 2008 (announced)

Producer: What About Brian 2006 [Ane Crabtree, Debra McGuire]

Writer: Armageddon 1998 [Michael Kaplan] Gone Fishin’ 1997 [Lizzy Gardiner] Forever Young 1992 [Aggie Rodgers] Regarding Henry 1991 [Ann Roth] Taking Care of Business 1990 [Marilyn Matthews]

From top: J.J.Abrams (left) directs Tom Cruise in M:I3, Paramount Pictures / KOBAL / Stephen Vaughan, Alias cast, Touchstone / ABC, Lost cast, Touchstone / ABC / KOBAL, Felicity cast, Imagine TV / Touchstone / KOBAL, What About Brian cast, Touchstone / ABC.

Collaborations

Emmy Nominees: Outstanding Costumes for a Series BATTLESTAR GALACTICA

Costume Designer: Glenne Campbell What attracted you to this project? The flying aspects—pilots, aircraft, visual effects.They hit me with the notion of speed and anti-gravity, I would love to be on one of those ships hurling through space! What is the most challenging aspect of the show? The notion of non-consumerism, emergency measures, and true grit that has to be applied to each human character. What part of the job is most fulfilling? Sharing creativity with the costume crew and witnessing the actors find their character as they don the costume.

DESPERATE HOUSEWIVES Costume Designer: Catherine Adair Costume Supervisors: Joyce Goodwin & Karo Vartanian Assistant Costume Designer: Roemehl Hawkins What is the most challenging aspect of the show? Desperate Housewives’ biggest challenge is creating costumes that give humor, humanity, and a sense of normalcy to characters that live in a world of heightened reality.This is especially true with such a large and varied cast. Most fulfilling? I have come to love Wisteria Lane because of its precise color pallet and visual demands.The greatest compliment is when I overhear someone say, “her look is so Bree! or, “that top is so Gabrielle!” I know I’ve hit my mark.

EVERYBODY HATES CHRIS Costume Designer: Darryle Johnson Costume Supervisor: Shirlene Williams What is the most challenging aspect of the show? Sometimes I want to put seventies clothes on a younger character because that’s what we did then. We wore “hand-medowns” belonging to older siblings, that were slightly out of date. I must be careful that this translates. Most fulfilling? Bringing the producer’s vision to life so the viewer can feel the fabric of the character. To create an image that exudes the essence of a character before they speak their lines.That is my job.That is my magic.

ROME Costume Designer: April Ferry Costume Supervisors: Augusto Grassi & Uliva Piazzetti What attracted you to this project? I’ve always adored ancient Rome. My wonderful mentor, Robert Fletcher, started my obsession in 1973 when he took me and my children to Rome. So this job was a dream come true.What is the most challenging aspect of the show? The challenge was (and still is) to make authentic-looking clothes and still make the actresses happy wearing them. Roman clothes have a lot of draped fabric and it isn’t exactly slimming. It takes some cajoling and diplomacy to make them work.

THE SOPRANOS Costume Designer: Juliet Polcsa Costume Supervisors: Elizabeth Feldbauer & Joseph La Corte What attracted you to this project? For a modern show, The Sopranos has great characters, in an interesting world with an interesting point of view. I loved the opportunity to blend the reality of a modern mobster with the romanticized version of gangsters. The most challenging aspect? The sizes of our actors! David Chase loves to cast real faces and bodies, NOT the usual perfect pretty types. Research approach? I find where the characters’ real-life counterparts would go (restaurants, stores, etc). Go there keep your eyes open, the research comes to you! 14yourself, The Costume Designer Fall 2005

Battlestar Galactica NBC / Universal, Desperate Housewives ABC / Vivian Zink, Everybody Hates Chris CBS / Paramount, Rome HBO, The Sopranos HBO

Assistant Costume Designers: Glenna Owen & Cali Newcomen

Emmy Nominees: Outstanding Costumes for a Miniseries or Movie BLEAK HOUSE

Costume Designer: Andrea Galer Assistant Costume Designer: Charlotte Morris What attracted you to this project? It’s always exciting to give a period costume drama a “look” which, in my eyes, brings a sensitivity to the characters and overall feel to a project.The most challenging aspect? Working in high definition and achieving subtlety is not easy. All interiors were dark so the fabrics would have to be light and bringing depth without invading was challenging. Research approach? Deep research on the 19th century over the years and thinking about what the writer of the period was trying to say.

Bleak House PBS, Elizabeth I HBO, Into the West TNT, Mrs. Harris HBO, Once Upon a Mattress ABC / Bob D’Amico

ELIZABETH I Costume Designer: Mike O’Neill Assistant Costume Designer: Samantha Horn What attracted you to this project? Designing for the most iconic monarch in England’s history. Not an offer that comes your way every day. Most challenging aspect? Allowing them to breathe (dramatically that is) in an environment with the potential to visually overwhelm the performances. Research approach? Biographies and paintings. The Queens Gallery at Buckingham Palace has an enormous amount of this period including many of the Holbien miniatures. Most fulfilling? I suppose the process of adjustment, as the actors begin putting their flesh into the written characters.

INTO THE WEST Costume Designer: Michael T. Boyd Costume Supervisor: Joe McCloskey What attracted you to this project? Bringing 65 years of U.S. history to life through clothing. It was a daunting task, but all on the team really rose to the occasion. Most challenging aspect? It wasn’t just one tribe of Native Americans or a few cavalry troopers, but the diverse canvas of the American westward expansion movement. Research approach? The research was twofold on this project. In the era before photography became rampant (pre-1839), one had to rely on artists’ paintings and eyewitness accounts in journals.

MRS. HARRIS Costume Designer: Julie Weiss Costume Supervisor: Elaine Ramires What attracted you to this project? Headmistress kills Scarsdale Diet doctor. She was poise, class, preppy clothes & gowns. He was smart, famous, expensive suits, polyester patients. Domestic violence crosses all levels of society, all costume eras, I wanted to be part of addressing this issue. Annette Bening, Ben Kingsley, Cloris Leachman, Chloë Sevigny. All can turn costumes into clothing. They know the walk. Most fulfilling? This project made us all think about the ramifications of our own darkness, while dancing in period formalwear to Roy Orbison’s “Crying.” A Costume Designer’s pertinent bliss.

ONCE UPON A MATTRESS

Costume Designer: Bob Mackie for Miss Burnett Costume Designer: Christopher Hargadon Costume Supervisor: Dawn Leigh Climie What attracted you to this project? CH Reinterpreting a classic piece of entertainment. As a fantasy, I was able to extend beyond the medieval boundaries. I explored 16th-century East Indian costume, Erté and pre-Raphaelite. With such distinctive characters and an open color palette, I had a blast. What is the most challenging aspect of the show? BM Making Miss Burnett menacing, glamorous and funny all at the same time. What part of the job is most fulfilling? BM Seeing Carol all dressed up and strutting her stuff. CAROL, CAROL, CAROL.

Winners: Outstanding Costumes for a Variety or Music Program BENISE: NIGHTS OF FIRE

DANCING WITH THE STARS Costume Designer: Randall Christensen (women) Costume Designer: Dana Campbell (men) The most challenging aspect? RC Understanding the image these dancers/stars were trying to project. Getting inside their heads to know what they really wanted. Oh, and the four days to make the costumes! DC The specific dance category—ballroom or Latin, the music adds a theme … style, comfort, and then looking like the perfect couple. What part of the job is most fulfilling? RC This was my first live television show. Seeing the costumes “live” sparkling and dazzling … took my breath away! It made the insanity seem so trivial.

MADtv

Costume Designer: Wendy Benbrook Costume Supervisor: Wanda Leavey What attracted you to this project? I absolutely love the creativity of MADtv—as soon as I heard about the show, I knew I wanted to design it. I’m going on 10 seasons ... I’m so lucky. The most challenging aspect? Every week brings more and more characters, it’s challenging to come up with something that satisfies the producers, writers, actors and me.What part of the job is most fulfilling? Seeing people laugh when someone walks out in a ridiculous costume, I know we must have done the job right!

Benise: Nights of Fire Courtesy Erin Lareau, Dancing With the Stars ABC, MADtv FOX

Costume Designer: Erin Lareau

What attracted you to this project? The fusion of different dance styles and Latin-flavored couture with a rock twist was delicious. I’m all about embellishment, layering colors and accenting movement. Most challenging aspect? No central workroom—cutter in South Pasadena, embroidery in Hollywood, pleater L.A., airbrushing NoHo, leathers La Jolla and rehearsals @ MGM! Also, the dancers needed to thrash about—so durability was big. Most fulfilling? One of the dancers came up to me at rehearsals in tears saying, “I’ve never looked so beautiful in my life.”

COMIC-CON: Back to the Future 1

omic-Con International is the largest comic book and pop culture event in the United States with more than 200,000 fans attending this year. The annual convention held in San Diego covers sci-fi, fantasy and horror entertainment and merchandising worldwide. Last year, James Acheson (Spiderman, The Last Emperor, Dangerous Liaisons) and Deborah Nadoolman Landis (Raiders of the Lost Ark) hosted a 90-minute CDG panel on the design and development of the Spiderman costume. This year begins a new tradition as Costume Designers take Comic-Con by storm. On July 20–22, 2006, the CDG held three panels focusing on the art of Costume Design and our contribution to the world of film and television. For the first time ever the Costume Designers Guild presented a public panel series

featuring some of the top Costume Designers in the industry. This three-day event was produced by the CDG Film Festival Committee Co-Chairs, Mary Malin and Susan Nininger, along with the Comiccon Committee members Dorothy Amos, Allison Leach and Oneita Parker. Lisa Taback and Candice Grabois, CDG publicists, were integral to the promotion of the event. Student interns from UCSD and San Diego State pitched in to make these panels a huge success. The designers who participated this year included: Robert Blackman • Kristin Burke • Caroline Cranstoun • Laura Goldsmith • Frank Helmer • Judianna Makovsky • Isis Mussenden • Jill Ohanneson • Mary Vogt • Michael Wilkinson. Moderators: CDG Vice President Pamela Shaw and CDG President Deborah Landis.

1. Thursday: Keri Anne Connors (publicist), Deena Appel, Candice Grabois (publicist), Pamela Shaw, Laura Goldsmith, Allison Leach, Bob Blackman, Meghan Corea (volunteer), Caroline Cranstoun, Jill Ohanneson, Megan Gurdine & Joachim Gamboa (volunteers) 2. Friday: Kristin Burke, Michael Wilkinson, Frank Helmer sign autographs 3. Saturday: Mary Malin, Mary Vogt, Deborah Landis, Susan Nininger, Meghan Corea, Allison Leach, Isis Mussenden, Judianna Makovsky, Candice Grabois 4. Alias designer: Laura Goldsmith (Touchstone / ABC / KOBAL) 5. Sky High designer: Michael Wilkinson (Walt Disney / KOBAL / Suzanne Tenner) 6. X-Men 3 designer: Judianna Makovsky (20th Century Fox / KOBAL) 7. Men in Black 2 designer: Mary Vogt (Columbia / KOBAL / Melinda Sue Gordon) 8. Star Trek:Voyager designer: Robert Blackman (CBS Studios Inc.) 9. Shrek designer: Isis Mussenden (DreamWorks LLC / KOBAL) 10. Herbie: Fully Loaded designer: Frank Helmer (Walt Disney / KOBAL / Richard Cartwright)

THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS erek Sullivan was born in the heartland and raised in California where he attended the Otis College of Art. At Otis, he found that learning how to draw was learning how to see. Derek began illustrating at 7 years old, drawing fashion pictures of his sister’s Barbies and illustrating her in different poses. By 10, he was already fascinated by Erté’s work and the more sophisticated art deco style, which so influenced Derek’s aesthetic. Derek adapts his style to suit the individual project and the medium varies to suit the mood of the script. While creating the drawings for Macbeth, Derek began with heavy charcoal sketches. Through the rehearsal period the play’s interpretation changed and the drawings morphed into fully painted illustrations done with “Dr. Martins” dyes. Derek is proficient at digital painting and a panoply of traditional techniques relying on experience to judge which media might be the most exciting for each project. Currently living in Baltimore, Derek has been exploring some of his other areas of interest and carries cards from three other locals through which he works in the multiplicity of his talents. Derek’s passion is Costume Illustration and has a stunning interactive portfolio on DVD.

derekbsullivan.com 410-225-9461

Illustrated By Derek Sullivan 20

The Costume Designer Summer 2006

Illustrated By Laurel Taylor

aurel Taylor is an Indiana-born Illustrator with

an MFA from Boston University and interned at the Costume Collection in NYC while studying costume design and production. While working at Spectral Motion, she designed, draped and created foam fabrications for special effects costume production. Upon arriving in Los Angeles, Laurel’s first illustration job was a Mountain Dew commercial for Super Bowl airing. As a freelance illustrator, Laurel uses very creative networking techniques. She met Diana Eden, designer of Passions, because Diana responded to Laurel’s resume, which was printed on the back of one of her wonderful illustrations. Laurel’s illustration skills were honed over years of anatomic study, and rendering and design classes. Her drawings are elegant while conveying attitude and character. She creates a presentation the designer and director can use as a communication tool to inform their discussions about character and style and her workroom experience makes them easy to reproduce. Laurel has illustrated one book and is authoring another on costume rendering. Laurel-taylor@sbcglobal.net Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

THE COSTUME DEPARTMENT

Dacron: Dupont’s trade name for a fabric comprised of polyester filaments, or staple fibers, made of polymer. It is used in all types of apparel as it is resistant to sagging or stretching when wet or dry. Dhoti: The white cotton loincloth of Hindu men. It is wrapped around the waist and the ends are passed to the back between the thighs and tucked back into the waistband. Diadem: A crown; an emblem of regal power and sovereignty. A lightweight tiara. Dinner jacket: The dinner coat first appeared in England in the 1880s, called the “Coes” or dress sack coat. Described as a ‘dress coat without tails’ and used for dinners and dances in country homes. In the United States, the jacket was named the tuxedo because it was first worn in Tuxedo Park, New York. In France, it was known as “Le Smoking” because its design originated with the smoking or lounge jacket of the 1840s.

The Costume Designer Summer 2006

Directoire (1795–1820): The period of French history in which dress designers were inspired by the classic robes of ancient Greece and Rome. It is characterized by a long narrow silhouette, a straight skirt, a very low décolletage, small tight sleeves and a very high waistline under the bust. Domino: This simple woolen hooded cloak was originally worn by the clergy in winter. In the 18th century, the Venetians began to wear dominos made of sumptuous velvets and silks with a half mask for carnivals and masked balls. Dorina: Outer cloak-like garment worn by Bosnian women in public; a covering from head to foot, secured by a string-tied belt around the waist. Usually made of a lightweight checked cloth in a light color, it is worn with a sheer black ‘yashmak’ curtaining the face. Doupioni: Silk fibers joined at intervals making rough yarns such as those used in good quality shantung and pongee. The filament is the result of the two silkworms having spun two or more cocoons together. Drawers: An undergarment for the body and legs. The earliest mention is in the ninth century when they were worn by the Franks and Saxons.This was more a men’s than women’s item of apparel until the transparent nature of Empire gowns demanded an item of decency for women. Drawers appear to have been permanently adopted by women by around 1830. Karyn Wagner, karynwagner@earthlink.net Illustrations by Robin Richesson, robins.nest@verizon.net

http://www.costumes.org/classes/fashiondress/byzantium.htm, http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/romanesque.htm

HISTORY OF DRESS A-Z

IN FOCUS

BOLDFACE NAMES Our CDs working in television are basking in long overdue salute of recognition for their outstanding work in the recently mounted exhibition entitled “The Outstanding Art of Television Costume Design” co-sponsored by FIDM and ATAS. Recently awarded CD Wendy Benbrook, most well-known for her design work on MADtv, is designing for Caroline Rhea and the cast of NBC’s The Biggest Loser. Other news from our television CDs: Roland Sanchez is working on his second season as CD of Lost. Dana Campbell and Randall Christensen* won an Emmy for Outstanding Costumes for a Variety or Music Program for the second season of Dancing With the Stars. Randall also designed costumes for TLC’s Ballroom Bootcamp and contributed costumes for Mary Steenburgen in Marilyn Hotchkiss Ballroom Dance & Charm School, Take the Lead, Shall We Dance? (Ms. Lopez’ costumes). Joel Berlin is working as ACD on Without a Trace. Amy Westcott writes:“The show I design costumes for, HBO’s Entourage, was recently honored with the Us Weekly magazine’s Style Award as having the ‘Best Cast Style.’” George T. Mitchell is working as CD for CBS’s The Late Late Show With Craig Ferguson. CD Emily Draper writes:“I will begin prep on a show called Hidden Palms,for the CW network,Lionsgate, on August 1.” Anita Cabada is costume designing season two of The Loop at Fox Television. Maria Schicker takes on the CD posi-

24 The Costume Designer Summer 2006

Album cover. Shawnna / Block Music, CD Stephanie Miller tion for Cold Case this season. Karyn Wagner is off to Texas for the NBC series Friday Night Lights,shooting in Austin.Principal photography is set to begin August 1. Eduardo Castro is the CD on new Touchstone series Ugly Betty starring America Ferrera and Vanessa Williams. Jill Ohanneson writes:“I am working on a new Showtime series called Dexter that airs in October starring Michael C. Hall from Six Feet Under. While the film and television designers are getting their welldeserved accolades, the CDG would like to acknowledge CD’s working tirelessly for television commercials, music industry, and still photography. Island Def Jam Records has hired Commercial Designer Stephanie Miller to design for recording artists Ludacris and Shawnna. She has been designing and styling their looks for photo shoots, including Ludacris on the cover of August’s issue of Source; videos,including Shawnna’s Damn music video and personal appearances. CD Erin Lareau just completed a high-fashion Edwin Jeans television and print campaign for Japan as well as a Sagawa [FedEx of Japan] “Objects of Desire” spot. Commercial CD Michi Tomimatsu will be designing and styling for an upcoming Acura campaign with Director Phil Joanau, and recently completed a campaign for Discover and is the designer of the Burger King mascot seen in their current advertising campaign. CD Susan Nininger continues to work with Commercial Director Harry Cocciolo at Tool of N.A., and just finished a Southwest Airlines spot in early July. She is currently working on a Toyota campaign at Crossroads Films with Director Marcus McCollum. Wendy Greiner’s design work will be seen in a Ziggy Marley video for his upcoming single “Love Is My Religion,” utilizing clothing from the Marley-family-owned clothZiggy Marley video ing lines Tuff Gong and Catch a CD Wendy Greiner Fire. The dynamic, up-and-com-

ing director, Frank E. Flowers, directed the project, which shot in Malibu. CD Christopher Lawrence, CDG winner for Commercial Costume Design 2005, is slated to design a PSA against drunk driving directed by Rupert Wainwright. Christopher designed a series of Six Flags commercials, which are already airing and were directed by Simon West. He is waiting for the release of three films he has designed: Suffering Man’s Charity, which is his third collaboration with actor/director Alan Cumming; Lies & Alibis and Crank. Karen Avils recently finished designing a music video for the Black Eyed Peas’ song “Bebot.” She also recently worked as the ACD for the FOX pilot Shark with James Woods. On the news train for our CDG Costume Illustrators, Robin Richesson was interviewed by Susan King for the Los Angeles Times for a series called “Working Hollywood.” The interview appeared in the July 16 Sunday Calendar section. It glows about Robin’s work as a Costume Illustrator for designers working in film and television, and as a Storyboard Artist. Frank Helmer, the CD for DOA: Dead on Arrival to be released in August, writes that he is currently in production on a spoof movie for New Regency with a working title of Bob Bailey. Bonnie Stauch writes that she just finished the feature Big Stan with Rob Schneider and is currently working on a Frontier Amy spot for the Internet and junkets with Jamie Foxx and Colin Farrell for Miami Vice. CD Sal Perez, who was recently spotted at Sportsrobe, reports there is a whole section on www.TelevisionWithoutPity.com dedicated to the fashion of Veronica Mars.They have released trading cards for the show and asked me for costumes that were worn, so they could cut them up and put an actual piece of each costume on selected cards.They are going to produce action figures for the characters, and I am working very closely with the manufacturer to ensure authenticity. Who would have thought—all this for a little TV show?” Jeannie Flynn writes that the movie Apocalypto she has been working on has finally wrapped, and she will be back “in town” (L.A.) soon. CD Renee Kalfus holds dual membership in N.Y. Local 829 and L.A. Local 892. Rene reports that she just finished a romantic thriller with Halle Berry and Bruce Willis. Louise Frogley, whose beautiful work has recently been seen in Syriana and Good Night, and Good Luck. is currently working on Ocean’s 13. Debra McGuire is currently designing Crossing Jordan for NBC, Heroes for NBC and Knocked Up—a Universal feature film.Watch for Hollywoodland, opening on Sept. 8 designed by Julie Weiss. Julie is designing a film called Slipstream, written by and starring Anthony Hopkins. CDG member Laura Angotti is the ACD on the project. Ellen Ryba just finished designing an indie feature, Osso Bucco, with Mike Starr and Illeana Douglas. The film was shot on high-definition video, which presents the CD with a particular set of challenges. Another major challenge was having a script set in wintertime Chicago, shooting in June! Tracy Tynan is currently working on a romantic comedy called How I Met My Boyfriend’s Dead Fiancée, starring Eva Longoria, Paul Rudd and Lake Bell. Award-nominated CD Kathleen Detoro brings her impeccable design skills to a new film called Justice, produced by Warner Bros. and Jerry Bruckheimer Films. Her task on this project is to create the stylized, sophisticated, tailored silhouettes, as well as the hip, trend-setting looks of a group of fabulous

Lacey Costume Wig

four “dream team” lawyers. Hope Hanafin will travel to Alabama in August joining the John Sayles’ production of Honey Dripper. Shay Costume, Historical, Cunliffe is in the last Theatrical, TV, weeks of designing for Santa Wigs, and Mama’s Boy, a comedy (A bit romantic,of course) Hair Goods. starring Jon Heder, Diane Keaton, Anna Faris and Request our Jeff Daniels. It’s a Warner Independent project 100 page catalogue shooting locally in L.A. On the education front, CDs from Locals 892 and 829 gathered at UCLA–sponsored Design Showcase West on June Lacey Costume Wig 11 & 12 to view the port318 W. 39th St. folios of graduating CDs New York, NY 10018 from M.F.A. programs 212-695-1996 across the country. The Fax 212-695-3860 graduate work was excit1-800-562-9911 ing and the meeting of professional CDs and the next generation of CDs proved to be a pleasure for all.There was a lot of exchanging of business cards for future work together! Designer Kimberly Adams (Associate Designer on The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (usual author of this column) writes:“I head back to Texas this weekend,way down south.I’m doing a period piece with Mark Bridges about the California oil boom in the early 1900s. It is an interesting project, but the hours are brutal!” That about sums up the events about town and beyond for this issue.We look forward to Kimberly’s return! Susan Nininger CommercialRep@costumedesignersguild.com

Costume Designers of today and tomorrow celebrate at UCLA.

Summer 2006 The Costume Designer

Courtesy CBS Television

SCRAPBOOK

Bob Mackie and Cher on the set of The Cher Show, 1975 26

The Costume Designer Summer 2006

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

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