Meet the Best Fine Jewelry Designers at
October 26th - 29th • The California Market Center Held in conjunction with LA Fashion Week
Introducing In Front—an exciting new event showcasing the best in fine jewelry to buyers, costume designers and stylists. Presented by National Jeweler magazine, the jewelry industry’s fashion “turn-to,” In Front brings the worlds of fine jewelry and fashion together at the California Market Center, October 26-29, 2007 during LA Fashion Market — Spring ’08.
Imagine thousands of new fine jewelry designs, all under one roof alongside the designer fashion apparel featured on the runway. Costume Designers are invited to meet key and cutting edge designers directly. Form the relationships you need with the artists that can help you elevate your work to the next level.
To register and for more information, go to
www.njninfront.com
vol. 3, issue 3
FEATURES Our New Location CDG moves headquarters . . . . . . . . . . . . . . . . . . . . . . . 14 FIDM/ATAS “The Outstanding Art of Television Costume Design” . . . . . . . . . 16 Emmy Q&A with the nominees . . . . . . . . . . . . . . . . . . . . . . . . 18 Comic-Con CDG Costume Design panel & costume competition . . . . . . . . . . 22 Designers Express An interview with Robert Turturice . . . . . . . . . . . . . . . . . . 24
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report Labor Report and Election Update
The Costume Department. . . . . . . . . . . . . . . 26 Meet the Illustrators History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Boldface Names Location, Location, Location: Louisiana
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 email: cdgia@earthlink.net
COVER Costume Designer Robert Turturice’s design for Bette Midler in the television Earthday Special. Photo: Greg Gorman (1989)
The CDG Office and committees wish to thank the following members for their generous volunteer work. Alexa Babcock Inanna Bantu Nicole Beckett Alycia Belle Livba Belyansky Jennifer Eve Audrey Fisher Marcy Froehlich J.R. Hawbaker Katrin Hoffman
Hillari James Tashiba Jones-Wilson Jill Kliber Estee Ochoa Jude Orlando Beth Pasternak Q Quamie Bess Stansell Louise de Teliga Diana Tenes
Summer 2007 The Costume Designer
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EDITOR’S NOTE
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h…ch…ch…changes. Change is in the air! Celebrating our accomplishments and spotlighting our members has been our general theme and for the past nine years we have taken the opportunity to sharpen the film community’s focus on who we are and what we do. We launched our awards, improved the website and created an entire publishing tradition with the Newsletter and CDG magazine, The Costume Designer! We now step into a higher echelon of collaboration with the move into the International Center of Design for the Moving Image where we occupy the FIRST floor! Our membership in the Hollywood Chamber of Commerce opens the door for Change us to participate in the explosion of growth your thoughts and new blood that is flowing in the re-generation of Hollywood.As you turn the pages and you of this issue you will see that the air of prochange your active change is everywhere. world. The exhibits and the events of the past and coming months are proof that the — NORMAN VINCENT PEALE artistry of Costume Design is not only a U.S. CLERGYMAN (1898 - 1993) chronicle of our social experience, it is a very important part of the world view and celebration of humanity which everyone finds fascinating. The articles and images inside take you there. We extend heartfelt gratitude to FIDM, ATAS, and Mary Rose for the beautifully curated television exhibit and to Deborah Landis, Mary Malin, Susan Nininger and the entire Film Festivals and Exhibitions team that presented another enthusiastically received Costume Design panel at Comic-Con. Take each of the steps with us toward being 100% pro-active in your career and in your community. Enjoy the success that has been achieved by your Executive Board,Officers & staff;with your support we are really going places!
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EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Sharon Day MANAGING EDITOR Cheryl Downey PRESIDENT Dr. Deborah N. Landis dlandis@costumedesignersguild.com
VICE PRESIDENT Pamela Shaw pshaw@costumedesignersguild.com
SECRETARY Barbara Inglehart binglehart@costumedesignersguild.com
TREASURER Mary Rose mrose@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 vlavencooper@costumedesignersguild.com
Sharon Day sday@costumedesignersguild.com
Karyn Wagner kwagner@costumedesignersguild.com
Mary Malin mmalin@costumedesignersguild.com ASST. COSTUME DESIGNER REP.
Audrey Fisher afisher@costumedesignersguild.com COSTUME ILLUSTRATOR REP.
Robin Richesson rrichesson@costumedesignersguild.com COMMERCIAL COST. DESIGNER REP.
Susan Nininger snininger@costumedesignersguild.com BOARD OF TRUSTEES
Peter Flaherty, Chair pflaherty@costumedesignersguild.com
IMPORTANT DATES 2007 Executive Board Meetings 7 PM, New CDG Offices September 10 October 1 (New Board & Trustees sworn in) November 5 December 3 General Membership Meeting October 8 7 PM, New CDG Offices, (New Board,Trustees, Delegates introduced to membership)
Sharon Day Guest Editor sday@costumedesignersguild.com
Cliff Chally cchally@costumedesignersguild.com
Marilyn Matthews mmatthews@costumedesignersguild.com
Shay Cunliffe, Alternate scunliffe@costumedesignersguild.com
SAVE THE DATE!
10TH ANNIVERSARY CDG AWARDS FEBRUARY 19, 2008
EXECUTIVE DIRECTOR
Cheryl Downey cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT
Suzanne Huntington shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY
Cheryl Marshall cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x229
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Advertising@IngleDodd.com
Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
West Coast Scott Anderson 323-650-8875 East Coast 201-708-1600 Toll Free 800-227-1724 sales@gladsonltd.com
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PRESIDENT’S LETTER Dear Friends, oodbye! As of October, I will no longer have the privilege of serving you as President.The letter below is a portion of my first newsletter column published on November 30, 2001. During my two 3-year terms much has been achieved. But as you may judge for yourself—there is much, much more to do. Now, at the cusp of our upcoming election, I urge you to make these goals a reality. Above all else; stick to a Strategic Plan with benchmarks. Elect fresh leadership and give them the opportunity to serve you. Demand accountability. Remember always—you are the boss at the CDG. “Dear Friends, Brothers and Sisters of 892, The following list of ‘Goals’ is a culmination of thoughts, ideas, and aspirations culled from a survey of our members attending the October 22, 2001 General Membership Meeting. Each member listed both the major goals they hoped the Guild could bring about—and their major gripes. ‘Goals’ simply represents a starting point for my short tenure as President. Without the participation of our talented membership, nothing on this list will be accomplished; and time will continue to stand still at this Local. Please decide not IF you will contribute, but how. Reevaluate your commitment. Forget the past. It is the future of Costume Design and Costume Designers that we can change together. Clearly, there is a consensus about what our members want. Improve 892 Infrastructure: Education: Raise Respect for Costume Design Through Education. Create basic training courses for members and a required seminar for new members. Speakers Bureau: Designer outreach/connect to DGA/SAG/PGA and universities. Design Symposium/Film Festivals: Raise status and awareness of Costume Design. Retired Designers: Include retired/inactive members in all events and programs. Biography/Oral History: Establish an annual schedule of oral histories. Board Education: Seminar on Union Law, AFL/CIO Labor Education, Roberts Rules of Order, Board Communication. Guild Library: Establish a library fund for costume research materials. Newsletter: Publish on a regular schedule. Website: Create one. 892 Intermediate and Long Term Goals: Financial: Balance Budget and Create a Line Item Budget. Trustees: Create positions. CDG Awards: Financially independent/solvent. Dues: Tie dues to IA contract at 3% a year. Organize: Commercial Designers and Stylists. Merchandizing: Revise existing non-representation when members’ designs are exploited beyond the actual production. TV & Film Contracts: Convene television/film designers/assistants/illustrators to evaluate current standards of contracts/deal memos. Credits: ‘Up Front Credits’ for television designers. Artist’s Rights: USA829 Keeps Their Sketches… Why Can’t We? IATSE: Increase union visibility and improve communication with President Short, strengthen bond with 705 and IA Locals. Publicity: Hire a full-time publicist and upgrade relationship with the press. Promote our membership. Create a Strategic Plan and Mission Statement. Establish a Building Fund: For our future financial security.” — DEBORAH LANDIS What I wished for the CDG on November 30, 2001, is what I wish for us today—remuneration, recognition and respect. Now it is up to you to make it happen. Thank you for a wonderful six years.
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What I wish for us today is remuneration, recognition and respect. Now it is up to you to make it happen.
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In Solidarity, Deborah dlandis@costumedesignersguild.com
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NEW MEMBERS Left to right: Alexa Babcock Jennifer Eve Mary Rose, CDG Treasurer Darragh Marmorstein Joyce Kim Lee Karen Mathieson Wendy Greiner Brian Valenzuela Louise de Teliga
C
The
n o i t c olle AT
WESTERN COSTUME COMPANY
Dedication
To
Excellence SINCE 1912
WESTERN COSTUME COMPANY 11041 Vanowen Street, North Hollywood CA 91605 Phone: (818) 760-0900 • Fax: (818) 508-2190 www.westerncostume.com
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From the Desk of the Executive Director Dear Friends, mbrace change!” was some of the best advice I’ve ever been given. Big changes are in the air for our growing CDG.As of August, Design Central will be the corner of Radford and Ventura where Costume and Production Designers will gather as peers. Both crafts are vital to visualizing the story, so our 700 members and the ADG’s 1,500 members are clearly natural allies. Putting these two design powerhouses under one roof is a natural fit, and we thank the ADG for making this financially viable for us. We are “not in Kansas anymore!” The Board and staff look forward to welcoming you there soon. Also in August, you will be receiving your ballots to vote for the next CDG leadership team. It’s time to salute and thank the present Officers and Board for their truly countless hours of charting new waters and building new foundations.With smart talk and big dreams, this Guild’s forward momentum can’t be missed. I join Beth Pasternak and her entire Election Committee in urging you to take pride in your Local and vote. Like the IATSE, which is constantly growing by organizing nonunion films, the CDG has already grown past the 700-member mark. Helping service all of you is our new Receptionist/Secretary,Cheryl (nice name!) Matthews.We sure aren’t a small Local anymore.Our new members bring an abundance and diversity of talent. It is inspiring to see them literally glow with pride when they join our ranks and volunteer for committees. Our leadership and its Education Committee will be offering more seminars as well as social opportunities to learn from each other in our new digs that afford the wonderful space we lacked in our old offices. I hope the changes in your lives involve new jobs that pay more! On July 29 all CDG scale wages increased at least 3% while the amount contributed to your Individual Account Plan went up 12⁄ %. In these times of pension cuts, endangered health coverage, and threatened wage freezes, we in the IATSE are blessed with steady benefit and salary increases. Our strength is in our numbers and leadership. Thank you, President Short! Remember, work all you can, and save all you can, because a work slowdown is inevitable in 2008. Meanwhile, phone in your work, union AND nonunion, fax in your deal memo, write down your hours on your time card and in your log, then get that log to me for future negotiating strength. Embrace change! Cheryl cdowney@costumedesignersguild.com
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Assistant Executive Director’s Report Box and Car Rentals
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ith the onslaught of technology over the last few decades, the tools of our trade have dramatically changed. Our box no longer consists of just art and sewing supplies. The list of our electronic equipment has gotten longer and more expensive. Some members have recently encountered problems negotiating for a box or car rental. Most companies require our designers to e-mail fitting photos to production and studio execs, to keep detailed computerized inventory lists, and to keep accurate computer accounting of all budgetary expenditures. These tasks need special equipment and software to meet this requirement. If a company does not want to pay a fair box-rental price, then provide them with your box-rental list and ask them to purchase the items you need in lieu of a box rental. Ask the company to provide the computer, printer, video equipment, digital camera, photo printer, Polaroid and 35mm cameras, fax machines, adding machines, software programs, racks, aging tools, jewelry, art supplies, sewing supplies, etc., that you will need to do your job. When you are asked by a company to provide the “value”of your box equipment, be sure to use replacement cost as the “value price.” The car allowance is also under attack. We are no longer provided with a “driver and company vehicle” to take us to stores, rental facilities, work rooms, fabric stores, stages, etc., that are spread all over the greater Los Angeles area. The car allowance was put in place to compensate members for the costs involved with providing their own vehicle. The insurance, wear and tear, and gas costs were included in a car allowance but now the car allowance which is taxable barely covers the high cost of gas for a week. If your production does not want to pay a fair car allowance or mileage, then do not provide a vehicle to them. Ask them to provide a company car, complete with gasoline, and insurance, to be used during the day while on company business. Be fair with production about what you need in order to do your job but expect fairness in return. Stand up for yourself and refuse to subsidize production out of your own pocket. Rachael Stanley rstanley@costumedesignersguild.com
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Labor Report
P
resident Thomas Short has asked us to contact our Congressperson or Senator to vote for the Employee Free Choice Act (EFCA) and with a new Democratic majority in Congress there is finally a chance to breathe new life into an employee’s right to organize. Here are the three critically important points if it becomes law.
• EFCA would require employers to recognize a union if a majority of the workers signed cards authorizing union representation. • The Act would increase the penalties for unlawful conduct in organizing. Employers who willfully break the law during organizing or negotiations for a first contract would face civil fines of up to $20,000 per violation, and employees who are unlawfully fired in such circumstances would be entitled to triple back pay. • The Act would provide for mediation and binding arbitration when negotiations for a first contract fail.
picture it... at Sony S o n y Pi c t u r e s S t u d i o s
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The Employee Free Choice Act presents the first opportunity in years for a change in federal law that could actually improve an employee’s ability to negotiate for better lives. Write, e-mail, or call your Congressperson or Senator to tell them to vote for the bill. Betty Madden, CDG Labor Representative bmadden@costumedesignersguild.com
CDG 2007 Election Update The Election Committee has determined that an additional candidate has timely accepted a nomination for Delegate: Monique Long, Assistant Costume Designer. Two candidates for Delegate, Bess Stansell and Dana R.Woods have withdrawn. In addition,Roemehl Hawkins has reclassified to Costume Designer, and therefore is ineligible to run for the Assistant Costume Designer Representative category. The final list of candidates for the three-year term of Delegate is: Sharon Day, Cheryl Downey, Hope Hanafin, James Lapidus, Valerie Laven-Cooper, Kresta Lins, Monique Long, Betty Pecha Madden, Jacqueline Saint Anne, Rachael Stanley, and Amy Stofsky. Election Committee members (L to R): Wendy Greiner, Louise de Teliga, Marcy Froelich, and Beth Pasternak (chair) presided over District 2 Delegate election and nominations for new Board, Officers, Trustees & Delegates at General Membership meeting May 21, 2007.
310•244•7260 WWW.SONYPICTURESSTUDIOS.COM
Summer 2007 The Costume Designer
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3rd ANNUAL HOLIDAY CARD: DEADLINE EXTENDED! For all of you who need a little extra time to create your submission for this year’s CDG Holiday Card, we have extended the deadline to the General Membership Meeting on October 8. Please remember that the cards cannot have imagery that is specific to Christmas, or other religious holidays, and should follow a more general holiday theme, related to the winter season or the new year. Think festive, glamorous, etc. Please try to avoid a palette associated with a specific religious holiday (such as red and green for Christmas, please). It should relate to costume in some way, as it represents the Guild to other Locals and associates. The image should be proportional to 5" x 7". This is open to all members! Get creative and bring The 2006 holiday card illustrated by Lois De Armond it to the meeting or if you are unable to attend the meeting, send material to the CDG Office. Thanks to those who have already submitted! Thanks, Robin Richesson, Card Committee (562) 491-3501
IA DISTRICT 2
From left: Betty Madden, Cheryl Downey, Hope Hanafin, Amy Stofsky, Rachael Stanley at IA District 2 meeting in San Diego. Also attending the convention were Vice President Pamela Shaw, Tashiba Jones-Wilson, and Jacqueline Saint Anne.
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ANNOUNCING OUR WEBSITE THE COSTUME DESIGNERS GUILD LAUNCHES ITS NEW WEBSITE
•featuring improved site navigation •better access to view the gallery of members’ portfolio samples •more user-friendly members-only site, with more intuitive screens for managing account info and uploading images to the gallery •online technical support for the website •easy member ability to update phone, address, agent, etc. Let us hear how you like it! www.costumedesignersguild.com
Our
S
New Location
aturday,August 4, was moving day for the Costume Designers Guild! After months of research, discussion and reflection, the CDG Executive Board, with a unanimous vote of all present, made the decision to accept the generous offer of the Art Directors Guild and move our membership offices to the ground floor of their IATSE Local 800 building at 11969 Ventura Boulevard, on the northeast corner of Radford, in the heart of Studio City. The ADG purchased the 17,500-square-foot building in 2005.The first-floor space was remodeled for our offices under the supervision of the CDG design committee, Mary Rose, Hope Hanafin,Cliff Chally,Sharon Day, Jacqueline Saint Anne along with Commercial Production Designer Christy Belt, a member of the ADG Board of Directors, who also helmed the recent renovation of the ADG’s second-floor offices. The shared offices will be referred to as the “International Center of Design for the Moving Image,” and serve as the creative home for both Costume Designers and Art Directors. Anyone who visited our Woodman offices clearly recognized our cramped quarters, boxes stacked in corners, and the lack of space for meetings, let alone how our home did not reflect the aesthetic sensibilities of our membership.Your Board and staff felt this was a once-in-a-lifetime opportunity to open the door for a more collaborative relationship with our peers, the Art Directors—one that we are confident will enhance the industry’s perception of Costume and Art Directors as the “Design Team.” Our new offices will offer many amenities that members will both appreciate and find professionally advantageous.The most basic improvement is, of course, our location: now we are right
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next to CBS Radford Studios and Samuel French, down the street from Warner Bros.and Universal,right beside all the bustling businesses of Ventura Boulevard, and just over the hill from Hollywood. On a practical level, we will gain several hundred more square feet of office space, giving our executives Cheryl Downey and Rachael Stanley, as well as administrative assistant Suzanne Huntington, and receptionist/secretary Cheryl Marshall, the room they desperately need to accommodate the daily business of our growing Guild.Thanks to the ADG’s spacious groundfloor meeting room which seats 90,the CDG will now be able to hold both General Membership and monthly Executive Board meetings at our home office, and yes, there is ample parking for all in the evenings in our shared, dedicated parking lot.Access to this meeting room will also afford us the opportunity to move forward both creatively and educationally by hosting seminars, workshops, exhibits and committee meetings in a gracious and comfortable environment. Our extensive research library will now have the breathing room it needs. Last but not least, our office will have wireless Internet access,so that members can simply drop by to get online or do research any time during office hours. We invite all of you to come by and check out the CDG’s new digs.We know that our members will be thrilled with our new home,and we sincerely hope that this new space serves as a practical office away from home for our members, both a place of learning where we can share ideas about our craft and our Guild, and a professional environment in which we can conduct important CDG business.The welcome mat is out!
Audrey Fisher afisher@costumedesignersguild.com
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Celebrating
Television Design
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he Academy of Television Arts & Sciences and the FIDM Museum & Galleries at the Fashion Institute of Design & Merchandising are jointly presenting “The Outstanding Art of Television Costume Design,” the second annual exhibition, showcasing a retrospective of TV’s most memorable costume designs from the past and present. The exhibition also salutes the work of this year’s Emmy-nominated Costume Designers and Costume Supervisors. For the second year, the guest curator and organizer of this exhibition is noted Costume Designer Mary Rose, a longtime member of the Costume Designers Guild Executive Board and fourth-term Governor for the Costume Design and Supervision Peer Group of the Academy. Rose, a designer for feature films, television/cable series and movies, has been the curator of numerous costume exhibitions in the United States and abroad. “This year, we’ll feature costumes from shows such as Ugly Betty by Costume Designer Eduardo Castro, 24 designed by Jim Lapidus, Cold Case designed by Maria Schicker, Brothers & Sisters designed by Laura Goldsmith, Jericho designed by Nicole Gorsuch, Desperate Housewives designed by Catherine Adair, Friday Night Lights designed by Karyn Wagner, Entourage designed by Amy Westcott, The Tudors by Costume Designer Joan Bergin, Jane Eyre by Andrea Galer, and many more,” says curator Mary Rose. This free exhibition ends Sept. 29.
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1. Event banner 2. Eduardo Castro and his creative costumes for Ugly Betty 3. Emmy nominee Cate Adair and exhibit curator Mary Rose with Desperate Housewives costumes 4. Costume Emmy nominees (from left): Le Dawson, Costume Supervisor, and Katherine Jane Bryant, Costume Designer, Deadwood, ATAS Governor Betsy Potter, Costume Supervisor Joyce Unruh, Costume Supervisor Karo Vartanian, Desperate Housewives, ATAS Governor Mary Rose, Costume Designer Cate Adair, Desperate Housewives, Costume Supervisor Michael Chapman, Ugly Betty, Broken Trail Designer Wendy Partridge, April Ferry, Costume Designer, and Augusto Grassi, Costume Supervisor, Rome 5. Le Dawson, Supervisor, Deadwood, ATAS Governor Betsy Potter, ATAS Governor Mary Rose, and Costume Designer, Emmy nominee, Katherine Jane Bryant, Deadwood 6. Festive party atmosphere 7. Emmy-nominated costumes for Entourage 8. Costume Designers Eduardo Castro, April Ferry, and Cate Adair 9. Six seasons of Jack Bauer, 24, Costume Designer Jim Lapidus 10. Costumes from The Tudors designed by Joan Bergin 11. Costume exhibit Friday Night Lights designed by Karyn Wagner 12. Costumes from My Name Is Earl 13.Women suffragette costumes Cold Case, Maria Schicker, Costume Designer 14. Emmy nominee April Ferry and costumes from Rome 15. Cate Adair and her costumes from Desperate Housewives 16. Costume Designer Laura Goldsmith with exhibit curator Mary Rose 17. Costume Designer Pete Menefee 18. ATAS Governors Betsy Potter and Mary Rose with ATAS COO Alan Parris 19. Barbara Bundy, FIDM VP, Robert Nelson, Director FIDM Museum & Galleries, and curator Mary Rose 20. Costume Designer Valerie Laven-Cooper and Richard Karn, Home Improvement 21. Costume for Marc Anthony, Rome, designed by April Ferry 22.Vintage Pete Menefee costume for Mary Tyler Moore 23. Amy Westcott, Emmy nominee and her costumes for Entourage 24. The Tudors dancers’ costumes 25. Exhibit from My Name Is Earl Designer Robin Kennedy. All photos courtesy of FIDM/Berliner Photography
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Emmy Nominees: Outstanding Costumes for a Series DEADWOOD
Costume Designer: Katherine Jane Bryant What attracted you to this project? The opportunity to couple Victorian era ascetics with our wild American culture made me absolutely ecstatic!!! What is the most challenging aspect of the show? Maintaining the amount of texture, filthiness, and distress needed to reflect the harshness of the lifestyle in Deadwood. Making sure each and every actor, became individual characters with their own unique back-story, and yet represented the period.What part of the job is most fulfilling? I love the process of sketching, swatching, and collaborating with my cutter/fitter. Seeing a costume go from an image in my mind to a 3D reality is the most rewarding thing for me!!
DESPERATE HOUSEWIVES Costume Designer: Catherine Adair
Costume Supervisors: Joyce Unruh Goodwin & Karo Vartanian Assistant Costume Designer: Jacqueline Wazil What attracted you to this project? Leading women who were all different, friends, and beautifully written scripts with wicked wit and subtly at the same time.What is the most challenging aspect of the show? The most challenging aspect of the job outside of the awful relentless time crunch of a one-hour episodic, is trying to make sure the designs stay true to each of the characters.Wisteria Lane is a time warp where things are both contemporary and familiar and keeping that balance is a daily test.What part of the job is most fulfilling? What I love is when people seek me out with a smile on their face and tell me how much they love the show,the storytelling and the characters my crew and I bring to life each episode.
ROME Costume Designer: April Ferry Costume Supervisors: Augusto Grassi & Uliva Pizzetti What attracted you to this project? Ancient history has always been my favorite subject so this was a great opportunity to study it even more extensively.What is the most challenging aspect of the show? The enormity of overlapping episodes and keeping it all straight in my concept. What part of the job is most fulfilling? Seeing it on screen. I’m really proud of the work and my entire crew!
THE TUDORS
Costume Designer: Joan Bergin Costume Supervisors: Ger Scully & Jessica O’Leary What attracted you to the project? Attraction: perversity. Having read the first two episodes of The Tudors, I didn’t think it possible within the parameters of a TV series.What is the most challenging aspect of the show? Having just been into the intrigue of period deconstruction on The Prestige (Victorian gothic), I wondered if it could be applied to the vast scale of The Tudors. Showtime’s concession was to let me use my feature film crew and highly skilled workshop.What part of the job is most fulfilling? It was fulfilling to let the clothes be dictated by the myriad character development of each actor.
UGLY BETTY Costume Designer: Eduardo Castro Costume Supervisor: Michael Chapman What attracted you to the project? Attraction? Ability to design for a wide range of such interesting characters is constantly rewarding.What is the most challenging aspect of the show? It’s most challenging trying to get actors into fittings! What part of the job is most fulfilling? I’ve never received this much response and press focused on costumes on a show; they’re even doing a book about “the Betty look.” It’s been exciting.
Deadwood HBO / Doug Hyun, Desperate Housewives ABC / Ron Tom, Rome HBO / Franco Biciocchi, The Tudors Showtime, Ugly Betty ABC / Richard Cartwright
Costume Supervisor: Le Dawson Assistant Costume Designer: Andrea Sweet
Emmy Nominees: Outstanding Costumes for a Miniseries or Movie Broken Trail AMC / Kurt Marcus, Bury My Heart at Wounded Knee HBO / Micheline Rouillard & Annabel Reyes, Jane Eyre BBC / PBS, Longford HBO / Giles Keyte, The Starter Wife USA Network / Paul A. Broben
BROKEN TRAIL
Costume Designer: Wendy Partridge Costume Supervisor: Gerry Dubbin What attracted you to this project? An opportunity to work with Walter Hill, with his reputation of excellence, creating a look for the great Robert Duvall and the essence of the 1890 Chinese element. What is the most challenging aspect of the show? The research of San Fransisco 1890 Chinese was difficult because I was determined to give it the most authentic feeling I could.What part of the job is most fulfilling? Blending the extremely vibrant colors of the Chinese with our scenery and other characters. Accomplished by hand painting the costumes with vegetables dyes to create age, subtleties and depth.
BURY MY HEART AT WOUNDED KNEE Costume Designer: Mario Davignon Assistant Costume Designers: Micheline Rouillard & Jill Blackie What attracted you to this project? I was attracted first to work again with a director I believe in,Yves Simoneau.Also, the subject and novel were so good. What is the most challenging aspect of the show? The challenge was that we started the film with bright colors for the natives, black and white for the white people. Color disappeared so that at the end of the movie, the natives were assimilated into black-and-white costumes also.What part of the job is most fulfilling? Most fulfilling for me is to try to reproduce the actual. I sketch and manufacture for the cast and seldom rent. I appreciated working on a movie that tried to explain what actually happened so people really know the truth.
JANE EYRE Costume Designer: Andrea Galer Costume Supervisor: Sally Crees What attracted you to this project? I had worked with Susanna White on Bleak House and apart from the fact that Susanna is an inspiring person and director—so were the scripts. Having done several 19th-century productions—I could bring a fresh mindset to how Jane and Adele eye’s saw these people.What is the most challenging aspect of the show? Making the budget work.What part of the job is most fulfilling? Seeing how Susanna and Mike Eley shoot it and Ruth Wilson rose to the character with such passion and produced such an interesting interpretation of the book.
LONGFORD
Costume Designer: James Keast Costume Supervisor: Sarah Moore What attracted you to this project? I was attracted to this project knowing the wonderful actor Jim Broadbent was playing Lord Longford, a more pleasant man you could not meet and a wonderful actor. I also love the periods in the 1950s–1980s, I love real clothes from this era and since my brief was to make it look real, what more could I want.What is the most challenging aspect of the show? The most challenging aspect was the budget. NEVER, NEVER, NEVER enough money.What part of the job is most fulfilling? The most fulfilling part of the job is when you know you have done a good job when no one notices what you have done in trying to make it look real. My natural style is to underplay the costume, suggest the character without dominating the performance.
THE STARTER WIFE
Costume Designer: Marion Boyce Designer Ms. Messing: Debra McGuire Assistant Costume Designer: Vanessa Loh What attracted you to this project? MB High-fashion pictures are extremely “in” now and Starter Wife deals with Hollywood where appearance is important.What is the most challenging aspect of the show? DM Debra’s character had more than 80 changes that I charted by scene to visually track the character arc. Marion brilliantly costume designed the rest of the cast in Australia.The challenge was working long distance away from Marion and the director. What part of the job is most fulfilling? MBAnticipating future trends and not being driven by current “it” things so the clothing would not be dated by air time!
Emmy Winner: Outstanding Costumes for a Variety/Music or a Special Costume Designer: Colleen Atwood Costume Supervisor: Kendall Errair What attracted you to this project? I was excited to do another musical project with Rob and John. The idea of dance numbers, combined with the presence of so many amazing musicians was a once-in-a-lifetime opportunity. What is the most challenging aspect of the show? The lack of prep and the limited budget were the main challenges.We had to produce everything in two weeks, dress it the day before, or, when we made the artist’s clothing, we had to fit it on the day. What part of the job is most fulfilling? We all got to really pull together as a team, my gang, sets, lighting, dancers, producers, choreographers, standing in the same room with less than 30 people, watching those performances live.
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The Costume Designer Summer 2007
Tony Bennett:An American Classic / NBC
TONY BENNETT: AN AMERICAN CLASSIC
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Summer 2007 The Costume Designer
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International Event
Comic-Con
C
omic-Con is an international Mecca for comic-book and sci-fi/fantasy fans and professionals. The participation of Hollywood studios, promoting upcoming films and television productions,has made Comic-Con an attractive showcase for creative collaborators as well. Organized by Susan Nininger and Mary Malin, the CDG’s dedicated Film Festivals and Exhibitions Committee, this year’s panel “Designing Icons” featured Designers Rita Ryack, Mary Vogt, Mona May, and Michael Wilkinson. CDG President Deborah Landis moderated, her third consecutive year at Comic-Con with the CDG. One excited fan gushed,“This panel has been one of the highlights of Comic-Con this year and last!”Attendees then lined up for autographs, some toting portfolios. Special thanks to our energetic volunteers from Locals 892, 705, and especially San Diego Local 495, Studio Mechanics & Stagehands, who helped make our program a success. Rita Ryack, Mary Vogt and Mona May also participated as judges at the Masquerade Costume Contest with more than 50 contestants.About 5,000 enthusiastic fans were in the audience.The winner of the first CDG Award for Outstanding Costume went to the “Anything Goes School of Masquerade Arts.” A Hollywood set visit, $100 and lucite trophy was presented by President Landis.To sum up SDCC ’07: Joe ‘Spartan’ a 300 fan, decked out in his home-crafted Spartan ‘citizen’ gear, was thrilled to meet Designer Michael Wilkinson.“Wow, you designed this?” He looked incredulous, then very sincerely exclaimed,“If it wasn’t for you, I wouldn’t be here!” Here’s to the land of Comic-Con where Costume Designers are also super heroes!
Clockwise from top left: The “Anything Goes School of Masquerade” won the first annual CDG Award for Outstanding Costume; CDG Panelists, Rita Ryack, Mona May, and Mary Vogt, with CDG Festival and Exhibition Chairs, Mary Malin, Susan Nininger; Narnia’s Ice Queen original design by Isis Mussenden; Beetle Juice original design by Aggie Rogers; San Diego IA Local 495 volunteers, Devin Morris, Terai Lynch, Joyce Henriquez, and Rick Pickett; CDG’s Mary Malin, Deborah Landis, Mona May, Mary Vogt, Rita Ryack and Michael Wilkinson; CDG Panelists signing autographs. 22
The Costume Designer Summer 2007
Beetle Juice photo: Kim Gottlieb-Walker
Allison Leach allisonleach@gmail.com
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G O W N R E N T A L S
DESIGNERS EXPRESS
Jude C Orlando
interviews
RobertTurturice ecently, I had the great pleasure to sit down and discuss Costume Designer Robert Turturice’s thoughts and plans for future projects yet to come.With 11 Emmy nominations and two terms serving as President of the Costume Designers Guild, Robert’s life as a Costume Designer has spanned more than four decades and has no limits as far as his creative boundaries are concerned. Everything in this prolific Costume Designer’s life reflects his passion for design.This was clearly evident as I sat in his living room, fascinated and surrounded by his vision and artistic expressions, which come to life in his décor and his craftwork. His Emmy for Moonlighting is only one milestone in a long and fruitful career that is still teeming with life. It is my pleasure to convey to our membership some valuable insight from one of our most talented members.
R
Tell us about your career, how you began as a Costume Designer. At age 12 with the support of my parents,I was doing community theater. Later at age 17, after graduating high school,I joined the Pasadena Playhouse where I started out in the architectural and scenic design program under the instruction of John Mula. I moved on to the Inner City Cultural Center but within a year and a half I was back at the Pasadena Playhouse to serve as the assistant head of the Costume Department. At that time (1967) I began to meet with studio department heads. Ret Turner was the first person to hire me on a day call. Every moment of every day was a huge learning experience for me.Whether I was stitching or putting away stock; I listened and learned all about how the costumes were made. I assisted Bob Mackie, Ray Agayan, Bill Belew and Ret who gave me my first TV show to design. At that time I was supervising and assisting; these jobs were so valuable, I am so grateful!
Costume Designer
Robert Turturice 11 Emmy nominations 1 award for Moonlighting 4 nominations for Moonlighting in total 1 nomination for Pee Wee’s Playhouse 1 nomination for Pee Wee’s Playhouse: Christmas Special 1 nomination for The Gambler Returns: The Luck of the Draw 1 nomination for Copacabana 1 nomination for Gia 1 nomination for Afterschool Special “The Shooting” 1 nomination for Cybill
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The Costume Designer Summer 2007
Can you share some of the lessons you’ve learned? Always be as clear as possible about what you want to do. Never begin production without making major decisions or having illustrations approved.When the project has an overall concept, it can be difficult for everyone to keep that focus when the project begins to take on a life of its own. It is extremely important for everyone in the department to know what I know. I never go to meetings alone. I want to be sure that I heard correctly and that we have accurate notes. How important is the Illustrator in your work? It is always important, especially on a larger made-to-order project.The illustration is the major source of communication. I always give a book of sketches to the director, producer, ADs, makeup artist and hairdresser. I want to be sure that each department is on the same page when needing to know which costumes will take time to fit or may need special attention. I believe that the illustration is a contract that I have entered into with the production. I will deliver what has been agreed upon and approved. It is production’s obligation to give me what I need in order to do my job. How do you deal with budget issues? I will not accept a job without knowing all the details of the costume budget. If there ever was a day when it was really OK if a designer went over budget, for the most part, those days are gone. Oddly enough, it does not seem that being under budget is the cause for much comment. If in truth the budget is really tight, you will only really be sure once you start pre-production and see if the other departments are struggling with the budget too. If I think I can possibly do the clothes for the amount budgeted, I will ask for a day with the script. If it is doable, I accept the project and in my mind, accepting the job is agreeing to do the project for that budget. I won’t start with the idea of getting into it and then trying to force more money out of production or just expecting to go over. If I feel I cannot do the work with the budget allowed, I will be clear about that and say I’m sure they will find someone, but I do not feel that I could deliver the type of work they would expect when I was hired. I have actually, always had very good response to the honesty and usually I am called in to meet on other projects. I think that also applies to the salary. If you accept the salary, however low or high, that is the end of it and your
crew should not have to hear you complain over the next few weeks or months. I believe it is imperative that when meeting on the budget, you must have the answers and or reasons for each dollar spent on each item. The Designer must know the budget as well as the supervisor, in some cases better. The Designer is the cost-generating entity. I believe it is a partnership.Although I may not deal with the day-to-day book work, I want to be kept informed either daily or several times a week.
Over the years, do you find that you have developed a system or a way of organizing that has been helpful to your success? I think organization is clearly the key that makes the process enjoyable. Being very well organized makes available time to handle the always unexpected things that come up without being afraid that everything will snowball. Also, I have found that if there is a crisis, stop, take a breath, and think for a moment and never say or do the first thing that comes to your mind. Jude C. Orlando judecorlando@yahoo.com
Summer 2007 The Costume Designer
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THE COSTUME DEPARTMENT
MEET THE ILLUSTRATORS
B
rian Valenzuela
is our newest addition to our Costume Illustrator classification, having joined us in April. Brian was born in Southern California and educated at Cal State Long Beach under the tutelage of our own Robin Richesson. At CSLU Brian concentrated in and became known for his accuracy in anatomy. He enjoys drawing the figure and this led to his interest in costuming the figure. Brian just returned from Comic-Con where he met the entire designer panel, and they reviewed his portfolio on the spot. While networking in the film and TV business, Brian has been working with Lemax Collectibles doing concept drawings for periodpiece miniatures. He draws them in several views for the company to create 3D figures. Brian prides himself in his adaptability and was recently displaying that ability in an interview by doing 15-minute pencil and ink sketches for a designer. He is equally adept at moving from his thumbnail sketch, directly into digital form or to traditional watercolors and gouache. Brian says,“I move fast and make changes easily.” View his work on his website, Brianvalenzuela.com, and e-mail or call at bval@brianvalenzuela.com
I
llustrator Adam Forman
from Ann Arbor, Mich., moved to Los Angeles two years ago. He joined the Costume Designers Guild as an Illustrator after working with Costume Designer Michael Wilkinson on 300. Adam, whose background is fine arts, spends much of his time in more explorative art forms and views illustration as a vocational approach to art. His style is romantic with a dark feel and lends to a couture fashion forward look. Adam feels this gives his work a different look, unlike anybody else’s. His longtime career as a commercial artist makes it possible for him to collaborate on a project, blending his style with the Costume Designer to create a strong pitch with a director or a producer. Currently,Adam is working on a graphic novel while anticipating the holiday release of Disney’s Enchanted. Adam worked with Costume Designer Mona May on this challenging project that called for him to work with animators to create animated characters that morph into live actors and then become digitized.The characters were created from the illustrated costume cues that became characters in themselves.The myriad challenges of this project demanded that Adam pull from his arsenal of tools that include a strong background of art history, his 3D work as a tattoo artist, and his comic-book interests. Adam brings a great deal of personality and edgy style to a project and looks for intelligent work with a high degree of sophistication. Adam is conversant in all media: digital, Photoshop, pencil and tattoo ink.View his work and pick up on his attitude by visiting his website: www.oliphanthouse.com Jacqueline Saint Anne jsaintanne@costumedesignersguild.com
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The Costume Designer Summer 2007
THE COSTUME DEPARTMENT
HISTORY OF DRESS A-Z
H
aik: A long piece of fabric, usually of cotton or wool, which covers both sexes of the Moslem faith in Algeria and other parts of North Africa. Worn in public, it is draped over the tarboosh and the body, belted at the waist and covers the chalwar and pantaloons.
Himation: The cloak of men and women in
Hakama: Stiff silk trousers worn by
Houppelande: A style of Renaissance, this voluminous outer garment originated in the Low Countries, (which today would loosely approximate Belguim, Netherlands and Luxembourg). It was worn by both sexes and was made of various fabrics depending on its use and its wearer’s wealth. For men the neckline was a high funnel-shaped but later V-shaped and for women it was V or scoop-necked. Usually a long, trailing and cloak, it could be made so long the hemline had to be lifted for the wearer to walk, but it could also be knee length for riding or other activities.And sometimes made as a cloak, it could be made with sleeves and was filled with wadded cotton or fur-lined for warmth.
Japanese men.They are slashed up the sides and the fullness is pleated into a stiff belt using six pleats in front and two in back.
Haori: The Japanese wear this black silk coat over the kimono in the street. The women’s version can be either knee or full length and may be plain or embroidered, while the man’s is knee length and plain. Instead of wrapping the way a kimono does, the man’s closes with silk corded ties and the women’s may do the same or may have a square neckline and close with snaps or ties. Hauberk: A hooded, long-sleeved, knee-length garment of chain or ring mail worn by nobles in the 11th–13th centuries. Sometimes split from the waist down for comfort when riding. It was belted with leather and worn over a quilted gambeson.The head was protected by a helmet, the legs and feet by separate bands of mail.
Havelock: A hood of white, washable fabric protecting the neck and cap of military soldiers from dust and sun. Originally worn by ancient Persian soldiers, it was adopted by soldiers of the Civil War.
Heartbreakers: A fashion of the 17th century, these wired curls trembled constantly. As was the fashion, they were worn at the nape of the neck and cheeks.
ancient Greece. The piece of fabric, about 112⁄ by 3 or 4 yards, was made of cotton, wool or linen and was usually white. It was worn wrapped around the body and then over one shoulder, usually over the left. It could also be worn by itself and if so, was often belted.
Hunt Dress: In contemporary fox hunting, the master and hunt officials wear scarlet coats, white breeces, black boots with tan tops and black velvet covered, visored caps. Members of the hunt wear the same thing but may also wear black or Oxford grey coats, fawn or mustardyellow breeches and black boots. Ladies have a formal coat which may be single or double breasted and may be black, Oxford grey or dark blue. Green is generally worn by the beaglers and harriers although some hunts are specified green, in which case the color is worn by all. White shirts and stocks are worn throughout. Karyn Wagner kwagner@costumedesignersguild.com Illustrations by Robin Richesson rrichesson@costumedesignersguild.com
Summer 2007 The Costume Designer
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IN FOCUS
BOLDFACE NAMES BOLDFACE FESTIVALS Justin Ross, Costume Designer for Waiting for Yvette, a short film which has been accepted in the Palm Springs International Festival of Short Films (the biggest shorts festival) which will run August 23–29, 2007.The film stars Wendie Malick and Stephen Tobolowsky and is directed by Justin Ross. Dances With Films screened the feature Jake’s Closet with costumes designed by Lisa Vandenberghe in West Hollywood on July 7. After a year in Prague working on Prince Caspian, the second installment of The Chronicles of Narnia, Isis Mussenden represented the film at Comic-Con San Diego 2007, Sat., July 28. The Film Festival and Exhibitions Committee, chaired by Mary Malin and Susan Nininger, also hosted a Costume Design Panel at the Comic-Con.The panel was moderated by CDG President Deborah Nadoolman Landis and featured Designers Mary Vogt (Fantastic Four: The Rise of the Silver Surfer), Michael Wilkinson (300, Watchmen), Mona May (Enchanted) and Rita Ryack (Hairspray).After the panel, our CDG Designers signed autographs for the fans and judged the Comic-Con Masquerade and gave a CDG Award for Outstanding Costume. Karan Feder is working with the Liberace Foundation as their Costume Collection Curator at the Liberace Museum in Las Vegas, Nev. She has co-authored Joy of Liberace: Retro Recipes From America’s Kitschiest Kitchen, the first book officially sanctioned by the Liberace Foundation.
BOLDFACE AT WORK Costume Designer Sal Perez is now at work on Moonlight, a new vampire drama for CBS. Elena Baranova is costume designing the feature film Men Don’t Lie, directed by Jane Spencer, to be shot in Paris and Romania in August. She is also credited as an executive producer on this project. Barbara Chennault (left), Sal Lynette Meyer is prepPerez and Devon Patterson ping a new film for Overbrook Entertainment/Screen Gems Studios titled Lakeview Terrace, shooting in Los Angeles, starring Samuel L.
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The Costume Designer Summer 2007
Jackson, Kerry Washington and Patrick Wilson. Julia Schklair has been busy as Costume Designer for Side Order of Life and for the pilot Sarah Connor Chronicles, shot in Albuquerque, N.M. Dorothy Amos will take over as the Costume Designer for The Ghost Whisperer, now in its third season,with Barbara Inglehart serving as Costume Supervisor. Conan Castro Jr. is the new Costume Designer for Cold Case, working alongside his Assistant Costume Designer, Pablo Borges. Costume Illustrator Derek B. Sullivan is pleased to be designing a psychological thriller titled From Within, shooting this summer in Havre de Grace, Md. Beth Pasternak recently costume designed an American Express spot titled “Member Project,” directed by Marty Scorsese.Costume Designer Nadine Haders and Assistant Costume Designer Annette Dunford-Lewis just wrapped HBO’s new series John From Cincinnati. Costume Designer Louise Mingenbach works with Assistant Costume Designers Alison McCosh and Stacy Caballero on Tonight He Comes (a.k.a. John Hancock) starring Will Smith, Charlize Theron, and Jason Bateman. Roland Sanchez is returning to Hawaii for the fourth season of Lost. This will be his third season on the show. Jill Ohanneson is working on an independent surf movie called Endless Bummer and in September she begins work on Swingtown, a ’70s TV series for CBS. Aggie Rodgers just wrapped her piggy movie Pig Hunt and is happily chilling out. Astrid Brucker designed the costumes on the film Joshua, to be released by Fox Searchlight Pictures on July 6. BJ Rogers is returning for a third season of Criminal Minds after a tiny hiatus. New CDG member Ari Wald costume designed the feature Waitress,written and directed by the late Adrienne Shelly.Working alongside her is her Assistant Costume Designer, Cynthia Obsenares. Danny Glicker has just finished designing two back-to-back projects for writer/director Alan Ball; one is an untitled feature based on the novel Towelhead and True Blood, a pilot for HBO, on which Audrey Fisher served as his Assistant Costume Designer.
BOLDFACE ENTREPRENEURS Lisa Davis participated in the 705 Job Faire in June, displaying costumes and handing out swatch rings to promote her green screen and blue screen costume rental company, aptly called Blues and Greens, LLC. Check out CDG member Rochelle Best’s new website featuring Waitress her jewelry designs at www.rochellebest.com. Alexandra Hughes is a partner
in her new business called Dancing Dog Design. Her dog apparel for the discriminating dog lover can be viewed at: www.dancingdogdesign.com.
BOLDFACE HONORS Maria Schicker, Costume Designer on Cold Case’s fourth season, will have her designs on display at the pre-Emmys Art of Television Design exhibit at FIDM. Monique Long is being honored by the 2007–2008 “Cambridge Who’s Who Among Executive and Professional Women.”
BOLDFACE PRESS Ivan Ingermann is pleased to accept an invitation to join the University of Georgia in Athens, Ga., as professor in the MFA program for students in costume design in the Department of Theatre and Film Studies. Rita Ryack received wide publicity for her extraordinary designs for Hairspray. She was featured in an Access Hollywood segment as well as The L.A. Times and The Baltimore Sun. Lisa Vandenberghe, a FIDM alumni, was just interviewed for their website and blog in relation to work as Costume Designer on Jake’s Closet, which is being featured by Dances With Films.
Mike Miller, International IATSE Vice President and head of West Coast IA Office, Cheryl Downey, CDG Executive Director, and Hope Hanafin, CDG Executive Board member, attended the UCLA Labor Center’s annual dinner June 14.
Summer 2007 The Costume Designer
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IN FOCUS
location, location, location: SOURCES
Ocean Eddie’s Resort Wear
1520 St. Charles Ave., (504) 522-1488 New Orleans, LA 70130
831 Royal St., (504) 523-7722 New Orleans, LA 70116 Give him a taste of Hawaii, no matter where he is. Featuring Tommy Bahama, Reyn Spooner and many other quality brands
MEN’S BOUTIQUES
Rab-Dab Clothing & Gifts
FABRIC Promenade Fabric
John Pickens
6022 Line Ave., (318) 629-6080 John Pickens is the owner Pope’s
526 Benton Rd., (318) 746-0932 Bossier City, LA K&G Fashion Superstore
4420 S 1-10 Service Rd., (504) 889-6611 Merairie, LA 70001 www.kgstore.com Suits Gentlemen’s Quarter
232 Royal St., (504) 522-7139 New Orleans, LA 70130 Striking men’s clothing from snazzy casual to formal wear
508 Saint Philip St., (504) 529-3577 New Orleans, LA 70116 Great men’s store featuring club fashion for dancing and partying. Casual and dressy clothing and accessories
Harold Clarke Atelier
901 Iberville St., (504) 568-0440 New Orleans, LA 70112 Stunning haut couture bridal and formal occasion gowns by designer Harold Clarke Hemline
www.magazinestreet.com
609 Chartres St., (504) 529-3566 New Orleans, LA 70116 Shoes, clothing, handbags and accessories for the discerning fashionista
The street is filled with clothing shops, antique stores and good restaurants
Hoi Polloi
BOUTIQUES
1118 Decatur Street, (504) 588-9965 New Orleans, LA 70116 Fun boutique featuring colorful kimonos and fashion accessories
434 Chartres St., (504) 561-7585 New Orleans, LA 70130 Airy boutique on Chartres behind the Supreme Court with edge! Trendy fashion accessories, clothing and accessories for the home
Dark Entry
Italy Direct
516 Bourbon St., (504) 410-2287 New Orleans, LA 70130 Gothic- and punk-inspired leather clothing music, jewelry and accessories
223 N. Peters, (504) 529-8080 New Orleans, LA 70130 Men’s and women’s Italian designer apparel at wholesale prices Armani, Brioni, Versace, Pal Zileri, Moschino,Valentino, Fendi
Arigato Boutique & Gifts
Designer Wholesale Outlet
623 St. Peter Street, (504) 679-0007 New Orleans, LA 70116 Billed as “handbag heaven” and we’d say that’s true. Tons of fun, eye-catching bags ranging from animal prints to studded leather designs
Jackie’s
525 St. Ann St., (504) 588-9575 New Orleans, LA 70116 Unique fashionista-wear. Clothing, jewelry and accessories Jean Therapy
Dress to Kill
207 Dauphine Street, (504) 558-9111 New Orleans, LA 70112 Perhaps the name says it all. Dress to Kill offers cutting-edge fashions, shoes, boots, bags and accessories
732 Royal St., (504) 412-0040 New Orleans, LA 70116 “Clothes for the casual lifestyle” Jean Therapy offers a wide range of exceptional, in-trend denim Kabuki Design Studio
Fleur de Paris
712 Royal Street, (504) 525-1899 New Orleans, LA 70116 Old World hats and feminine fashions, handcrafted by resident milliner, Nicole LeBlanc
1036 Royal St., (504) 523-8004 New Orleans, LA 70116 Hats and accessories, handcrafted by milliner Tracy Thomson in her Kabuki Design Studio Kulture Vulture
520 St. Philip St., (504) 566-1133 New Orleans, LA 70116 Fun, affordable “up-to-the-minute” fashions for young women
423 Dumaine St., (504) 410-2322 New Orleans, LA 70116 A very music-centric clothing store with a wide selection of ‘hard’ tees, band merchandise and accessories
Gargoyle’s
Limbo
1201 Decatur Street, (504) 529-4384 New Orleans, LA 70116 Alternative street wear in gothic styles for clubbing
1125 Decatur St., (504) 523-3435 New Orleans, LA 70116 Unisex rave and club clothes and goth accessories
Frock Candy
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The Costume Designer Summer 2007
Minou Minou
1309 Decatur St., (504) 586-4800 New Orleans, LA 70116 Tiny boutique on lower Decatur featuring French lingerie,shoes and accessories on the flirty,sexy,girlie end of the fashion continuum Natural Discoveries
ACCESSORIZE WITH ONE-OF-A-KIND VINTAGE COUTURE
213 N. Peters, (504) 525-1500 New Orleans, LA 70112 Natural fibers, linen and cotton tropical weight clothing for women Perlis Clothing
6070 Magazine St., (504) 895-8661 Upscale men’s, ladies’ & boys’ fashions Pied Nu
5521 Magazine St., (504) 899-4118 Dosa, Calypso, Cathy Waterman & Sigerson-Morrison. Powder Room
1303 Decatur St., (504) 525-0402 New Orleans, LA 70116 A boutique of fun girl gear, with an emphasis on glitter and glam
HEIRESS THE
J E W E L R Y
C O L L E C T I O N
As Featured In . . .
Royal Boutique
803 Royal St., (504) 523-0034 New Orleans, LA 70116 A small boutique of clothing and accessories from around the world Tita Maria’s Shop
531 Dumaine St. New Orleans, LA 70130 Elegant designer of custom hats, gowns and dresses
S A N T A
M O N I C A
•
N E W
Y O R K
•
L O N D O N
602.684.6133 3 • www.HeiressVault.com F O R R E N TA L & P U R C H A S E
UAL United Apparel Liquidators
518 Chartres St., (504) 301-4437 New Orleans, LA 70130 Trendy designer and high-style clothing and accessories at deep discounts and mark-downs. No frills presentation Victoria’s Shoes
328 Chartres St., (504) 568-0000 New Orleans, LA 70130 The only place in the Quarter to try on Jimmy Choos and Manolo Blahniks.The selection is deep and many times you can find a sale. According to our mystery shoe shopper, this little store “rocks.” Wehmeier’s Belt Shop
719 Toulouse St., (504) 525-2758 New Orleans, LA 70130 Large selection of fine exotic leather goods,featuring genuine Louisiana alligator. Belts and buckles, wallets, boots and shoes, handbags, accessories and golf bags. P.S. Ask Mr. Wehmeier about the ghost!
COSTUME DESIGN CENTER Costume Rentals • Manufacturing • Prep Spaces
Tel: 818.954.1297 • Fax: 818.954.2667
Wise Buys
534 Chartres St., (504) 524-3004 New Orleans, LA 70130 Affordable ladies’ designer clothing, especially great jackets and tops. Really imaginative sales people. VINTAGE & THRIFT Funky Monkey
3127 Magazine St., (504) 899-5587 New Orleans, LA 70115 Reasonable ’60s and ’80s clothes © and ™ 2007 Warner Bros. Entertainment Inc. All rights reserved
continued on page 32 Summer 2007 The Costume Designer
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Buffalo Exchange
3312 Magazine St., (504) 891-7443 New Orleans, LA 70115 Reasonable ’60s thru ’80s clothes Retroactive
5414 Magazine St., (504) 895-5054 New Orleans, LA 70115 Contact: Joe Weise, very expensive Trashy Diva
829 Chartres St., (504) 581-4555 New Orleans, LA 70116 Exceptional vintage clothing and accessories, including corsets, jewelry, shoes and hats. Red, White, and Blue Thrift Store
6001 Jefferson Hwy., (504) 733-8066 Harahan, LA 70123 Grace Note
900 Royal St., (504) 522-1513 New Orleans, LA 70116 Fun vintage clothing and new handmade fashions plus home accessories MALLS Mall of Louisiana
Baton Rouge Saks in New Orleans: So much is closed on Sundays you could kill yourself... The Shops at Canal Place
New Orleans Saks Fifth Avenue, Brooks Brothers, BCBG, Kenneth Cole, Banana Republic, Gucci, located on Canal Street at the Mississippi River, where the French Quarter meets the Central Business District The Esplanade
Kenner Macys, Dillards, Mervyns Lakeview Mall in Metairie was the best mall to me in New Orleans
MCCORRISTON MILLER MUKAI MACKINNON LLP
Lakeside Shopping Center
3301 Veterans Memorial Blvd. Metairie, LA 70002-8447 www.lakesideshopping.com Bebe, Georgiou, J. Crew,Williams-Sonoma,Ann Taylor, Dillards & JC Penney I-10 and Causeway Blvd. N., 10 min from the airport and 15 min from downtown New Orleans Riverwalk Marketplace
Robert Pafundi, Attorney At Law Lainie Miller, Production Specialist
1 Poydras St., (504) 522-1555 New Orleans New Orleans Centre
• • • • •
Contract Negotiations, individual/company Labor/Management Relations Employee Relations Formation of LLCs/Partnerships Litigation
We can address all of your entertainment legal needs. 1900 Avenue of the Stars, Suite 1900 Los Angeles, California 90067 (310) 201-7477
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The Costume Designer Summer 2007
1400 Poydras St., (504) 568-5323 New Orleans MISC. Deluxe Cleaners
5325 Canal St., (504) 488-7733 Expensive—for principals Economical Dry Cleaners
1736 McShane Pl., (504) 944-0909 New Orleans Not for delicate pieces, for background No overnight dry cleaning, but will work with productions and be as accommodating as possible They service the major hotels in New Orleans, with same day turnaround, early-morning pickup and return later that day
Reemas Alterations
NBC Universal
(318) 798-7100 This husband & wife team does alterations and some builds Recommend very highly
COSTUME
GOOD EATS “I couldn’t have lived without it!” Herbsaint (seafood)
701 St. Charles Ave., (504) 524-4114 Horinoya (sushi & tempora)
920 Poydras St., (504) 561-8914 Morton’s Restaurant
365 Canal Place, (504) 566-0221 Dinner only Emeril’s
800 Tchoupitoulas St., (504) 528-9393 Jacques-Imos Café
8324 Oak St., (504) 861-0886 Stella!
1032 Chartres St. European fare, Asian accents and bold Creole flavors Dinner only Lillette
Magazine Street New Orleans Moon Wok (Vietnamese & Chinese)
800 Rue Dalphine, (504) 523-6910 New Orleans Delicious chicken noodle soup (Pho Gao) FIRE
1377 Annunciation St., (504) 566-1950 New Orleans www.firearestaurant.com Homey as a neighborhood restaurant & hip as New York Alberta Restaurant
5015 Magazine St., (504) 891-3015 New Orleans, LA 70115 Zagat’s top pick “Best Newcomer in New Orleans January 2007”
R&R Belladonna Day Spa & Retail Therapy
2900 Magazine St., (504) 891-4393 www.belladonnadayspa.com Best gym is Fitness World on Bert Kouns, excellent gym with spinning and best pool for swimming Best Ernesto Martinez CONTRIBUTORS: Janie Bryant, Genevieve Tyrrell, Mikki Val, Barbara Inglehart, Jacqueline West/Cheryl Beasley, Judianna Makovsky, Susie DeSanto and Caroline Marx
UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK
Cafe Du Monde (coffee)
Costume Rentals, Manufacturing, Alterations, Alterations, Fitting Rooms & Offices
818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION WWW.NBCUNI.COM/STUDIO
When arriving in Louisiana contact the IATSE Studio Mechanics Local 478 for the state of Louisiana/Southern Mississippi Business agent Michael McHugh, 432 N.Anthony St., Suite 305, New Orleans 70119 (504) 486-2192
Summer 2007 The Costume Designer
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SCRAPBOOK
Costume Designer Ray Aghayan and Judy Garland, The Judy Garland Show 1964. 34
The Costume Designer Summer 2007
Robert Redford’s Baseball Glove from “The Natural” SOLD FOR $7,767
Elvis Presley Slacks from “Girls! Girls! Girls!” SOLD FOR $9,560
Paul Newman’s Bowler from “Butch Cassidy and the Sundance Kid” SOLD FOR $8,365
Judy Lynn Stage-Worn Suit by Nudie SOLD FOR $5,206
WE AUCTION
HOLLYWOOD HISTORY HERITAGE ACHIEVES STAR-STUDDED PRICES for stage/screen-used clothing and costumes.
Contact us TODAY to consign your material to our next auction! WHY DO SO MANY COLLECTORS CHOOSE HERITAGE AUCTIONS?
John Goodman “The Babe” Costume Yankees Uniform SOLD FOR $3,585
Huge base of collectors in Music, Film & Television Memorabilia Low seller’s fees Generous cash advances Over $5 million per year spent on marketing alone Entire collections bought outright Over $3 billion in collectibles sold since 1976 35 years in business with the same owners Annual sales over $500 million Sellers paid on time…every time
CONSIGN NOW! Doug Norwine, 800-872-6467 ext. 452 (DougN@HA.com)
3500 Maple Avenue, 17th Floor • Dallas, Texas 75219-3941 • 800-872-6467
Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604
Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450