The Official Magazine of the Costume Designers Guild
Costume Designers Guild Local 892–I.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604 costumedesignersguild.com
COSTUME DEPARTMENT BEST CONTEMPORARY CLOTHING AND ACCESSORIES COLLECTION IN L.A. MEN’S & LADIES’ ALTERATIONS AND MADE-TO-ORDER WALKABOUTS, TITANIC ‘EXTRAS’ COLLECTION AND OTHER SPECIALTY ITEMS FOX STUDIOS PRODUCTION SERVICES 10201 W. Pico Blvd. • Los Angeles, CA 90035 310.FOX.INFO • 310.369.1897 www.foxstudioscostumes.com costumes@fox.com
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vol. 6, issue 3
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FEATURES What a Way to Go!. . . . . . . . . . . . . . . . . . . . . 12 A conversation with Shirley MacLaine
Emmy Nominees . . . . . . . . . . . . . . . . . . . . . . 18 Thoughts from the 2010 nominees
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter Executive Director Assistant Executive Director Labor Report
The Costume Department . . . . . . . . . . . . . . . 20 Meet the Assistants Meet the Illustrators History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com
Location: Vancouver Boldface Names
Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com
COVER Shirley MacLaine in Sweet Charity, 1969 Costume Design by Edith Head
Summer 2010 The Costume Designer
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EDITOR’S NOTE
T
here are two topics on my mind this summer.
One is the changing of the guard here at the magazine. We are so sorry to be losing a very dedicated partner in crime. Costume Designer Audrey Fisher is stepping down as associate editor and contributor of “A Look Back” and “Boldface Names.” Audrey’s very successful HBO series, True Blood, leaves her with very little, if any, free time; so she’s deeply in need of a break. I will certainly miss her unique perspective and writing style. Also taking some time off is contributor JR Hawbaker, who’s been writing “Meet the Assistants” since the start. JR has been working as Audrey’s Assistant Designer on True Blood—need I say more? Thank you JR for your swan song in this issue. I’m happy to announce that Bonnie Nipar will be taking over as associate editor! Bonnie has become more and more involved with the magazine, taking on the research for “What’s On & What’s In,” “Location, Location, Location,” and our Emmy/CDG Award Q&A that seems a perfect fit. Her hard work and enthusiasm are so welcome and appreciated. That said, we are still left needing more from YOU. If you are interested in developing a new regular column, have a singular story to tell or would like to help tackle some of the many research projects we encounter, please contact us. On that note: thank you to CD Rob Saduski for sharing your conversation with Shirley MacLaine. It’s been some time since you first proposed the idea. I’m so glad we could finally treat our readers to another sort of “Look Back” with such a legendary actress.
costumedesignersguild.com EDITOR/PHOTO EDITOR
Deena Appel ASSOCIATE EDITOR
Bonnie Nipar MANAGING EDITOR
Cheryl Downey PRESIDENT
Mary Rose mrose@costumedesignersguild.com VICE PRESIDENT
Hope Hanafin hhanafin@costumedesignersguild.com SECRETARY
Ann Somers Major asomersmajor@costumedesignersguild.com TREASURER
Marilyn Matthews mmatthews@costumedesignersguild.com EXECUTIVE BOARD
Sharon Day sday@costumedesignersguild.com
Salvador Perez sperez@costumedesignersguild.com
On another front … TV COSTUME DESIGNERS … MY HAT’S OFF TO YOU!!!
Deena Appel dappel@costumedesignersguild.com
Be Judged.
April Ferry
Launching a new episodic TV series may just be the hardest job a designer can take on. Is it “just shopping?” YOU’VE GOT TO BE KIDDING?! Of course, I have very little perspective at this point, since I start shooting episode ONE tomorrow on my first series. After hearing the trials and tribulations from other designers over the years, I thought I knew what to expect, but I had no idea. Television works at the speed of light. Trying to create a complete “closet” for your lead characters one week before shooting is daunting at the least. A single episode alone can take you from sports attire to tuxedos and everywhere in between. Are your actors off-the-rack sizes? Maybe not. Is it last-call sale time, off-season, or are the colors just wrong? It’s likely. There’s latenight casting, later night fittings and mad rush alterations. Meetings on top of meetings! Wow, who knew? Imperative of course, but every eight days or so there’s the concept meeting, the director meeting, the production meeting, added to 15 story days, new day players and set pieces, uniforms, stunts and what about the traffic?! I don’t know how you do it, week after week, year after year (though they tell me it gets easier). I’m amazed with a newfound sense of wonder at the miracles, large and small, that TV designers pull out of their hats on a regular basis. They are every bit as focused on designing real and yet, original characters, while helping to tell the story through costumes as any film designer would be. The difference is that they have to explore new ideas, make choices and delegate, delegate, delegate in the blink of an eye WHILE prepping, shooting and wrapping various episodes at the same time. Evidence that more shows should employ and fairly compensate our Assistant Designers as well! I’m very lucky to have the loveliest show runners, a very hard-working crew and an extremely appreciative cast. Fingers crossed to all who are starting up new shows this season. Here’s to a long run and to getting in the groove. Congratulations to the talented Emmy-nominated CDs—read how they did it on page 18. Deena Appel. dappel@costumedesignersguild.com
aferry@costumedesignersguild.com
Lois DeArmond (Asst. Costume Designers) ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators) fsanchez@costumedesignersguild.com BOARD ALTERNATES
Valerie Laven-Cooper vlavencooper@costumedesignersguild.com
Susan Nininger snininger@costumedesignersguild.com
Robert Blackman rblackman@costumedesignersguild.com
Julie Weiss jweiss@costumedesignersguild.com BOARD OF TRUSTEES
Marcy Froehlich, Chair mfroehlich@costumedesignersguild.com
Peter Flaherty pflaherty@costumedesignersguild.com
Jacqueline Saint Anne jsaintanne@costumedesignersguild.com EXECUTIVE DIRECTOR
Cheryl Downey cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT
Suzanne Huntington shuntington@costumedesignersguild.com
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Cheryl Marshall cmarshall@costumedesignersguild.com
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Dan Dodd 310.207.4410 x236
The Costume Designer Summer 2010
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UNION LABEL PRESIDENT’S LETTER Dear Members, Would most of us object to being thinner? Mind losing weight? I would say no! But when my Sunday-morning Times, W magazine and The New Yorker, are all growing skinny, I can’t help but feel sad, seeing that these publications are now stapled rather than bound. So it’s actually a relief, when our CDG magazine editor Deena Appel sent the warning, “It’s that time again, the summer deadline is here.” I suppose it’s a great possibility, that in the not-so-distant future, this magazine too will be incorporated into our website, and we will all be reading it online. But then … this speculation took me back to 2003, when I was your CDG Treasurer. The Executive Board discussions at that time were centered on discontinuing the CDG directory. The concern was that in the age of the Internet, our directory had lost its usefulness, and that producers and directors were focused on their computers and not interested in a printed directory. And so the CDG directory met its death. In 2007, a newly elected CDG EBoard heard the call of many members asking for the directory to be resurrected. That combined with the fact that our fabulous magazine publishers, IngleDodd, agreed to completely finance the directory (as they do our magazine), made it a win-win proposition. The EBoard subsequently voted to bring back the coveted directory. Now, while it didn’t cost us any money, we had to find a hard-working volunteer editor to take on the thankless job. Happily, that brave volunteer, Salvador Perez (who had edited the 2002 and 2003 versions), agreed to come back on board and has since edited both 2009 and 2010. He must have been a masochist or out of his mind or I’d like to think a really good man, because the job is a big one. However, at this time, since Salvador is a constantly working Costume Designer who also oversees our website, he simply can’t continue with the directory. So … we are looking for someone to take the reins as editor and assemble a team to help. I’m really hoping that there is a member reading this, who would like to step into Sal’s shoes to keep the directory afloat for all those members who look forward to it every year. Without a leader, it will once again cease to exist. Any volunteers should contact the office ASAP. Our magazine editor, Deena Appel, will be busy keeping the magazine going while she is designing a new fall series, and she too is looking for any bright-eyed volunteers interested in contributing to our magazine. Please step up and join the magazine staff! By the time this reaches you, the FIDM/ATAS joint “The Art of Television Costume Design Exhibition” will have already opened so if you missed it, please stop by to see the work of your talented peers. The exhibit will be open through September 4, 2010. Have a wonderful summer. With love, Mary Rose mrose@costumedesignersguild.com
2010 CALENDAR September 6 CDG Office closed for Labor Day (Mon.) 13 Executive Board Meeting 7 PM CDG Offices (Mon.) 15 Final Election Ballots due back (Wed.) 16 Ballot counting (Thu.) October 4 Eboard Meeting, New Eboard installed 7 PM CDG Offices (Mon.) November 8 Eboard Meeting 7 PM CDG Offices (Mon.)
CORRECTION The Costume Designer of The Runaways Carol Beadle’s name was misspelled in the previous issue. Our apologies.
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The Costume Designer Summer 2010
UNION LABEL
UNION LABEL
EXECUTIVE DIRECTOR
ASSISTANT EXECUTIVE DIRECTOR
Hello, Friends,
Dear Members,
Knowing that there are finally more jobs out there for you is welcome news. Although many of those jobs are out of California, low, lower, and lowest budget productions, or even eight-minute webisodes, the good news is that most seem to be signing IA Agreements out front. At least, no matter what the pay scale may be, you will earn contributed hours into our Health and Pension Plans which are so in need of funding. DVD sales are down, Internet “free” downloading sites proliferating and medical costs continue to rise. Remember to report your jobs to the office so the IA can organize any non-union companies still trying to dodge paying benefits you all deserve. Even before the recent downturn in our business, one of your requests was to have more social occasions for members to catch up and network with Guild friends. In response, the Guild began what is already a much-anticipated annual tradition: the CDG Holiday Party. Now we’ve started a midsummer soiree for CDG members and our Local 705 sisters and brothers. We hope it too will develop an enthusiastic, annual following. In the meanwhile, we’ve streamlined our General Membership Meetings to accommodate before-and- after social time. So, come and enjoy being part of the fun and creativity in this Guild! Another way to make use of the many benefits of CDG membership is to get involved on a committee with your fellow Designer, Assistant Designer and Illustrator members. Committee opportunities come in all varieties: • Short-lived: such as the current Election Committee, chaired by Nanrose Buchman and Helen Butler. They make sure rules are followed precisely as we elect new leadership to start October 1. • Annual: such as the Comic-Con Committee, chaired by veteran Susan Nininger. This year, in addition to offering three CDG panels, for the first time we co-sponsored an exhibition of CDG Illustrators’ artwork alongside those of our sisters and brothers in Local 800, the Art Directors Guild. This committee grew exponentially this year and even pioneered a CDG Twitter following! • Long term: such as education, wonderfully helmed by Ann Major and Helen Butler, who launched our “Tuesday Tea and Technology” dropin sessions at the Guild. Alycia Belle is the new Co-chair who envisions having each session focus on whatever new challenge might help you be more easily productive in your creative work. Empowering you in the workplace is a primary goal of this Guild’s leadership. Let us know your needs and get involved. Make sure you vote in the CDG Election—ballots in the mail shortly. This Guild needs YOU!
Summer: lazy days, hot temperatures, vacations? NOT if you work in the world of television. This is the time of year when our television designers are gearing up for another season of long days, hard work, and creative brainstorming. This new season has more television shooting out of the L.A. area than ever before. The challenges of episodic TV are hard enough but when you are trying to get a show up and going in a city you’re not familiar with, it can add new obstacles you don’t have time to deal with. The Costumer Designer has been covering many of these cities in “Location, Location, Location,” and you can refer to them online at our website. The CDG office can also refer you to other members who have worked in the same areas and can guide you to all the best resources. It is also important that you call the IA Local union in the area to let them know that you will be working in their jurisdiction under an 892 contract. Be sure that the production company has traveled you, housed you, and is paying you per diem, as well as idle day pay and benefits for those idle days. We can help you find local crew and craftspeople, as well as great resources for your shopping needs in the area. Call the office to let us know where you will be working and we will give you the contact for the Local union office. Here are just a few of the most-often-needed numbers: Georgia Local 479, Michael Akins (770) 483-0400 Louisiana Local 478, Michael McHugh (504) 486-2192 New Mexico Local 480, Jon Hendry (505) 986-9512 N. and S. Carolina Local 491, Jason Rosin (910) 343-9408
Chicago Local 476, Mark Hogan (773) 775-5300 Michigan Local 812, Timothy Magee (313) 368-0825 New York Local USA 829, Beverly Miller (212) 581-0300
Travel and work safely and let us know where you are by either calling us or reporting your work online. Good luck on another great year. In Solidarity, Rachael Stanley rstanley@costumedesignersguild.com
In Solidarity, Cheryl cdowney@costumedesignersguild.com
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The Costume Designer Summer 2010
Summer 2010 The Costume Designer
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The Costume Designer Summer 2010
WHAT A WAY TO GO!
A Conversation With Shirley MacLaine
hirley MacLaine’s career is marked by collaborations with legendary directors, actors and Costume Designers. I had the opportunity to talk with Shirley about certain choices and inspirations that helped build the characters she portrayed. What I find so impressive is not only the caliber of her performances or the remarkable people she’s worked with, but her enthusiasm and clarity in recalling her extraordinary career, and her humility in describing her partnerships with so many talented Costume Designers.
S
What do you remember about working with Orry-Kelly on Irma la Douce? A particular shade of green was so effectively used in your entire wardrobe. Where did the idea originate? I met Orry-Kelly on the movie The Apartment so we already had a working relationship. Orry and head cutter/fitter Lilly Fonda would bring the costumes to my trailer. Elizabeth Courtney was also working at Western Costume then, and she helped make some of my costumes. The green tights were actually the idea of Audrey Wilder (director Billy Wilder’s wife). The color was to symbolize money and since I was playing a prostitute, it made sense. There was a lot of discussion around the color of my wedding dress at the end of the film. Since I was playing a prostitute, the choice to use white was controversial at the time. The other “street” girls wore baby blue and pink to be the bridesmaids. Orry loved sashaying around with the girls. He was a master at accentuating the bust. He taught me how to raise my bust for effect and to put a 7½ millimeter pearl into my bra to enhance my nipples. Orry said he could make Jimmy Stewart look like he had boobs! I would like to talk about an early collaboration, Some Came Running, with director Vincente Minnelli (a former Costume Designer himself) and Oscar-winning Costume Designer Walter Plunkett. Were the costumes built or were they pulled from costume houses and purchased from stores? No matter how often I watch your performance, I find it emotional and wrenching when your character and Frank Sinatra’s are murdered. I was so sure of who my character was that I used some pieces of my personal wardrobe in the film. I don’t know why I had sandals like that, but I did and used them. Vincente Minnelli trusted Walter Plunkett and me with the character so we shopped for Ginnie Moorehead’s clothes at stores in the Valley. Walter then took those clothes and trashed them up a bit more, which was the right thing to do.
Irma la Douce Some Came Running 12
The Costume Designer Summer 2010
Some Came Running I understand that the producer of Around the World in Eighty Days, Mike Todd, flew you from your Las Vegas performance to Western Costume in Los Angeles to prepare you for your screen test for the film. What was that experience like? Mike Todd asked me to come to his office while he was casting the role of Princess Aouda. Mike thought the highest caste of Hindu was pale skin and red hair, so he gave me the job on the spot. He sent me directly over to Western Costume to be wrapped in saris by Costume Designer Miles White and Lilly Fonda. Next, I was sent to have my hair dyed and then, I was put directly on a plane. I had to call my husband from the airport to tell him what was happening. During the filming, there was a pending strike, so in a scene where I was being carried around a lake by extras, I thought they might toss me in the lake as a show of protest. All I could think about was how the water would ruin my costume and how I would explain that to Miles. There are so many great actors working together on that film, did you have any scenes or time on the set with Marlene Dietrich? I was able to sit in on Marlene Dietrich’s fittings with Miles and Lilly at Western Costume and watched as they decided where each bead was placed on her costume for the best effect. Marlene and cameraman Cooley taught me how to light myself on that film and I have used that advice ever since.
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The Costume Designer Summer 2010
Around the World in Eighty Days Can-Can was such a brilliant collaboration of talent behind the scenes, with Irene Sharaff designing the costumes, Tony Duquette consulting on the sets and Tom Keogh designing the titles. What was your experience with Irene Sharaff? Did she use genuine, period clothes to reference your costumes? One of the first things that comes to mind is the weight of the costume … about 75 lbs! Irene Sharaff had quite an imposing presence, so making suggestions about the costumes was not something I wanted to do. The costumes were all based on genuine garments of the period, including the undergarments. All of the costumes were made of cotton and silks, no synthetics. Di Fabrizio made the dance shoes for the movie (the start of another professional relationship that lasted for many years). Russian Premier Kruschev came to visit the set on the Fox lot and we were asked to perform one of the musical numbers from the movie. Now, when we shot the dance scenes for the movie, we did it in cuts, but for Kruschev (and the head of Fox at the time), we had to do it all the way through … in those 75-lb costumes! That wasn’t easy. Thank God, Juliet Prowse was there with me to see the number through in front of all those people. Another funny memory was when we shot the scene where Frank Sinatra sings, “Live and Let Live.” It was just after I’d eaten lunch (which was showing). Luckily, Irene had a dressing gown for me to put over my costume. In the courtroom scenes, I was wearing a very tight corset to cinch my waist to probably 19”-20.” Irene insisted I wear it, and her adherence to the silhouette of the period paid off.
Sweet Charity
Can-Can
The Apartment Summer 2010 The Costume Designer
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Bewitched
The Apartment One of your most memorable characters for me is Charity in the film Sweet Charity. What an important collaboration with director Bob Fosse, Costume Designer Edith Head, and screenwriter Federico Fellini (having written and directed the original film, Nights of Cabiria). The costumes were simple in shape and primary in color. Did that have to do with the current styles of the time or the adaptation from the stage or perhaps even the original Fellini film? I had worked with Edith before so we got along very well. She designed the diamond dress in What a Way to Go that cost $30,000 (at that time). On Sweet Charity, I really only had one basic dress, the rest of my clothes revolved around it. Edith and I worked together on what that dress should be. Bob Fosse trusted us with our wardrobe choices. He knew that the clothes had to work a certain way because there was so much dancing, so he let Chita Rivera, Paula Kelly and me work very closely with Edith. I remember her as a very black-and-white sort of person, not a lot of emotion even on her time off. I used to go to her house sometimes (which now belongs to Carrie Fisher) and she always said I should “lose two more pounds.” Edith also had a right-hand woman named Pat Barto, who she kept locked in a room somewhere. Pat was very talented, a real character with long fingernails and different hairstyles all the time.
During that time, I got to sit in on another Marlene Dietrich fitting with Jean Louis and Lilly Fonda at Western, this time for a beaded
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The Costume Designer Summer 2010
What a Way to Go
Sweet Charity gown for her concert performances. I was once at a party at Jean Louis’ in Malibu and went upstairs to put my coat on the bed. Under all the other coats on the bed lay Margot Fonteyn! I looked over and into the room walked Rudolph Nureyev, in head-to-toe black leather! Can you reminisce some about working with Dorothy Jeakins? May Routh? Dorothy Jeakins was a big woman but very understated. My charac-
Terms of Endearment
ter, Martha, in The Children’s Hour, doesn’t know she’s gay, and her clothes say as much. There is one scene in the movie where Martha is ironing Karen’s clothes and we see Martha’s love for her in the act of ironing her clothes. Audrey Hepburn (Karen) played a schoolteacher and was dressed as a teacher would dress. Most of our clothes were bought but Dorothy made some things too. [Dorothy Jeakins was nominated for an Academy Award for her costumes.]
the character. Costume Designer Kristi Zea and I used that picture as the inspiration for Aurora’s clothes. The wardrobe had a feeling of femininity with the use of pastel colors. I wore a dress with a peasant neckline under the gazebo to make an impression on my astronaut neighbor (Jack Nicholson). Another important costume was the dress I wore with Jack driving a convertible Corvette on the beach. It really flew in the wind and was quite effective.
May Routh and I really had a great time working on Eve’s costumes for Being There. We filmed it in North Carolina. The director, Hal Ashby, really trusted May’s choices for this wealthy woman.
Thank you, Shirley, for sharing your experiences and giving us a peek inside your process. Thank you for helping me to remember all of the wonderful and talented people I knew and worked with during my career.
The costumes you wear in Terms of Endearment are soft and romantic—the antithesis of the character. In Terms of Endearment, James Brooks was very involved with my character Aurora’s costumes. I was on a plane going through a fashion magazine and found a picture I thought really captured
Rob Saduski MRMS31@aol.com
Summer 2010 The Costume Designer
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Emmy Nominees: Outstanding Costumes for a Miniseries, Movie or a Special EMMA Costume Designer: ROSALIND EBBUTT Costume Supervisor: AMANDA KEABLE While studying English at University, I became very involved in costuming student dramas and had the opportunity to travel to America with a production of Julius Caesar, directed by Jonathan Miller. It was then that I realized I HAD to be a Costume Designer! I wanted Emma to look like a robust Georgian painting, with bold colors and interesting textures. Luminous, but with restrained elegance… Like the end of a summer’s day when all the flowers in the garden glow with more intensity. The look was successful because all of the creative departments worked together to fulfill one vision. It was a truly happy experience!
GEORGIA O’KEEFFE Costume Designer: MICHAEL DENNISON Costume Supervisor: FRANCES VEGA
Emmy Nominees: Outstanding Costumes for a Series 30 ROCK Costume Designer: TOM BROECKER Assistant Costume Designers: REMY PEARCE, JOANNA BRETT While I was designing Saturday Night Live, Tina Fey approached me about 30 Rock, a “realistic” backstage look at an SNL–type show with a female head writer. Tina is so smart, funny, and talented, I said, “YES, sign me up.” Four seasons later, this comic universe has become so much more. This episode has Liz Lemon juggling three weddings on the same day. Each wedding was designed with a distinctive look: a traditional church wedding, a New York City fashion-society wedding, and a black-cast-member wedding in the TV studio. The most challenging design aspect was to achieve three distinctive looks using wedding and bridesmaids dresses, and the contemporary clothing designed for each cast member.
GLEE Costume Designer: LOU A. EYRICH Costume Supervisor: MARISA ABOITIZ
My career began in NYC at Brooks-Van Horn Costumes in 1973 in the Art Department. Afterward, I worked with Julliard’s The Acting Company and Twyla Tharp in the Wardrobe Department, on Broadway and eventually, feature films as a Costume Supervisor.
In the late ’80s, I toured with bands doing the wardrobe, until I submitted my resume for a movie with Costume Designer Carol Ramsey. Luckily, Carol mentored me for eight years, until the day she left Popular to design a film, and I was bumped up to Costume Designer for the series. Subsequently, the creator, Ryan Murphy, brought me on to four more projects before creating Glee.
My degree is in painting and I live in New Mexico, so the visuals and the setting in Georgia O’Keeffe were of great importance to me. The minimalist approach of the project made the costumes even more striking against the magnificent locations. The movie spans five decades of interesting and colorful characters who inhabited O’Keeffe’s life, and I was thrilled to be able to bring them to life.
On Glee, the characters are just so delicious and juicy that it’s so much fun to design. I believe the reason Glee was nominated is the theatricality of the show. The writing and the talented cast allow the characters to be fun, colorful & creative … and there’s such a diversity of character … a little something for everyone to relate to.
THE PACIFIC Costume Designer: PENNY ROSE Costume Supervisor: KEN CROUCH Out of theater design school, I worked six years on commercials with a very innovative, engaging, and exciting group of guys, Ridley Scott, Alan Parker, Adrian Lynne and Hugh Hudson. Thanks to their loyalty, encouragement and support I took on the challenge of the feature world under their talented wings.
The Pacific was my first TV job. For the civilian episode, I realized that 1942 Australia looked like England in 1930, so I used a bit of license to give it a far more backwoods suburban flavor. It’s arduous work to do a TV show, and my admiration for those who do has shot way up. I could not have done it without my guys doing the military uniforms.
RETURN TO CRANFORD Costume Designer: JENNY BEAVAN Costume Supervisor: ALISON BEARD I started in theater, and grew to include TV and film. I’ve found it’s the same job for all disciplines … storytelling. I met producer Sue Birtwistle 15 years ago when she asked me to design Emma for which I won an Emmy. We kept in touch, doing other small projects where there was no money, but there were wonderful people involved. Sue had it in mind for years to produce the Cranford stories based on the works of Elizabeth Gaskell. I can’t think of anything better than to work on such fantastic stories with such talented, extraordinary women. All departments did a terrific job… I feel I’m blessed to be a part of the whole.
YOU DON’T KNOW JACK Costume Designer: RITA RYACK Assistant Costume Designer: MARIA TORTU I was very happy to work with Barry Levinson again after Wag the Dog, and Dr. Kevorkian is a personal hero, so I really wanted to help tell his story. The filmmakers’ intention was to present Jack’s relatively provincial ’90s Michigan world in gritty, desaturated color. I dressed the characters in a hyper-real, ironic way, inspired by Jack’s own videotapes. Our choices enabled Al Pacino to interpret Jack as he “felt” him. As Al said: “I’m not DOING him—I’m PAINTING him.” We had an exciting collaboration. I admire Susan Sarandon for embracing her character’s practical style. The cast’s complete visual transformations earned me the nomination and I’m thrilled that the picture has received positive recognition!
THE GOOD WIFE Costume Designer: DANIEL LAWSON Assistant Costume Designers: JENNIFER ROGIEN FALETTI, DANIELE HOLLYWOOD With an MFA in costume design, I started my career in theater, entered television as an ACD, then ultimately, got my first costume design job on John Well’s Third Watch. It was there that I met EP Brooke Kennedy, who recommended me for The Good Wife. In meetings with creators Michelle and Robert King, we agreed I should create a sophisticated and chic look that reflected both superb fit as well as clear and specific character delineation. My assistants and I use teamwork and painstaking attention to detail as our greatest tool. I look to the producers for guidance in tone, story, and character development and they in turn allow me the freedom to create within the realm of the show.
MAD MEN Costume Designer: JANIE BRYANT Costume Supervisor: LE DAWSON As an assistant fashion designer in NYC, I had no plans to go into film until I met Alexandra Welker. She told me about her job and I thought, “That’s what I want to do.” First job, I worked for free as an ACD on a low-budget feature, then went on from there. I was designing Deadwood when friends from the pilot of Mad Men told Matt Weiner about me. We met and immediately hit it off. This season’s “Souvenir” is a beautiful episode. It was interesting to create the world of Rome through costumes, see Betty transform stylistically, and show different aspects to our characters’ lives.
THE TUDORS Costume Designer: JOAN BERGIN Wardrobe Supervisor: SUSAN CAVE A late starter to film, I came from classic theater, worked as a set and costume designer, sometimes actor, and then, running an interior architectural practice. My first big movie, My Left Foot, was nominated for seven Oscars! Director Jim Sheridan always pushed his creatives hard to serve the story first. An invaluable lesson! I refreshed this blueprint with Christopher Nolan on The Prestige, and then brought it to the table myself for The Tudors. However beautiful the costumes, you have to ask yourself … what do they add to the characters’ emotional journey? Exhilaratingly addictive, exhausting as a mixim, by the end of season four on The Tudors, I’m quietly proud to have honored it.
THE COSTUME DEPARTMENT
20
11501 N. Chandler Blvd., North Hollywood, CA 91601 • Tel: 818 752-7522 • Fax: 818 752-7524 • mail@costumeco-op.com
COSTUME CO-OP
Custom made and Alterations for the Entertainment Industry
om costumeco-op.c
Carrie Grace received her BFA in fashion design from the Fashion Institute of Technology in NYC and had tenure in the NYC fashion scene. However, feeling creatively stunted, Grace needed a change. So in the summer of 1999, she packed up and headed west to “join the circus that is show business!” She now calls L.A. home and has run the costume gamut by working indie movies, passing out resumes at Western Costume, and designing performance costumes for musicians and dancers. Today, you can find Grace mainly working in television and film where she explains, “A good ACD is instrumental in expanding the scope of the Costume Designer’s influence and intentions.” Carrie loves the research and education process of each new project. Whether it is researching 1920s period clothing, understanding the dynamics of creating a walkabout costume, discovering the details of traditional Japanese dress, or re-creating authentic juvenile detention uniforms, Grace enjoys how each job nurtures her growing range of expertise. Grace has a sagacity that emulates her namesake. She explains how to “survive the circus with a graceful calm and quiet understanding. It’s so important to keep a sense of humor about the capricious nature of this business. We must remember to take care of ourselves and keep a balance so we can be the best at our job.
christinebean@sbcglobal.net
carriegrace@gmail.com
8/12/10 3:08 PM
can’t live without iPhone, GPS, Google app, camera phone
MEET THE ILLUSTRATORS
R
This Santa Cruzian ACD with the can-do attitude spent “many 18-hour days working for pennies” learning the ropes by designing for indies and student films. Christine Bean knew her ultimate goal was to join the Guild, but she also knew she needed to meet Costume Designers. After graduating from FIDM, she worked her way up through Local 705. Her foot was in the door when Eddie Marks hired her at Western Costume. An ACD who knows the inner workings of the rental houses and retains those connections can be a tremendous asset. Now working as an ACD, Bean explains, “I am so happy I’ve had the experience of working at Western, especially under Donna Roberts. She introduced me to clothing from the 1890s to 1980s and patiently taught me the defining details of each period. The time spent at Western was invaluable.” Christine’s advise to newbies: Even if you are working in contemporary TV/ film, you need an understanding of period silhouettes because “when your designer references a ’40s shoulder or Gibson Girl, you should know these images.” Bean spent the past several years assisting CD Melina Root and loving her costume family on Brothers & Sisters. Recently, she has relocated to NYC and, with her Google app and iPhone by her side, she is scouring the NYC shopping scene and available for work in the Big Apple!
The Costume Designer Summer 2010
Costume co-op Ad_sum10.indd 1
CARRIE GRACE
CHRISTINE BEAN
MEET THE ASSISTANTS
can’t live without cell phone camera, le Sportsac belt bag, small notebook & pencil JR Hawbaker jhawbaker@costumedesignersguild.com
ussell Dauterman ,
one of our new illustrator members, works within the worlds of costume illustration, comics and children’s books. Ever since he could pick up a crayon, Russell has been drawing. While mermaids and Masters of the Universe may sometimes remain the focus of Russell’s art, he has grown from those early days to find inspiration in art nouveau, J.C. Leyendecker, comic art and film. He has trained in traditional drawing, painting, marker rendering and digital methods. A graduate of Boston College, Russell also has a master of fine arts degree from the University of California, Los Angeles (UCLA), where he majored in costume illustration. At Boston College, Russell wrote and illustrated his first children’s book, Terry, the Awkward Turtle. During school, his diverse internships have included a stint at Marvel Entertainment and researching costume history for Raiders of the Lost Ark Costume Designer Deborah Nadoolman. Russell’s recent work includes the film Captain America: The First Avenger, where he worked as a Costume Illustrator for Designer Jeffrey Kurland. He has also completed the children’s/educational books The Rescueteers’ Christmas Mission by Annette ette O’Leary-Coggins and Shape Up or Bite Me!! by Judy Eberhardt. In addition, Russell iss creating a complete illustrated history of costume as a textbook for schools, hools, which covers dress from om ancient times to o modern-day clothes.. The working version of the book, tentatively titled The Evolving Line: An Illustrated History of Western n Dress, is currently being used sed as a text for UCLA’s School of Theater, Film and Television ion costume history course. Russell ssell lives and works in Los Angeles, California. nia. For more on Russell, please visit www .russelldauterman.com. dauterman.com.
M
e i - L i n g Hubbard,
who joined the CDG Illustrators in April, discovered theatrical costume through her grandfather’s love of opera and ballet. Both of her grandparents were involved in the stage and their influence generated in her an interest in theatrical theatrica costumes; the more opulent, the better. Her early fascination with stage costumes developed into a passion for costume design that has guided her throughout her life. Mei-Ling d grew up in Los Angeles and began illustrating professionally for a stylist while still in high school. After graduating from Cooper Union for the Advancement of Science and Art in New York with a Adv major maj in fine art, she moved back to Los Angeles and began b g working as a graphic designer and art director, be occasionally illustrating for commercials. From princessocc es aand superheroes to walkabout broccoli and rock stars, Mei-Ling loves illustrating costumes because it never gets boring. Each Eac job is different and requires a specific mood which allows her h to use various techniques and media to express a character charac or depict a garment. Mei-Ling values being a part of the CDG and the vibrant M and collaborative environment that sustains this industry. co You ccan see a portion of her portfolio on the CDG website www.costumedesignersguild.com. at w Jacqueline Saint Anne jsaintanne@costumedesignersguild.com
Summer 2010 The Costume Designer
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THE COSTUME DEPARTMENT
IN FOCUS
location, location, location:
HISTORY OF DRESS U-V
U
MBRELLA: (From the Latin word umbra or shade.)
Dates as far back as Babylon. Reliefs and paintings show the ancient Egyptians using them to keep off the sun and rain. Chinese history dates them to the 11th-century BCE, when they were commonly made of oiled leather. They fell out of popularity in Europe during the Middle Ages in favor of hooded cloaks but were reintroduced by China mid-17th century by way of Portugal and Italy. They have remained in common usage since, the umbrella usually being referred to for rainy circumstances and the parasol coming into fashion as a sunshade.
UNION SUIT: The one-piece knitted undergarment originated during the Women’s Emancipation Dress Reform Movement as an alternative to corsets and other restrictive wear, but soon became popular with men as well. Initially, the one-piece garment was made of red flannel long sleeves and leg and buttoned up the front. The button flap in back was known as a “drop seat” or “fireman’s flap.” It was patented in 1868 and remained common in the United States well into the 20th century, gradually losing popularity due to its association with comical “old fashioned” characters.
URAEUS: The ancient Egyptian form of the upright spitting cobra or asp, which formed the centerpiece of the crown of the pharaohs of the Lower Nile. Considered a goddess, the asp was the protector of the kingdom. Later, when the two kingdoms joined, the cobra and the vulture were both represented on the crown. UPARNA: Similar to the dopatta, it is an Indian scarf made of silk or muslin and woven or embroidered with metallic thread. It is worn by both sexes of both the Hindu and Muslim populations.
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The Costume Designer Summer 2010
MALLS
V
Pacific Centre Mall
ALENCE: Originally, a linen cover for the helmet of a medieval suit of armor, it now may refer to a hat brim with a flap of leather or metal.
VEIL: Head and face coverings ranging in every
701 W. Georgia St., Vancouver, BC V7Y 1G5, Canada www.pacificcentre.ca Premier mall adjoining Holt Renfrew with upscale stores and Four Seasons Hotel. Oakridge Centre
South Granville Street
Separated by bridge with an eclectic mix of stores, boutiques, and art galleries. Kitsilano
Vancouver’s beach area. A destination must! Main Street
Lots of vintage stores and young entrepreneurs.
possible size, fabric and usage. The first historical account of the veil comes from Assyria in the 13th-century BCE, where it is referred to as a symbol of status, indicating a woman of high social standing and forbidden for common women and prostitutes. A biblical reference also cites Hebrew women wearing it as a sign of social standing, but since then, it has come to represent propriety in women of the Jewish, Christian and Islamic faith. The most time-honored and meaningful of feminine accessories, it has stood for humility, modesty, holiness, marriage, mourning, mystery or beauty, depending on the culture and context.
41 Ave. West, Vancouver, BC V5Z 2M9, Canada Located on the west side. Includes department stores Zellers and The Bay, and over 150 stores.
Robson Street
Metropolis at Metrotown
Yaletown
4700-4820 Kingsway, Burnaby, BC V5H 4J8, Canada (604) 438-4715
Younger professionals shop high-end stores with the latest in fashion. Lots of great restaurants. Somewhat like SoHo, NYC.
Park Royal Shopping Centre
BOUTIQUES
VIRAGO SLEEVE:
The Bay Department Store
A women’s item of clothing fashionable the 1620s–1630s. It is a full-paneled sleeve that is made of strips of fabric gathers into two poufs by a ribbon or fabric band above the elbow.
674 Granville St., Vancouver, BC V5C 1Z6, Canada (604) 681-6211 Oldest department store in Vancouver (built in 1912).
2002 Park Royal South, W. Vancouver, BC V7I 2W4, Canada www.shopparkroyal.com Located in Northern Vancouver.
SHOPPING AREAS 4th Avenue and Burrard Street
Large concentration of sporting goods stores, small eclectic boutiques, mainstream retailers, home goods shops and tons of restaurants.
A treat! In the heart of downtown, it’s one of the most famous shopping areas with high-end chain stores like Gucci, Hermes, Louis Vittton, and a few specialty stores.
(Note: Many of the following boutiques also carry menswear.) 212
454 W. Cordova St., Vancouver, BC V6B 4K2, Canada (604) 685-2426 www.twoonetwo.net Local designer. Atomic Model
1036 Mainland St., Vancouver, BC V6B 2T4, Canada (604) 688-9989 www.atomicmodel.com Hip clothing and accessories by young contemporary designers.
Bacci and Bacci’s Home
2788 Granville St., Vancouver, BC V6H 3J3, Canada (604) 733-4933 www.buccis.ca Hip clothing, home décor and gifts … all in one store!
Commercial Drive
Vancouver’s “Little Italy” is now a hipster neighborhood with lots of funky, unique stores, coffee shops, organic grocery stores, and colorful individuals! Gastown
Oldest part of Vancouver with many historical buildings, local designer shops. Granville Island
Illustrations by Robin Richesson rrichesson@costumedesignersguild.com Text by Karyn Wagner kwagner@costumedesignersguild.com
An escape! Unique artisan community with handmade jewelry and accessories. Huge farmer’s market held daily. www.granvilleisland.com Granville Street
Downtown caters to younger shoppers with stores like Urban Outfitters, John Fluevog Shoes, Vancouver Rock Shop, and American Apparel. Late-night club area.
Summer 2010 The Costume Designer
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IN FOCUS
location, location, location:
The Block
350 W. Cordova St., Vancouver, BC V6B 1E8, Canada (604) 685-8885 www.theblock.ca
MENSWEAR
SHOE STORES Gravity Pope Shoes
2205 W. 4th Ave., Vancouver, BC V6K 1N9, Canada Possibly the best shoe store in Vancouver! Holt Renfrew
Brooklyn Clothing Co.
418 Davie St., Vancouver, BC V6B 1C5, Canada (604) 683-2929 Hip, urban wear, including over 50 styles of jeans. Studio services. Harry Rosen at Pacific Centre
700 W. Georgia St., Vancouver, BC V7Y 1E8, Canada (604) 683-6861 Canada’s leading retailer of quality menswear. Haven Select
7 Gaoler’s Mews, Blood Alley, Vancouver, BC V6B 4K7, Canada (604) 488-9398 www.havenshop.ca Slick streetwear, hard-to-find Japanese labels, unique accessories.
Basquiat
Gravity Pope Tailored Goods
1189 Hamilton St., Vancouver, BC V6B 5P6, Canada (604) 688-0828 www.basquiat.ca Great option to Holt Renfrew. Owner does a line of jewelry that’s very good.
2203 West 4 Ave., Vancouver, BC V6K 1N9, Canada (604) 731-7647 www.gravitypope.com/gravity-pope -tailored-goods-vancouver New clothing boutique from owners of a favorite shoe store.
Boboli
VINTAGE AND THRIFT STORES Deluxe Junk Company
310 W. Cordova St., Vancouver, BC V6B 1E8, Canada (604) 685-4871 Fantastic jewelry! Mintage
2776 Granville St., Vancouver, BC V6H 3J3, Canada (604) 257-2300 Three adjoining stores, mostly Italian designers, some Issey Miyake. Everything from blue jeans to tuxedos.
Holt Renfrew
Dream Apparel
Leone
311 W. Cordova St., Vancouver, BC V6B 1E5, Canada (604) 683-7326 One of the few stores that exclusively sells collections from local designers.
757 W. Hastings St., Vancouver, BC V6C 1A1, Canada (604) 685-9833 Very exclusive. Contact: Kevin White, Studio Services.
737 Dunsmuir St., Vancouver, BC V7Y 1E4, Canada (604) 681-3121 Luxury shopping. Ask for Emile in the personal shopping dept.
1714 Commercial Drive, Vancouver, BC V5N 4A3, Canada (604) 871-0022 Vintage, new and reworked clothing. Great selection of vintage cowboy boots and Levi’s. Retro Rock Vintage Clothing
590 Davie St., Vancouver, BC V6B 2G4, Canada (604) 872-7665 Great selection, including rock T-shirts and vintage leather. Contact: Vito, owner. True Value Vintage
Dutil Denim Inc.
Mandula
303 W. Cordova St., Vancouver, BC V6B 1E5, Canada (604) 688-8892 www.dutildenim.com All-denim store.
214 Abbott St., Vancouver, BC V6B 2K8, Canada (604) 568-9211 www.mandula.com Local designer.
710 Robson St., Vancouver, BC 6VZ 1A1, Canada (604) 685-5403 One of the best vintage haunts in Vancouver. Film-friendly. Woo Vintage Clothing
Eugene Choo
Rubi & Kino
3683 Main St., Vancouver, BC V5V 3N6, Canada (604) 873-8874 www.eugenechoo.com
486 West Cordova St., Vancouver, BC V6B 4K2, Canada (604) 689-5288 Girlie, soft clothing with a natural feel.
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The Costume Designer Summer 2010
4366 Main St., Vancouver, BC V5V 3S2, Canada (604) 687-8200 All clothing cleaned and repaired: ’40s-’60s. Some reworked.
737 Dunsmuir St., Vancouver, BC V7Y 1E4, Canada (604) 681-3121 Rivals Sak’s shoe dept. John Fluevog Shoes and Boots
837 Granville St., Vancouver, BC V6Z 1K3, Canada (604) 688-2828 www.fluevog.com Funky shoes. Different and very characterbased.
SPECIALTY STORES Blue Ruby Jewelry
1089 Robson St., Vancouver, BC V6E 1A9, Canada (604) 266-9177 Also at Oakridge Mall.
Lace Embrace Atelier
Underworld Skate Shop
219 E. 16th St., Vancouver, BC V5T 2T5, Canada (604) 737-1119 www.laceembrace.com Sensational corsetry and undergarments. Contact: Melanie Talkington.
860 Granville St., Vancouver, BC V6B 2S8, Canada (604) 899-8949 www.underworld-shop.com Skate clothes.
Maiwa Handprints
FABRIC AND TRIM STORES
1745 W. 4 Ave., Vancouver, BC V6J 1M2, Canada (604) 734-7669 All things snowboards, skiing, etc. Cool, trendy streetwear & good customer service.
#6-1666 Johnston St., Vancouver, BC V6H 3S2, Canada (604) 669-3939 www.maiwa.com Amazing store with books on textiles. Clothing made with artisan textiles.
Dressew
Camouflage Int’l Military Surplus & Supplies
Marimekko Vancouver
Fabricana
888 Granville St., Vancouver, BC V6Z 1K3, Canada (604) 669-0506 www.camouflage.com
1233 Hamilton St., Vancouver, BC V6B 6K3, Canada (604) 609-2881 www.marimekko.com Finnish textiles and clothing design with bright graphic prints.
4591 Garden City Rd., Richmond, BC V6X 2K4, Canada (604) 273-5316 Huge fabric store for clothing and home décor.
Board Room
Dare to Wear
1028 Granville St., Vancouver, BC V6Z 1L5, Canada www.dare-to-wear.com Fetish, PVC clothing, club wear, lingerie. Diane’s Lingerie
2950 Granville St., Vancouver, BC V6H 3J7, Canada (604) 738-5121 www.dianeslingerie.com Good option to Holt Renfrew’s lingerie dept. Front & Company
3772 Main St., Vancouver, BC V5V 3N7, Canada (604) 879-8431 www.frontandcompany.ca Great deals! Vintage, consignment, new. Good place to buy stock for background.
337 W. Hastings St., Vancouver, BC V6B 1H6, Canada (604) 682-6196
Fabricland Obakki
44 Water St., Vancouver, BC V6B 1A4, Canada (604) 669-9727 www.obakki.com Local designer. Ocean Drive Leather
1560 16 Ave. West, Vancouver, BC V6B 2T4, Canada (604) 647-2244 www.oceandriveleather.com Beautiful leather & cool designs. Rock Shop
1076 Granville St., Vancouver, BC V6B 1E8, Canada (604) 685-9228 Teenage metal heads dream store: full of T-shirts, posters, stickers, etc.
1678 Southeast Marine Dr., Vancouver, BC V5P 2R6, Canada (604) 321-1848 Fabrictime
1325 E. Pender St., Vancouver, BC V5L 1V7, Canada (604) 630-0822 www.fabrictime.com Good for cottons, linen, lightweight canvas. Outdoor Innovations
3293 Main St., Vancouver, BC V5V 3M6, Canada (604) 873-6992 Water-resistant outdoor fabrics, all weights of polartec, foam, shade cloths and notions.
Summer 2010 The Costume Designer
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IN FOCUS RESTAURANTS AND BARS Blue Water Café and Raw Bar
1095 Hamilton St., Vancouver, BC V6B 5T4, Canada (604) 688-8078 Yaletown’s seafood hot spot. Chill Winston
3 Alexander St., Vancouver, BC V6A 1B2, Canada (604) 288-9575 www.chillwinston.ca Great brunch. Good after-work bar for drinks and appetizers.
West
2881 Granville St., Vancouver, BC V6H 3J4, Canada (604) 738-8938 Fine dining with local ingredients.
SPAS Miraj Hammam Spa
1495 W. 6th, Vancouver, BC V6H 4G1, Canada (604) 733-5151. www.mirajhammam.com Middle Eastern treatments, including an exotic steam & exfoliation, followed by a 30-min massage ($125 CDN). Spa at Holt Renfrew
Cioppino’s
1133 Hamilton St., Vancouver, BC V6B 5P6, Canada (604) 688-7466 Outstanding Italian.
737 Dunsmuir St., Vancouver, BC V7Y 1E4, Canada (604) 681-3121 Book an appointment, then finish shopping. Vida Spa at Vancouver Sutton Place Hotel
Goldfish Pacific Kitchen
1118 Mainland St., Vancouver, BC V6B 2T9, Canada (604) 689-8318 www.goldfishkitchen.com Good for a fun evening with crew. Music/DJ. Gotham
Designing
615 Seymour St., Vancouver, BC V6B 3K3, Canada (604) 605-8282 Elegan, hip. Tender steaks and stiff drinks.
Products and Services.
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Hy’s Steakhouse and Cocktail Bar
637 Hornby St., Vancouver, BC V6C 2G3, Canada (604) 683-7671 Fabulous “old school” steakhouse.
* Limited time - New Auto Loan rates as low as 3.99% up to 60 months. * Free access to over 28,000 CO-OP Network ATMs and 800,000 ATMs worldwide through links to the NYCE, STAR, Cirus, Pulse and Plus networks. * Car buying services through Autoland, Redbook, & Executive Car Leasing. * Our free checking account offers you both ATM and free debit cards with REWARDS. * We also offer CURewards™ for our VISA credit card * Free Online Teller and Money Maestro Audio Teller. * Real Estate loan services through West Coast Realty (personal service). If we can’t fund the loan we’ll help you find a lender who can help you.
Il Giordano
1382 Hornby St., Vancouver, BC V6Z 1W5, Canada (604) 663-2422 La Bodega Restaurante & Tapas Bar
We offer guaranteed lowest loan rates for all consumer loans. We’ll MEET or BEAT other approved rates from financial institutions.
1277 Howe St., Vancouver, BC V6Z 1R3, Canada (604) 684-8814 www.labodegavancouver.com Very tasty tapas and wonderful Sangria! Rodney’s Oyster House
1228 Hamilton St. #405, Vancouver, BC V6B 6L2, Canada (604) 609-0080 www.rohvan.com Fabulous fresh oysters.
For DETAILS, call us toll free at For DETAILS, call us us online toll free 1-800-393-3833 or visit at at 1-800-393-3833 or visit us online at www.musicianscu.org www.musicianscu.org
Studio City Branch
11440 Ventura Blvd, Suite 101 Studio City, CA 91604
Toll Free: 800 / 393-3833 Phone: 323 / 462-6447 Fax: 323 / 462-4411
Toll Free: 800 / 393-3833 Phone: 818 / 763-7005 Fax: 818 / 505-8407
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The Costume Designer Summer 2010
Cuadpro® Marketing 10-23
Hollywood Branch 817 N. Vine Street, Suite 200 Hollywood, CA 90038
Vij’s
1480 11th Ave., Vancouver, BC V6H 1L1, Canada (604) 763-6664 Amazing Indian restaurant! No reservations, so go early to avoid the line outside.
845 Burrard St., Vancouver, BC V6Z 2K6, Canada (604) 682-5511
MISC. Choices Food Markets
Various locations Vancouver’s version of Whole Foods. Meinhardt’s Fine Foods
3002 Granville St., Vancouver, BC V6H 3J8, Canada (604) 732-4405 One of the original organic and specialty markets in South Vancouver. Dr. Rubina Kurji
Urban Chiropractic #101-1226 Hamilton St., Vancouver, BC V6B 2S8, Canada (604) 714-1141 Amazing chiro: young with super-current method. Will come to set. Local 891
Film and television local. (604) 664-8910 Contact Dusty Kelly or Paul Klassen, business agent. COMPILED BY Bonnie Nipar bnipar@costumedesignersguild.com SPECIAL THANKS TO OUR CONTRIBUTORS Cynthia Summers, Antoinette Messam, Michael Wilkinson and Eduardo Castro
Summer 2010 The Costume Designer
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IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK Local news from around town this summer has CD Kathryn Langston Orindgreff designing the new ABC Family show
Huge, starring Nikki Blonsky (Hairspray). The dramady is based on the book by Sasha Paley, about the ups & downs of both teenagers and staff at a weight-loss camp. After working together on DWTS, CD Steven Lee and CD Daniela Gschwendtner have teamed up to co-design the fifth season of America’s Got Talent, wrapping in September. Lee says it’s quite a circus dressing the top 48 acts— some of which are a stuntman performing with fire, a woman painting underwater, a pair of 3-year-old hip-hop funk dancers, magicians, 25+ Bollywood dancers, and kung fu fighters. CD Olivia Miles and ACD Brigitta Romanov have just wrapped an exhilarating 10 episodes of Entourage, currently airing its seventh season. CD Erin Lareau made a splash with a retro look for the ladies of the National Synchronized Swim Team and created a neoprene chef’s
Rubin is also in town this summer working on the Disney feature Prom, done in the tone of the John Hughes ’80s classics Sixteen Candles & Pretty in Pink. CD Albert Wolsky and ACD Susan Kowarsh Hall have just wrapped the Tom Hanks–directed romantic comedy Larry Crowne, starring Tom Hanks and Julia Roberts, all shot in Los Angeles. Hanks plays a middle-aged man who, after losing his job, enrolls in college and catches the eye of a female professor (Roberts). Wolsky was glad to report the film was eight days ahead of schedule, even with reasonable hours and an overall fantastic crew. CD Carol Ramsey is designing the comedy feature Horrible Bosses, filming here in Los Angeles with ACD Lois DeArmond illustrating and CD Ellen Falguiere assisting. Jennifer Aniston, Colin Farrell, Jason Bateman, Kevin Spacey, Jamie Foxx, and Donald Sutherland star in the story of three friends who plot to murder their loathsome bosses. CD Christine Bieselin Clark was thrilled to be filming here in town, having just completed codesigning Disney’s Tron: Legacy with CD Michael Wilkinson. News from Nevada: CD Bonnie Stauch has begun designing the feature Guns, Girls and Gambling, starring Christian Slater, Chris Kattan and Dane Cook, to name a few. The wicked black comedy features Elvis impersonators, hot-blonde assassins, cowboys & Indians and Native American casino gambling, and is shooting in Salt Lake City, Moab and Nevada. Monique Long recently completed her ninth year designing for The Academy of Country Music Awards, The Brooks & Dunn Last Rodeo, as well as the Daytime Emmys, all shot in Vegas where Long resides—and is looking for the next big project. CD Melissa Bruning just finished two period films (’70s & ’80s respectively): Love Ranch,
Lee as a quirky detective with a demanding boss played by Alfre Woodard. After wrapping up a great time in New Orleans, Sweet can focus on her October wedding there, and Marx has a chance to finish up repairs on her Katrina flooded home. CD Antoinette Messam has just finished the Dermot Mulroney–directed comedy feature Love, Memphis Beat Wedding, Marriage, with CD Conan Castro Jr. as supervisor. Shot in New Orleans, the story centers on a happy newlywed marriage counselor’s views on wedded bliss and how she deals with news of her parents’ divorce. Messam is interviewed about working with the film’s cast of Mandy Moore, Kellan Lutz, Jane Seymour, and James Brolin in an online interview for Glamour Girl http://bit.ly/cIGgxt. CD Kathleen Felix-Hager is down south and happy to be designing her second ABC Family movie Ex-mas Carol, currently shooting in Georgia, directed by Gil Junger.
CostumeRentals offers year-round access to the Guthrie and The Children’s Theatre Company’s combined inventory of extraordinary costume pieces.
Lareau’s swim team design coat for TLC’s (The Learning Channel) cable summer promo spot. Lareau also sparkled with Swarovski for pop star Katy Perry’s MTV Movie Awards appearance, crystallizing Perry’s mic & stand, and her corseted top down to her Daisy Dukes. CD Shawnelle Cherry in town from S.C., recently finished 10,000 Days, an MGM webisode series about survival on Earth after a comet knocks Earth into the Ice Age. Cherry says although they weren’t the prettiest of costumes, they were great fun to create! CD Terry Gordon and her team wrapped four back-to-back CMT pilot presentations this past July. Simultaneous shooting and prepping, they are hoping for at least one pickup! CD Dina Cerchione is having a hot summer having just wrapped the ABC prime-time game show Downfall, staged atop a skyscraper for producer Ken Warwick, NBC pilot Who’s Bluffing Who, with host D.L. Hughley, and currently designing both Don’t Forget the Lyrics, hosted by Mark McGrath, and the ABC game show Six Minds. CD Luke Reichle has taken over the reins for the ABC drama Castle, here in town now in its third season. CD Shoshana 28
The Costume Designer Summer 2010
CDG members on location in Michigan
Helen Mirren & Melissa Bruning; Love Ranch poster directed by Taylor Hackford, starring Helen Mirren and Joe Pesci as the first married couple to open a legal brothel in Nevada. The film based on real events was shot in New Mexico and Nevada. Bruning’s second feature shot in New Mexico, titled Let Me In, directed by Matt Reeves (Cloverfield), stars Richard Jenkins. CD Caroline B. Marx and ACD Andrea Sweet have been livin’ it up in the Big Easy shooting George Clooney’s Smokehouse Productions hot new dramady series Memphis Beat, starring Jason
On location in the Detroit area are ACD Ann Foley (Real Steel), CD Mary Claire Hannan (A Very Harold and Kumar Christmas), Hope Hanafin (LOL), Aggie Rodgers (The Double), Debra McGuire (Scream 4) and Marlene Stewart (Real Steel) who met up for a lunch and a chat and are pictured above. CD Roberta Haze has the helm designing the new series Body of Evidence, bringing in new member ACD Marcel Chevalier along to assist in Providence, R.I. In June, CD Mary Vogt started prep in Los Angeles for Men in Black 3, starring Will Smith, Tommy Lee Jones, and Josh Brolin, and is off for a September shoot in NYC with CD Valerie Laven-Cooper assisting and Christian Cordella illustrating. More news from the Big Apple: CD John Dunn is working in the city on the HBO pilot The Miraculous
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
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IN FOCUS
BOLDFACE NAMES BOLDFACE AT WORK Year, the story of a New York family as seen through the lens of a charismatic, self-destructive Broadway composer. The drama is written by John Logan and directed by Kathryn Bigelow. CD Renee Ehrlich Kalfus recently started the Screen Gems feature Friends With Benefits (one of three separate projects all with same title), starring Justin Timberlake and Mila Kunis, and will wrap in September. CD Juliet Polcsa will keep busy until September with the remake of ’80s film Arthur, starring Russell Brand in Dudley Moore’s madcap role, along with Helen Mirren as his faithful nanny. Up north, CD Jori Woodman will revisit the world of horror on Final Destination 5 for New Line Cinema. The 3D thriller starts shooting in September, with James Cameron’s protégé, Steven Quale, directing in Vancouver, British Columbia, with a local crew. CD Michael Boyd now knows and can concur why Halifax, Nova Scotia, is perfect in the summertime—good weather, beautiful place to work, and cooler than his home in Texas! Boyd has begun designing the Hallmark holiday movie November Christmas, a moving story of a family dealing with their daughter’s cancer by providing her with an early-holiday experience.
CD Danny Glicker is on the road designing On the Road throughout Montreal, New Orleans, Mexico, and other international locals for director Walter Salles (The Motorcycle Diaries). The feature is a faithful adaptation of the groundbreaking autobiography by Jack Kerouac, and stars Kristen Stewart, Kirsten Dunst, Garrett Hedlund, and Sam Riley. Globetrotting alongside Glicker is ACD Michele K. Short. New to the second season of Eastbound and Down are CD Jill Newell and CD Ernesto Martinez as Costume Supervisor in fabulous San Juan, Puerto Rico. Martinez has been having a good run and a good time with his second project there since last year. CD April Ferry checked in to say hello and updated us with the latest from her design project in Mumbai, reporting how beautiful it is, with wonderful fabric and the sweetest people on earth! Ferry has her Roman armor maker in a factory in Dera/Dhun making prototypes and ACD Sparka Lee Hall there to assist. Ferry will see the entire country as shooting begins in the Himalayas and Jaipur, and says the locals are equally experienced with and confused by the ways of the West.
are working toward public awareness to educate and inspire, as ambassadors for the nonprofit group P.A.V.E. (Promoting Awareness, Victim Empowerment), headquartered in Washington, D.C. On the subject of Washington, D.C., at the White House, First Lady Michelle Obama entertained disabled veterans for the Wounded Warrior Soldier ride wearing a silk tapestry dress designed by none other than our Local 892 CD member, Barbara Tfank. http://bit.ly/91lw5g
COSTUME DESIGN CENTER
BOLDFACE PRESS CD Sally Rice is realizing a new creative dream—she went back to school for a degree in visual journalism and will be graduating next spring. Rice also has a book due to be released this month, titled Making Sense of Monsters, the real-life story of her daughter Sarah’s struggle as a victim of sexual abuse and the support she found in the battle of justice against her abuser. Together, Rice and her daughter
Tfank’s design for Michelle Obama
BOLDFACE FESTIVALS & EVENTS Chrisi Karvonides-Dushenko’s paintings were featured in the Hermosa Beach Art Walk and the group show titled In Motion— The Human Body in Movement through last month, presented by the Beach Cities Health District and Friends of Redondo Beach Arts. Congratulations to CD Nancy Butts Martin, who was nominated for a Daytime Emmy Award for Outstanding Costume Design/Styling for The Bonnie Hunt Show held June 25 at the Bonaventura Hotel. CDG Costume Designers and Illustrators once again converged on San Diego in July for three panels at Comic-Con 2010 Costume Designers: Designing for Television Production. Moderator CD Kristin Burke (Frocktalk.com) hosted designers Audrey Fisher ( True Blood ), CD Ane Crabtree (Justified), CD Shawna Trpcic (Firefly), CD Shawnelle Cherry (10,000 Days). CDs Pamela Shaw and Jennifer Eve also talked about their work as Assistant Designers to Jennifer Bryan (The Vampire Diaries) and Lou Eyrich (Glee), respectively.
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The Costume Designer Summer 2010
CDG’s Comic-Con panel
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BOLDFACE NAMES BOLDFACE FESTIVALS & EVENTS Costume Designers & Costume Illustrators: Designing for Feature Films with moderator CD Susan Nininger (Bodyguard) hosted featured CD Michael Wilkinson, Designer and Illustrator Phillip Boutte Jr. (Jonah Hex), CD Christine Bieselin Clark (Codesigner, Tron: Legacy), CD Ha Nguyen (Priest), and CD Laura Jean Shannon (Scott Pilgrim vs. the World). CD Judianna Makovsky and CD Colleen Atwood had hoped to make it to Comic-Con this year but schedules did not permit. The Design Process for Film and Television was moderated by Harrison Ellenshaw (Star Wars V: The Empire Strikes Back) and hosted Costume Illustrators Christian Cordella (The Last Airbender), Robin Richesson (The Last Airbender), and Brian Valenzuela (Star Trek 2009), as well as our neighbors and collaborators of the ADG, Local 800, Benton Jew (Pirates of the Caribbean: On Stranger Tides), and Phil Saunders (Iron Man 2). New this year to Comic-Con was a Film Illustration Exhibition, in conjunction with the ADG. CD Susan Nininger, ILL Phillip Boutte, and CD Ha Nguyen curated along with education coordinator Casey Bernay of the ADG. We owe a great big thank-you to our Comic-Con Committee Co-chairs CD Susan Nininger, ACD Liuba Randolph, and ILL Phillip Boutte, Committee members ACD Cynthia Obsenares, CD Valerie Laven-Cooper, CD Michele Michel, CD Kristin Burke, ACD Sica Schmitz, ACD Johnna Lynn, and CD Jennifer Dios.
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CDs May Routh and Albert Wolsky share their illustrations
Costume Designers May Routh and Albert Wolsky each donated a collection of their costume illustrations to the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library. The AMPAS celebrated the acquisition of their unique and outstanding collections on May 19.
Courtesy of AMPAS
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Designer Edith Head and Shirley MacLaine, Sweet Charity, 1969. 34
The Costume Designer Summer 2010