The Costume Designer - Winter 2009 by Costume Designers Guild

We have been seen on: Simon Baker at the 2009 Golden Globes * Commander in Chief * Dirty, Sexy, Money * Eli Stone * George Lopez Show * The Great Debaters * Medium * The Mentalist * Monk * Moonlight * Without a Trace

The Official Magazine of the Costume Designers Guild

Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604

Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450

Focus Features thanks the Costume Designers Guild and proudly congratulates Danny Glicker for his Costume Designers Guild award nomination for Excellence in Period Film

vol. 5, issue 1

“‘Milk’ is a marvel.

Everything is happening here – votes are tallied, hearts broken, lives risked and saved, tactical decisions made, emotions expressed and suppressed – but only one thing is happening. What makes all of this cohere is art, and history. This is how change happens. This is what it looks like.” ★ A.O. SCOTT, THE NEW YORK TIMES ★

FEATURES Holiday Party . . . . . . . . . . . . . . . . . . . . . . . . . 14 CDG Awards. . . . . . . . . . . . . . . . . . . . . . . . . . 16 Award Nominees . . . . . . . . . . . . . . . . . . . . . . 18 Q&A with this year’s nominees

Swarovski Sparkles . . . . . . . . . . . . . . . . . . . . 26 A preview of The Young Victoria

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

The Costume Department . . . . . . . . . . . . . . . 28

BEST COSTUME DESIGN Danny Glicker

COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com

COVER CDG Award statuettes designed by David Le Vey

Meet the Assistants History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 The Process: Sketch to Screen A Look Back: Marilyn Vance’s ’80s Boldface Names

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

For up-to-the-minute screening information, go to: www.FilmInFocus.com/awards08

Winter 2009 The Costume Designer

EDITOR’S NOTE

009. Where did the year go? It’s impossible to believe that the 11th Annual Costume Designers Guild Awards is just around the corner (February 17). Our black-tie gala proves to be a very exciting and star-filled evening with the most balanced slate of honorees to date. The Swarovski President’s Award will be given to producer and actor Michael Douglas who is notorious for his loyalty to Costume Designer Ellen Mirojnick. Legendary television director James Burrows of Cheers, Fraiser, and Will & Grace fame will accept our Distinguished Collaborator Award, and our host this year is none other than the glamorous film and television star, Debra Messing. We will honor our own Marilyn Vance for her extremely eclectic and character-revealing designs for more than 50 feature films and Emmy-winning designer Van Broughton Ramsey for his tremendously detailed work on countless made- for-television movies. The list of 2008 nominees (page 18) includes the many talented designers of Local 892 as well as some of our East Coast counterparts from 829 and several new European designers as well. We take pride in spreading the wealth to designers and their collaborators on both the large and small screen. It’s no secret — JACK BENNY that the Costume Designers Guild stands by our motto: “Behind every costume is a Costume Designer. Film or television, period, fantasy AND contemporary, every costume tells a story.” Our greatest supporter, Swarovski, returns for the fourth year in a row as our Presenting Sponsor. We literally couldn’t do it without them. Lacoste returns to sponsor the Career Achievement in Film Award and The Kobal Collection continues to provide us with the images that grace not only this magazine but the keepsake of the evening, our tribute book. We understand that many of you were hit hard by the economic mess known as 2008. With the spirit of hope and change in the air, we do hope you can find a way to join us for a glorious evening to toast and celebrate your peers and colleagues.

“

I don’t deserve this award, but I have arthritis and I don’t deserve that either.

”

EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Audrey Fisher MANAGING EDITOR Cheryl Downey PRESIDENT Mary Rose

mrose@costumedesignersguild.com

VICE PRESIDENT Hope Hanafin

hhanafin@costumedesignersguild.com

SECRETARY Ann Somers Major

asomersmajor@costumedesignersguild.com

TREASURER Marilyn Matthews

mmatthews@costumedesignersguild.com EXECUTIVE BOARD

Sharon Day

sday@costumedesignersguild.com

Salvador Perez

sperez@costumedesignersguild.com

Deena Appel

dappel@costumedesignersguild.com

Cliff Chally

cchally@costumedesignersguild.com

Lois De Armond (Asst. Costume Designers) ldearmond@costumedesignersguild.com

Felipe Sanchez (Illustrators)

fsanchez@costumedesignersguild.com

Tanya Gill (Commercial Costume Designers) tgill@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper

vlavencooper@costumedesignersguild.com

Susan Nininger

snininger@costumedesignersguild.com

Van Broughton Ramsey

vramsey@costumedesignersguild.com

Helen Butler

hbutler@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair

pflaherty@costumedesignersguild.com

Marcy Froehlich

mfroehlich@costumedesignersguild.com

Jacqueline Saint Anne

jsaintanne@costumedesignersguild.com LABOR DELEGATE

Betty Madden

bpmadden@aol.com

See you there, Deena Appel dappel@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 RECEPTIONIST/SECRETARY

Cheryl Marshall

CORRECTION High School Musical 3: Senior Year

cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

Caroline Marx, Costume Designer Karen Yan, Costume Illustrator

The Costume Designer Winter 2009

PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

UNION

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PRESIDENT’S LETTER Dear Members, or those who attended the CDG Holiday Party, there is no debate that our second annual was a blast. The attendance was so great that at one point I worried that a local fire marshal might drive by on Ventura Boulevard. Clearly, this event will live on for years to come, as with other special ACD meetings and Illustrator gatherings. Realizing that our members are thirsty to rub shoulders with their colleagues, I am very grateful to our Board for supporting the expense. Many thanks go to this year’s Holiday Party Chair, Bonnie Niper, and her gang. Well done! The holiday season and new year brings out all sorts of special emotions between us. A surprising number of members asked me about my daughter. “Is she OK? Is she back from Iraq?” (For those who don’t know, my daughter, Joan Aus, was deployed to Iraq for almost 2 years, 2004–2006, and some of her letters from Iraq were printed in the CDG newsletters). For those compassionate and concerned members, I wanted to share a report of Joan’s post—Iraq Life. My husband Gordon and I were in Grand Forks, N.D., for the holidays where the snow was 24 inches deep and the temperature was minus 14. We went to the University of North Dakota (NDSU) to watch Joan Aus receive her long-awaited PhD in Education, along with our now 17- and 11-year-old grandsons, and her very devoted husband, Jon, standing by. After deployment in Iraq, Joan returned to her career as adjunct professor at NDSU. As a wife and mother and teaching full time, she continued to work on her interrupted doctorate dissertation while under tremendous pressure from the newly enacted “Stop-Loss” policy hanging over all those good men and women who had already served. Now, she is an associate professor in the Education Department. But as I speak of happiness in our family, we met a young woman while we were in North Dakota, who was leaving for Kosovo. She was with Joan in Iraq and shared horrid experiences along with a few good memories. In the midst of the world recession, we had almost forgotten that this is still going on. Please remember these soldiers, brave young men and women like her, if not in Iraq, are now in Kosovo, by the thousands! My Joan Aus update ends here with warm thanks to those caring members who supported Joan (and me) during her tour in Iraq. A special thanks to our magazine editor Deena Appel, who works tirelessly for not just the magazine but also for our PR and many other things as well, and all those who volunteer whenever we request help. Thank you all. In the coming year, despite the world economic situation, we can still be satisfied and happy if we try. Obama is finally in the White House! Now, if only SAG would just get off…

In solidarity, Mary Rose mrose@costumedesignersguild.com

IMPORTANT DATES

TUESDAY SATURDAY

February 17 February 21

MONDAY

March 2

MONDAY MONDAY MONDAY MONDAY

March 9 April 6 May 4 June 1

The Costume Designer Winter 2009

11th Annual CDG Awards The Masters Mentoring Panel with CDG honorees Van Broughton Ramsey, Marilyn Vance, and 2008 Award nominees & winners General Membership Meeting—final nominations and acceptances for CDG Executive Board due from floor; Constitution changes voted. Eboard Meeting at the Guild offices Eboard Meeting at the Guild offices Eboard Meeting at the Guild offices Eboard Meeting at the Guild offices

UNION

LABEL BEST CO STUME DESIGN | JACQUELINE WEST TSEW ENILEUQCAJ | NGISED EMUTS OC TSEB

From the Desk of the Executive Director Happy, Healthy New Year, CDG Members!

ur biggest and best news is that the IATSE concluded very successful negotiations with the producers in November for the next three-year Basic Agreement. Leadership of all of the Hollywood Locals is unanimous in recommending approval of the contract, which will bring 3% increases on August 1 of 2009, 2010, and 2011. Just as in the Directors Guild agreement, jurisdiction over any new media that might develop in the next three years has been secured. Respect and gratitude goes to IATSE President Matt Loeb and Vice President, Director of Motion Picture, Michael Miller, who led the negotiations and preserved our health plan against serious odds. We will hold a special Saturday meeting to answer member questions regarding the contract. I am proud to say that 2008 saw CDG member services mushroom: • For the first time, the Guild subscribed to the West Coast Production Weekly for all CDG members to access 24/7 on the CDG website. • For the first time in many years, computer classes were offered to CDG members at no cost through Contract Services. CDG member participation was four times greater than expected! • Beginning computer classes were made available through the IDEAS grant at Valley College and will continue in 2009. • Multiple new classes were offered here at the Guild such as “Negotiating Your Deal,” “Costume Plot Pro,” and “Using Photoshop to Improve Fitting Photos.” • Our online Availability List has greatly increased participation and accuracy. • The CDG Directory has returned after nearly six years and members were able to upload illustrations and list recent credits. This was published and mailed at no cost to the Guild, thanks to our faithful advertisers—patronize them! • E-mail communication to members has increased dramatically and alerted everyone to timely information while cutting down on mailing labor and costs. Be sure the Guild has your correct e-mail address and contact info! • The 2nd Annual CDG Holiday Party was the town’s hot ticket with standing room only. • The 10th Annual CDG Awards dinner attracted more publicity for our art and artists than ever before. • The Guild presented not one, but three panels at Comic-Con, which included television and film Designers and a joint panel of CDG Illustrators and Local 790 Illustrators/Story Board Artists. For the second year, the Guild awarded a “best costume” prize at the masquerade ball. • Member use of the CDG Library and Committee Room has grown dramatically. While these economic times are daunting, your Guild is here to support you. Come by, let us hear how we can help, and may there be more good work for all very soon! In Solidarity, Cheryl cdowney@costumedesignersguild.com

“When I had left she was a girl… and a woman had taken her place …

beautiful woman I’d ever seen.”

She was the most

“Every scene is crammed with detail, from the nooks and crannies of the settings and the century-bridging costumes by Jacqueline West to the faces of the main cast and countless extras.” – Todd McCarthy, Variety

The Costume Designer Winter 2009

PARAMOUNTGUILDS.COM

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Assistant Executive Director’s Report Are You Healthcare Savvy?

id you know that we have one of the few healthcare plans left in the United States that is still fully paid for by the employer? We have one of the best health plans in this country and yet most of our members are not utilizing it to their full benefit. When members stay within the health plan network, they not only support the system by keeping costs to the plan down but they also keep their out-of-pocket costs down. In an economy where spending less can help all our budgets, smart healthcare choices are more important than ever. Here are a few helpful hints. • Live a healthy lifestyle by eating right and not smoking • If you need healthcare, please utilize one of the six MPTF clinics in the Los Angeles area • If you live outside of Los Angeles, use a Blue Shield preferred provider • If you need hospitalization, be sure the facility is a Blue Shield hospital • Order prescriptions through the Medco mail plan • Ask your doctors up front if they are willing to accept what the plan pays as payment in full. Below are a few examples from 2008 medical bills that show how using the Network can help you cut costs. Mammogram billed at $500: In-Network cost to patient = $9 Out-of-Network cost to patient = $286 Colonoscopy billed at $1,700: In-Network cost to patient = $80 Out-of-Network cost to patient $510 Maternity billed at $14,282: In-Network cost to patient = $0 Out-of-Network cost to patient = $4,285 Heart Surgery billed at $93,100: In-Network cost to patient = $784 Out-of-Network cost to patient= $76,545 These are just a few of the costs that bog down our pocketbooks and deplete the Plan’s assets. Use the MPTF clinics and become a smart consumer. Ask questions and become more proactive about your health and your health plan coverage. In Solidarity, Rachael Stanley rstanley@costumedesignersguild.com

costume designers guild awards 2009 february 17, 2009 beverly wilshire hotel tickets: blue room events 310.491.1401

Winter 2009 The Costume Designer

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Labor Report 009 is the year of “Yes We Can” and “Change!” Start by reading Thomas Friedman’s Hot, Flat and Crowded. Let me paraphrase some of Friedman’s points that got my attention: For hundreds of thousands of years, the average CO2 level has been 280ppm (parts per million) but we are on the fast track to 580ppm. We, ourselves, have declared war on the human race.We are the frogs in the pot of water on the stove. The heat is being turned up slowly so we don’t notice it is getting hotter and our natural watersheds are evaporating at an accelerating rate. Mother Nature and Father Profit can both exist in a clean energy world. Neither will survive in a dirty energy world. Activism from the ground up requires international, national, local, private sector and primary & secondary education policies on clean energy. CDG members can be a part of the “CO2 & Electron Reduction Revolution.” Replace incandescent light bulbs in your home and office with energy-efficient, Earthmate bulbs and install light sensors that shut off when no one’s in the room. Buy a hybrid or electric car. You know what we all need to do, Sisters and Brothers! Si Se Pueda!

Labor Delegate, Betty Madden bmadden@costumedesignersguild.com

THANK YOU HOLIDAY PARTY COMMITTEE Chair Bonnie Nipar Co-chair Tanya Gill Roemehl Hawkins Brigitta Romanov

NOMINEE Q&A Tanya Gill Christine Jordan Carol Ramsey Ann Somers Major

LIBRARY Nadine Haders Marcelle McKay Chamlee 12

The Costume Designer Winter 2009

BOLDFACE NAMES Sharon Day Audrey Fisher Cheryl Marshall

BALLOTING Richard Bloore Nickolaus Brown Tami Eldridge Terry Gordon Suzanne Huntington Kresta Lins Bonnie Nipar Brigitta Romanov Andrea Weaver

CDG Holiday Party A fun time had by all!

The Costume Designer Winter 2009

Winter 2009 The Costume Designer

costume designers guild awards 2009 Debra Messing Mistress of Ceremonies

Michael Douglas

James Burrows

Swarovski President’s Award

Distinguished Collaborator Award

cdg career achievement in television

Van Broughton

Ramsey

Van Broughton Ramsey, Costume Designer, was born on Thanksgiving Day in the small Texas town of Wharton. He graduated from Baylor University with a BA in botany and chemistry and later received a MA in restoration architecture from the University of Texas. After working on restoration projects, Ramsey moved to New York City in 1978 to pursue a career in costume design, taking theater costume design classes at night while working as an architect during the day. It would be a year before a friend introduced him to theater director Gene Frankel who gave Ramsey his first break designing an off-off Broadway production of War Play. Three years later, Ramsey was introduced to playwright Horton Foote who hired Ramsey to design a film based on his play 1918. The story, about the flu epidemic in WWII, was

based on his family in the small town of Harrison, Texas (aka Wharton, Texas). There couldn’t be a more perfect match. Lonesome Dove was Ramsey’s first television project and the one that would change his career. Screenwriter Bill Wittliff flew Ramsey to Austin for an interview and hired him on the spot. The producers would not let him return to New York. Instead, he was put in a hotel room to start sketching. Van Ramsey has six Emmy nominations and two wins for Lonesome Dove and The Oldest Living Confederate Widow Tells All. He received the CDG Award for television for The Tempest and was nominated for Sarah, Plain and Tall: Winter’s End. He has served as a Governor for the Television Academy of Arts and Sciences and is currently on the Executive Board of the CDG.

cdg lacoste career achievement in film

Marilyn

Vance Marilyn Vance is a native of Brooklyn, New York. She graduated from the Brooklyn Academy of Music High School and went on to the Fashion Institute of Technology. She married and had two sons while designing clothing for 7th Avenue. Vance moved to Los Angeles in 1981 thinking she was ready to design a feature film but had no clue about the internal workings of the costume department. She learned that creating the fashion of a character can help move the story and the importance of participation with the entire crew to bring about the director’s vision. Lawrence Gordon was the first to hire Marilyn Vance to design the comedy Jekyll and Hyde… Together Again. She found her niche with an innate talent for communicating her broad creative vision to directors and actors while serving the integrity of the film. 16

The Costume Designer Winter 2009

Vance set the trends of the time with her character-designed portrayals for such films as Fast Times at Ridgemont High, The Breakfast Club, Ferris Bueller’s Day Off, Some Kind of Wonderful, Pretty in Pink, Romancing the Stone and Uncle Buck. She was also the first woman to costume design for the action genre in such films as: 48 Hours, Die Hard 1 & 2, Predator 1 & 2 and Time Cop. Vance achieves an authenticity no matter what the genre; from the gripping period drama Sommersby to the fantasy world of Mystery Men, all with the vision to create consistently believable characters. Vance has earned an Academy Award nomination for The Untouchables, as well as BAFTA nominations for Pretty Woman and The Untouchables. In addition, Vance won the Saturn Award for The Rocketeer. Winter 2009 The Costume Designer

Excellence in Contemporary Film

Excellence in Period Film

IRON MAN

CHANGELING

Costume Designers: LAURA JEAN SHANNON & REBECCA BENTJEN Illustrator: ROBIN RICHESSON Any surprises? LJS: Stellar cast—especially Robert Downey Jr. as Tony Stark. A brilliant and unexpected choice. Hardest? LJS: Gwyneth’s blue gown was moved to first up so I had much less time to fit her in the gown I designed. Also, retrofitting the under armor for the original grey Iron Man suit which had to make sense in the context of the story. Career challenge? RB: I was hired as the ACD on Iron Man, by my friend, Laura Jean Shannon, when she found out she was pregnant. She was put on bed rest so I had to execute her work with constant rewrites and new scenes. I felt bad knowing how hard it was for her to walk away. In the end, you see both of our hands at work.

MAMMA MIA!

Costume Designer: ANN ROTH Assistant Designer: MICHELLE MATLAND Any surprises? My contract … and I don’t believe I’ve ever had more fun—truly. Hardest? Colin Firth in pinkish paisley trousers—and men in stretchy satin. I should have known they’d resist. That mentality that drives actors to become other characters loses its conviction when faced with a costume that they perceive is unflattering. Career challenge? This was not the biggest, but the dangers of stepping into an existing creative recipe could be hellish. Does my vision find itself welcome in this picture? Preconceived pictures are hard to erase but the creative team was always available, creative and secure in this work. Can’t live without? Music: Mozart, Beethoven, Schubert, Fats Domino, Elvis, George Lewis.

SEX AND THE CITY

Costume Designer: PATRICIA FIELD “No surprises, no difficulties, no unexpected situations.”

SLUMDOG MILLIONAIRE

Costume Designer: SUTTIRAT LARLARB Any surprises? Making a movie, rooted in realism in a film industry geared toward fantasy and escapism— “Bollywood.” Extras would show up in over-the-top or bejeweled ‘Sunday finest’ for scenes that took place in the slums. There was a knee-jerk inclination toward presentability and theatricality over anything ‘ugly’ or real. Hardest? The kids’ slum clothing. I knew we’d build Latika’s yellow dress but wasn’t expecting to have to build T-shirts, under-vests, shorts. The stores that stock multiples have heavy branding like Nike logos. We needed 6–8 multiples to accommodate various stages of distress, multiple units, and stunt doubles. Secondhand clothing for the principal three children was out of the question.

Costume Designer: DEBORAH HOPPER Assistant Designer & Illustrator: TERRY ANDERSON Any surprises? The fact that this is a true story. It is so unbelievable. Hardest to accomplish? Modifying the look of Christine Collins to fit Angelina. Angelina is one of the most beautiful and recognizable women in the world, but she had to be authentic to make the story credible. Easiest? The murderer’s costumes—I thought his flamboyancy would be difficult to interpret, but he came together with flare and subtlety. What couldn’t you live without? Comfortable shoes. Biggest career challenge to date? Keeping up with the pace of a prolific director whom I am incredibly fortunate to work with.

THE CURIOUS CASE OF BENJAMIN BUTTON

Costume Designer: JACQUELINE WEST Assistant Designer: MARJORIE McCOWN Illustrator: ROBIN RICHESSON Any surprises? Having to dress people over the span of 100 years … and the mere fact that such a film could even be made. Hardest to accomplish? The red dress, because David Fincher doesn’t like red. Easiest? Brad Pitt’s late ’40s suit. It was so familiar because of pictures of my father. What couldn’t you live without? My curiosity. Biggest career challenge to date? To never become complacent and to keep learning. To create the perfect costume for the most complicated character, and to ensure that every character and background person is important and individual.

THE DUCHESS

Costume Designer: MICHAEL O’CONNOR Assistant Designers: ANNA KOT & LUAN PLACKS Any surprises? The deeper I got into the period, the more complicated and nuanced it became, with its different styles of dress. Hardest to accomplish? The red/orange “drunk” dress because of the color choice and because we needed triplicates. Easiest? The “Fox” military-style campaigning dress because it was based on the contemporary military design. What couldn’t you live without? Wouldn’t like to live without speech radio. Biggest career challenge to date? Miss Pettigrew Lives for a Day.

MILK

Costume Designer: DANNY GLICKER Assistant Designer: AUDREY FISHER (L.A. PREP) Any surprises? How few people remembered Harvey Milk or his accomplishments. Hardest to accomplish? Re-creating the suit that Harvey was murdered in. Handling his actual suit with dried blood and bullet holes was a humbling reminder of what my job was—to accurately re-create the life of a vital man, not some icon. Easiest? Re-creating the outfits of Cleve Jones, Anne Kronenberg, and Danny Nicoletta. They were always on set to answer my endless questions! What couldn’t you live without? The term “mishegas.” It takes the edge off any stressful situation. Biggest career challenge to date? Staying calm and focused while knee-deep in Mishegas.

THE WRESTLER

REVOLUTIONARY ROAD

Any surprises? The warmth, nobility and gentle humanity of the wrestlers themselves. Starting out on this project, my research required me to attend a number of wrestling events, the brutality of which made me dread the prospect of working in such a macho, violent world. I could not have been more wrong. Hardest? Marisa Tomei’s costumes were tough—it’s hard to balance that amount of sex and desperation, wanting her to look both beautiful, but real and hard. Biggest career challenge? I feel constantly challenged to make bold choices and follow my instincts, especially when it is the less obvious path.

Any surprises? I’m very familiar with the period, so not much surprised me. The film is mid-’50s, but I did go back to the very early ’50s and even late ’40s, to achieve a realistic look. Hardest to accomplish? Finding proper period fabric … modern substitutes are always tricky. Today’s rayon does not fall like ’40’s rayon. Easiest? Convincing Leonardo Di Caprio to wear his pants at his true waist. After a moment of shock, he understood it was a major component of the period. Can’t live without? Truth, ethics, and kindness. Career challenge? Lenny with Bob Fosse and Dustin Hoffman. It prepared me for future work and I felt I

Costume Designer: AMY WESTCOTT Assistant Designer: LENORE PEMBERTON

Costume Designer: ALBERT WOLSKY Assistant Designers: SUSAN HALL (L.A.) & DAN LAWSON (N.Y.)

BERNARD AND DORIS

30 ROCK

Costume Designer: JOSEPH AULISI Assistant Designer: AUTUMN SAVILLE

Costume Designer: TOM BROECKER Assistant Designer: CHRIS ANN PAPPAS

(Joseph Aulisi was not available at press time)

Any surprises? The thing that surprised me most about the project is how serious comedy is. Harder to accomplish? Lately, turning Tracy Morgan into a human cash machine. Easiest? Kenneth, the page’s costume. Because it’s a uniform there’s no question as to what it should be. Your biggest career challenge to date? My biggest challenge so far was figuring out how to design shows on opposite coasts at the same time, while designing Saturday Night Live and The Comeback on HBO. Can’t live without? Coffee and the subway.

COCO CHANEL

DANCING WITH THE STARS

Costume Designers: PIERRE-YVES GAYRAUD (Chanel costumes) & STEFANO DE NARDIS

Costume Designer: RANDALL CHRISTENSEN Assistant Designer: DANIELA GSCHWENDTNER & STEVEN LEE

Any surprises? PYG: Seeing Coco discover her vocation. Hardest? PYG: Adapting models of Chanel classic icons to suit the actresses. We didn’t use any authentic Chanel, we created an impression. SdN: The Diorlike dress worn in the 1950’s segment needed to look sufficiently “Dior” and become a believable “Chanel” little black dress. Easier than expected? SdN: The two 1905 dresses for Balsan’s mother. I loved some authentic pieces from Tirelli’s that were VERY tiny. The actress arrived the day before shooting, and she was so thin, the dresses simply looked like her own.

Costume Designer: AMY WESTCOTT Assistant Designer: OLIVIA MILES Any surprises? Everyone’s creative ambition and drive to do it better, even in the fifth season. Hardest? A scripted “fashion trunk show” with no clothes until about two days before. Dolce & Gabbana agreed to work with us, but we had to fit and coordinate an entire fashion show in no time. Easier? Stellan Skarsgard. I had some crazy ideas for his wardrobe as a German director. He was a dream—we were on the same page, no matter how silly. I just love fearless actors. Biggest challenge? Keeping the guys fashionable and interesting, but not too trendy, regular guys within a cohesive palette. And keeping myself from running out too far onto that limb.

GOSSIP GIRL

Costume Designer: ERIC DAMAN Assistant Designer: MATTHEW SIMONELLI Any surprises? The impact the wardrobe has had on the way girls dress amazes me. I originally based our schoolgirls on upper eastside prep school girls and now those same girls are dressing like our characters. Hardest? Designing Jenny Humphrey’s clothing collection. Designed and fabricated as we got scripts. It was a crazy process. Challenge? Staying in front of the trends on a weekly basis while running from set to stores all over Manhattan. We set the bar high, striving to keep the level of originality high. Can’t live without? My Cartier trilogy ring.

UGLY BETTY

Costume Designers: EDUARDO CASTRO & PATRICIA FIELD Any surprises? EC: We learned to live with “surprises” every day … constantly creating photo shoots, magazine layouts, runway collections, weddings, funerals. Hardest? EC: The fashion baseball uniforms we created for Mode vs. ELLE made of fabrics not meant for sport, with designer belts, high-heeled sneakers and fashion tights. Combining practicality with high fashion panache. Easiest? EC: Victoria Beckham walked into the Vera Wang Maid of Honor dress and she adored our made-to-order “frumpy” version. Career challenge? EC: Flying to India on a couple days’ notice to take over two films. Mira Nair’s Kama Sutra, two weeks before shooting and Gurinder Chadaha’s Bollywood musical Bride & Prejudice, two weeks into shooting!

Photos courtesy of Deborah Landis

Any surprises? What NEVER ceases to amaze me is that we actually pull this off. It’s an insanely tight schedule with no room for error! Hardest? Toni Braxton wanted to wear a Marie Antoinette–inspired gown. THAT had to be done within the same four-day schedule. Cage, draping, corset and all! Easiest? Uh, there is nothing easy on this show, due to the incredibly tight timeline each week. Can’t live without? My database of costume pics helps the department and the celebrity understand what we are going for in the 15 minutes we have to nail it.

ENTOURAGE

Aeon Flux Paramount/Jasin Boland Broke Mountain Focus Features/Kimberly French Chronicles of Narnia Disney/ The Family Stone 20th Century Fox/Zade Rosenthal Fun With Dick & Jane Columbia Pictures/Ralph Nelson Memiors of a Geisha Sony Pictures/David James Jarhead Universal Studios/ Rent Sony Pictures/Phil Bray Rumor Has It Warner Bros. Pictures/Melissa Moseley Walk The Line 20th Century Fox/Suzanne Tenner The New World New Line/Merle W. Wallace

Outstanding TV MOW, Miniseries or Special

Outstanding Contemporary TV Series

CRANFORD

Costume Designer: JENNY BEAVAN Assistant Designer: CHARLOTTE LAW Any surprises? I was amazed by the humanity in the characters and the frightening speed of sickness and death without antibiotics, and the fragility of life in those times. Hard to accomplish? The character of Lady Ludlow was the hardest to ‘find,’ but I was hugely helped by Francesca Annis, who played her. Easier? The red dress for Miss Caroline Tompkinson. I found this wonderful ‘rhubarb silk’ and the dress just followed! Biggest career challenge? Alexander— 20,000 costumes, all of which had to be made in 16 weeks. How did I do it? A remarkable crew! Couldn’t live without? My computer, which makes sharing information so much easier.

JOHN ADAMS

Costume Designer: DONNA ZAKOWSKA Assistant Designer: MICHAEL SHARPE Any surprises? How involved and moved I became with the story and details of American independence. The story felt very relevant to our present situation. Hardest? Trying to create period clothes that felt credible and captured individual character traits. Anything easier? Costuming the many children turned out to be much more accessible than expected. Small is fun. Career challenge? Without question, John Adams. Time and money were very tight for the scope, time span and location work here and in Europe. Can’t live without? Buttons—not enough interesting buttons in the entirety of the world. Without buttons, there is no 18th century!

SENSE AND SENSIBILITY

Costume Designer: MICHELE CLAPTON Any surprises? The wonderful casting. Every character was just as I imagined; it made designing it a joy. Hardest? Not a particular costume, it was just getting the palette as I wanted. Color and texture are paramount; we dyed and dipped and stitched endlessly. Can’t live without? My notebook, of research notes and pictures, color swatches, and sketches—its my plan for the show. And my crew. Career challenge? Designing costumes for The Devil’s Whore. We had to set up a workroom from in South Africa on a minimal budget and make approximately 600 period costumes. Long days!

Excellence in Fantasy Film

Outstanding Period/Fantasy TV Series

THE DARK KNIGHT

MAD MEN

Any surprises? How my concept for the Joker leapt from the drawing board due to the brilliance of Heath Ledger … so exciting a moment! Hardest thing to accomplish? The new batsuit. We made it just in time, due to the great team led by Graham Churchyard. Can’t live without? Italy. Biggest career challenge to date? Our work in general—it keeps us mentally active, young, and for the most part, happy.

Any surprises? The fashion craze of Mad Men! Hardest? Peggy’s fat suits for season one. The padding happened in small increments and had to seem natural and real. I was very stressed every time Elisabeth Moss wore a new costume with a new pad! Stressful! Career challenge? When I moved to L.A. after designing in NYC, I couldn’t get a job! It was two years before I was hired on a feature in L.A. The challenge was keeping the faith that something would come along that I loved designing. David Milch hired me to design Deadwood, and I decided to stay in the film business.

Costume Designer: LINDY HEMMING Assistant Designers: GRAHAM CHURCHYARD, ANDREA CRIPPS & GUY SPERANZA Illustrator: JAMIE RAMA

THE CHRONICLES OF NARNIA: PRINCE CASPIAN Costume Designer: ISIS MUSSENDEN Assistant Designer: KIMBERLY ADAMS GALLIGAN Illustrator: OKSANA NEDAVNIAYA

Any surprises? The wonder of being in the center of Europe and having so many amazing sources from so many countries. Hardest to accomplish? Miraz’ coat proved to be quite the puzzle. Getting just the right scale, movement, and gradation of the printed velvet swirl trim was tricky. Easiest thing? They all seem easy now that they are long done. What I couldn’t live without? Light. Biggest career challenge to date? Balancing work and health, mental and physical. Oh, and manufacturing for 300 soldiers all made by people who only speak Czech.

Costume Designer: KATHERINE JANE BRYANT Assistant Designer: ALLISON LEACH

PUSHING DAISIES

Costume Designer: ROBERT BLACKMAN Any surprises? I didn’t really have a total comprehension of how complicated and difficult this little series was. Hardest? Our six principal players, sometimes have six or eight changes per episode. It is highly conceptual so a lot of the stuff has to be made. Career challenge? For all of us … to find enough projects to keep working. You feel terrible when your series is cancelled and is replaced with a reality show—which puts us all out of work. Can’t live without? I don’t know how I did without it but at this point, the Internet.

THE MUMMY: TOMB OF THE DRAGON EMPEROR

THE TUDORS

Any surprises? The combined talent of the artists and craftsmen in Los Angeles, Montreal, and China. Hardest thing to accomplish? Making Michelle Yeoh’s pleated skirt open in a full circle like a fan for the final fight with Jet. Easiest thing? The jade armor for Jet Li. Once we committed to constructing it in L.A., Russ Shinkle created a masterpiece, light and with a full range of movement that looked like regal armor. Can’t live without? MacBook Pro. Biggest career challenge? The Mummy because of the number of the costumes, action sequences and volume of extras. The workshops and sets were in the three different countries and with actors from all over the world.

Hardest thing to accomplish? You start to feel like you know the principals, so the hardest part would be the secondary characters in mere scale alone. They don’t appear in every episode but they are very historically significant. Career challenge? An Irish movie called Reign of Fire. All of the dragons had eaten and destroyed everything. So all of the costumes were made of found objects, half a pair of pants, part of a jacket, buttons were made of spoons. Can’t live without? My lunch hour when I read the society papers of the day and biographies, searching for those unusual details that set each character of The Tudors apart.

Costume Designer: SANJA M. HAYS Assistant Designer: IRENA STEPIC-RENDULIC Illustrators: PHILLIP BOUTTE JR. & CHRISTIAN CORDELLA

Costume Designer: JOAN BERGIN Supervisor: SUSAN O’CONNOR CAVE Assistant Designer: GABRIEL O’BRIEN Illustrators: KELVIN FEENEY & NATALIE CONATY

Outstanding Commercials MILK, “WHITE GOLD” Costume Designer: CASEY STORM

Any surprises? Freedom. The ad agency had a rough idea of the character, but let us create the details, outfits, and personality. We were pretty much left alone to create 15–20 outfits for this rock-and-roll performer. Hardest? We were working with creative materials like feathers and stiff leathers. The clothes had to be flexible so the character could perform, but also be creative and well structured. Can’t live without? Japanese food. Career challenge to date? Zodiac. The script and director made this a lovable but difficult project. As the first major period film I designed, so much was new to me.

LEVI’S, “HIS”

Costume Designer: KYM BARRETT Assistant Designer: SPARKA LEE HALL Any surprises? I was surprised how many retailers were willing to do a deal for our small budget. Hardest? Shooting each shot forward and then backward.....many times! Easiest? The easiest decision was my costume, as my ACD Sparka and I did not expect to have to work in the dressing scene. Can’t live without? My other life at home.

T HANKS THE C OSTUME D ESIGNERS G U ILD AND P ROUDLY C ONGRATULATES O UR N OMINEE Isis Mussenden EXCELLENCE IN FANTASY FILM

NIKE, “FATE”

Costume Designer: TRISH SUMMERVILLE Any surprises? How much David Fincher knows about football! We matched each player’s individuality to the actor. Wearing a uniform, you find ways to make it your own, even in football. The way they taped their hands, what color, how they wore their wristbands, which pads under their uniforms, to what style of socks, etc. Hardest to accomplish? Distressing 150 NFL uniforms to look like they were in the fourth quarter. Easiest? It was fun researching Troy Polamalu and LaDainian Tomlinson’s style from toddlers to college. Like Troy wearing a “Can’t Touch This” T-shirt when he was 9. Couldn’t live without? For this, a Hudson sprayer and glycerin!

COSTUME RENTALS CORPORATION 11149 VANOWEN STREET NORTH HOLLYWOOD, CA 91605 TEL: (818)753-3700 FAX:(818)753-3737

CONTACT: MEL SABINO

The Costume Designer Winter 2009

©DISNEY/ WALDEN. THE CHRONICLES OF NARNIA, NARNIA, and all book titles, characters and locales original thereto are trademarks and are used with permission.

warovski S

Sparkling in The Young Victoria As a new widow in 1861, her prevailing passion for glittering gems shone through her sobriety. For Victoria, dress and jewelry was not only personal; it was intrinsic to the public perception of her as queen and empress. From the early days of Hollywood, Swarovski has worked hand in hand with costume and set designers to create show-stopping jewels, costumes and stage sets which capture the spotlight. The company’s reputation for the highest quality and variety of finely cut crystal is illuminated on and off the silver screen.

Victoria wore clothes made by a number of French dressmakers including George Frederick Worth, a pioneer of haute-couture and loyal customer to Swarovski. Today, the film’s authentic costumes were created by legendary Costume Designer Sandy Powell. Swarovski provided access to the Swarovski Corporate Archive in Milan, home to more than 14,000 pieces of costume and antique jewelry for Powell’s meticulous research into the diamonds and pearls which captivated Victoria. “The stones and jewelry are copies of actual pieces,” says Powell, “replicas made by a jeweler in Swarovski crystals.” From the dazzling diadem made by Martin Adams, to the scepters and royal regalia held by the newly crowned queen at her coronation in 1838, Swarovski crystal plays an integral part in the resplendent glory of the film.

As Hollywood’s premier crystal purveyor, Swarovski has had the privilege to adorn stars such as Marilyn Monroe in Gentlemen Prefer Blondes, Grace Kelly in High Society, and Audrey Hepburn in Sabrina. Nicole Kidman shone with Swarovski in Moulin Rouge, James Bond sparkled with Swarovski in Die Another Day and The Phantom of the Opera featured crystal-embellished costumes of operatic proportions and the awe-inspiring chandelier with more than 20,000 crystals, worth more than 1m. More recently, Cascade and Blossom chandeliers from the Swarovski Crystal Palace Collection dazzled in Oceans Thirteen, whilst Oscar winner Jennifer Hudson and Beyonce Knowles sashayed past a crystal curtain wearing Swarovski detailed gowns as the Dreamgirls.

When Queen Victoria died in 1901, she had spent 40 years dressed almost entirely in black, mourning the death of her husband Albert.

Judith Watt

The Costume Designer Winter 2009

Photos by Liam Daniel, GK Films LLC 2008

Academy Award winners Martin Scorsese and Graham King join forces with director Jean-Marc Vallee to bring The Young Victoria to the screen. The film chronicles Queen Victoria’s rise to power, the turbulent years of her early reign and her legendary romance and marriage to Prince Albert. Remarkably, Queen Victoria was Daniel Swarovski’s first client, so it was only fitting that twotime Oscar-winning Costume Designer Sandy Powell called upon Swarovski to ensure Victoria (Emily Blunt) sparkled throughout the film as she did in life.

Winter 2009 The Costume Designer

SPARKA LEE HALL

CHRISTINE JORDAN

MEET THE ASSISTANTS

Sparka Lee Hall’s commute between Berlin and Los Angeles rivals that of rush hour on the 405! After growing up in Berkeley and San Diego and studying art film & costume history, she traveled the world discovering her second home in Germany. Having a love for many walks of life and working in stage, commercials, jewelry, historical fairs, and millinery led Sparka to work as an ACD. A self-proclaimed lifer, she’s worked with Designers Kym Barrett, Alison Freer, and Ann Roth. As a liaison to production, Sparka is concise and friendly with “lots of e-mails, calendars, and updates on progress.” As a beacon of information to the workroom, she secures the best from their craft, and as a sponge for the crew, she soaks up “the situation, finances, timeline, taste, and objectives of my colleagues … absorbing it all and spreading it around!” It also helps to study old movies, work on your own aesthetic values, don’t freak out, and learn how to make anything in five minutes!

leesparka@aol.com

can’t live without light and space to create

ANDREA SWEET

THE COSTUME DEPARTMENT

The bailiwick of stagecraft afforded this Assistant her rise through the ranks from stitcher, first hand, Assistant Designer, to Costume Director at Opera Pacific. Management of shop operations instilled Christine with a deep appreciation of the crew’s talents and needs. Speaking and understanding “the same technical language of the workroom is invaluable to form, fit, construction, and shopping.” With a subtle touch and a “finger on the pulse,” Christine relies on her deft grasp of construction and good eye as artistically essential. Also, her computer savvy and photo edits are relied upon to “give the design the professional presentation it deserves.” As the industry grows and studios demand more for less, mistakes can be costly. Navigation (be it traffic, Internet, budget, or people) is key. A good ACD is “a cost-effective driver in making the vision happen.” Although the biz is “driven and hanging on the edge of chaos,” Christine says, “when it all comes together, it’s a thing of beauty.”

This Southern girl from Louisiana has run the gamut in the costume department: from commercials, music videos and indie films in New Orleans (aka Hollywood South) to set costumer, supervisor and ACD positions in Los Angeles. Although leaving Louisiana seemed scary at the time, working with Designer Janie Bryant on a pilot opened the door for Andrea to make the move. Sweet joined the Guild as Miss Bryant’s Assistant on Deadwood. Delving into research, historical behaviors, and cultural habits make period projects challenging as well as unique both in design and detail. Andrea freely maneuvers within genres, also working in contemporary episodic with Designer Audrey Fisher (True Blood) and sketch comedies with Designer Alison Freer (Mind of Mencia, The Factory). She works with an eye for contemporary design where clothing choices are diverse. Breaking into the industry requires “tenacity, determination, and a bit of luck.” This diversified problem solver’s advice: “Stay on your toes, exercise creativity and don’t be fooled! This is not easy!”

costumegirl@mail.com www.thecostumegirl.com

aragansweet@yahoo.com

can’t live without iPhone, black notebook, emergency chocolate

Warner Bros. Pictures would like to thank the Costume Designers Guild and congratulate our nominees Lindy Hemming

The Dark Knight Excellence in Fantasy Film Patricia Field

Sex and the City Excellence in Contemporary Film

can’t live without my crackberry, comfortable shoes

The Costume Designer Winter 2009

THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z acre: The whitish substance that mollusks

secrete around a foreign object that gets into their shells. This substance is what forms pearls.

Nadragi: Men’s folk costume pants from Rumania. They are made from four widths of fabric. One and a half widths are used for each leg, and one width for the seat. The pants have no fly. They are typically made in black, brown and dark blue and decorated with blue or red braid around the pockets.

Boussac to take the chance on backing his fashion house in Paris. The “flower women” in Dior’s 1947 “Carolle” collection were a huge success, prompting Carmel Snow, the editor of U.S. Harper’s Bazaar to proclaim: “It’s quite a revelation dear Christian; your dresses have such a new look!”

Niello: The process of inlaying engraved metal with a black alloy of sulfer, copper, silver and lead to form designs. Indications are that the process was developed by the Egyptians and spread to Europe during the Middle Ages.

Nankeen: Fabric and clothing made of cheaply manufac-

Nightshirt: A version of sleep-

tured cotton. Originating in China more than 3,000 years ago; it starts out pale yellow and then is often dyed with indigo or stenciled with a paste of soya bean and slaked lime, which is applied and then scraped off after the fabric has been dyed.

wear that was particularly popular in the 19th century. A longer, looser version of the day shirt, it usually came to midthigh or knee length. This version, however, was evolved from the earlier garment that was worn 24 hours a day, the outer garments being taken off at night and donned again upon rising.

Nehru Jacket: A hip-length tailored jacket for men and women with a standup or “mandarin collar.” Made popular by Jawaharlal Nehru’s achkan in the ’40s, ’50s and ’60s and later by the Beatles in the ’60s (think Sgt. Pepper’s album). The Nehru jacket has become a counterculture fashion statement.

New Look: The end of WWII left women in the United States and Europe tired of war and doing without, tired of rationing and blackouts, tired of their old worn clothes. The young French fashion designer, Christian Dior, created a fresh silhouette, soft, billowing and wasp waisted, that was a complete departure from the more austere lines of wartime. With the promise of selling all that fabric, he convinced fabric manufacturer Marcel

The Costume Designer Winter 2009

would like to Congratulate all the nominees for the 11th Annual Costume Designers Guild Awards

Norfolk

Jacket: Made its first appearance in England around 1860 and was often associated with sporting activities such as shooting and fishing. They are generally made of plaid and “tweedy”-type fabrics and have patch pockets and a built in belt. Typically the back has anywhere from one to three box pleats. Nupura: Are ringing anklets (adorned with bells) used in describing Hindu gods and goddesses as accompanied by pleasing sounds wherever they go. Illustrations by Robin Richesson rrichesson@costumedesignersguild.com Text by Karyn Wagner kwagner@costumedesignersguild.com

Joseph Aulisi Kym Barrett Jenny Beavan Rebecca Bentjen Joan Bergin Robert Blackman Katherine Jane Bryant Tom Broecker Eduardo Castro Randall Christensen Michele Clapton Eric Daman Stefano De Nardis Patricia Field Pierre-Yves Gayraud Lacoste Career Achievement in Film

Marilyn Vance

Danny Glicker Sanja M. Hays Lindy Hemming Deborah Hopper Suttirat Larlarb Isis Mussenden Michael O’Connor Ann Roth Laura Jean Shannon Casey Storm Trish Summerville Jacqueline West Amy Westcott Albert Wolsky Donna Zakowska Career Achievement in Television

Van Broughton Ramsey

IN FOCUS

THE PROCESS: SKETCH TO SCREEN DARK STREETS 2008

Designer and Illustrator: Maria Schicker Materials: Watercolor paper, colored pens and watercolors by Faber Castell and Faber Castell. Maria Schicker started illustrating the costumes for Dark Streets on her script pages, adding images to words. She sketched countless options for the musical number (pictured) “When Twilight Falls,” condensed those to 15 and then narrowed that down to the ones she further realized in color. Set in a visually dazzling fantasy of the early 1930s, Dark Streets tells the story of Chaz Davenport (Gabriel Mann), a dashing but naive playboy who owns the hottest new nightclub in town, The Tower. Surrounded by blues music and two gorgeous singers played by Bijou Phillips and Izabella Miko, Dark Streets is a neo-noir blues musical that richly stimulates the senses. MS: “Creating the pleasure dome costumes for this noir tale is truly a Costume Designer’s dream! I designed the dancers using art deco patterns and unusual fabrics, embellished with Swarovski crystals. Referencing surreal elements from the Futurism and Russian Avant-garde movements combined with painters Magritte and Dali, and research from the Cotton Club, Pigalle Place and the Lido, helped embody the costumes with illusions and secrets. We wander in the ’30s but utilize some familiar and modern pieces to achieve a unique look for the Tower Club.”

Dark Streets Samuel Goldwyn Films

Early design development

The Costume Designer Winter 2009

Final Photograph

Winter 2009 The Costume Designer

IN FOCUS

A LOOK BACK

n a trio of mid-’80s classics—The Breakfast Club (1984), Pretty in Pink and Ferris Bueller’s Day Off (both 1986)—Marilyn Vance defined a decade with her playfully insightful costume design for John Hughes’ vision of 1980’s teen society. Hitting the high notes with boldly original costumes set against the backdrop of a flawlessly costumed crowd, Marilyn captured and refined classic 1980’s looks for the silver screen. In reality, her film costumes defined a moment and set trends in retail markets across the United States. Her designs also embraced the charm and moxie of Hughes’ irrepressible supporting characters, helping to formalize the beloved role of the quirky best friend. In The Breakfast Club, Marilyn simply and strongly designed the costumes for five iconic high schoolers: the prom queen, the jock, the brain, the freak and the rebel. Each character’s details are wonderfully descriptive of time, place and status, from princessy Claire’s chestnut leather jacket, to athlete Andrew’s Nike tank, to bad boy Carl’s bandana-wrapped motorcycle boot. These costumes serve as individualized uniforms, telling the audience volumes about each character before the teens finally break the social barriers to bond with each other during their endless eight-hour Saturday detention. Pretty in Pink stays in familiar teenage angst territory, focusing this time on star-crossed lovers Andie and Blane and their gaggle of friends. Smart, spunky, working-class Andie is a budding fashion designer who loves pink. This conceit allowed Marilyn to create an ’80s-vintage bombshell: Andie sports bowlers wrapped with floral scarves, lace collars, jeweled brooches on buttoned-up dress shirts, brocade vests, slouchy socks with granny boots and mismatched dangly earrings. Duckie, her Teddy Boy male counterpart, is never without his porkpie, bolo tie, suspenders and those

The Costume Designer Winter 2009

famous scuffed white creepers. Andie’s crush, Blane, and his wellheeled crowd are preppy Miami Vice wannabes, and their pastel blandness showcases Andie’s sartorial flare. BFF Iona vamps it up in a series of breathtaking ’80s outfits: Madonna Goth, ’40s redux, new geisha, retro prom, and jaunty cruise. Ferris Bueller’s Day Off is a warm-hearted caper which sends Ferris, girlfriend Sloane and wingman Cameron on a ridiculously lucky, grown-up day of playing hooky in big-city Chicago. Silvertongued Ferris and Sloane want to cheer up depressed Cameron, so the trio ditches school and takes off in Cameron’s Dad’s prized 1961 Ferrari. Ferris is Duckie Version X, breezily confident in his fashionable letterman-style jacket, sweater vest, white spectators, and beret. Sexy Sloane is the perfect 1986 It Girl in a white-fringed leather jacket; Cameron plays the goofy sidekick wearing his beloved Gordie Howe red-and-white-striped Detroit Redwings jersey. Ferris’ conniving sister Jeanie is a scene-stealing frizzy-haired mall-brat in wide-shouldered jackets and high-waisted pants. John Hughes’ box-office hits were deeply enhanced by Marilyn Vance’s definition of social trends and style through costume design. Each character’s signature “look”—from Claire to Andie to Ferris—tells the characters’ backstory while hinting at their future. Looking back at Marilyn’s designs, each costume represents a 1980’s time capsule, rich in detail, full of meaning, offering us a glimpse of that incredibly creative and unique time in fashion: the beloved ’80s. Audrey Fisher afisher@costumedesignersguild.com

Breakfast Club Universal, Pretty in Pink Paramount, Ferris Bueller’s Day Off Paramount, all courtesty of The Kobal Collection

Marilyn Vance and the ’80s: Classic Costumes for Hughes’ Hits

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IN FOCUS

WORK IN STYLE

BOLDFACE NAMES BOLDFACE AT WORK

Christine Bieselin Clark joined CD Michael Wilkinson on TR2N as Associate Costume Designer. The duo will prep in Los Angeles before filming begins in Vancouver, B.C. Marvel Comics is counting on CD Mary Zophres and ACD Jenny Eagan to mesmerize the audience with the costumes for Rasputin, which will be shot mostly in Los Angeles. CD Tricia Gray recently wrapped comedy troupe Broken Lizard’s The Slammin’ Salmon and is designing her third feature for the Lizards, entitled Freeloaders. The flick revolves around five guys and a girl living in a rock star’s mansion whose sweet situation is threatened when the star decides to sell. CD Christopher Lawrence recently collaborated again with HS classmate, director Phil Joanou, on an AT&T commercial. ACD Stacy Caballero teamed with CD Kym Barrett to design a fun Audi commercial, scheduled to air during the Super Bowl, which spans the 1970s to present day. Alexandra Welker is busy this season: she will be designing a new pilot called Flash Forward for ABC, the film Alvin and the Chipmunks starting in mid-February, and Spinal Tap’s 2009 tour—which marks the 25th anniversary of the classic “rockumentary.” CD Caroline B. Marx is headed to Sundance with The Killing Room, which follows four people who sign up for a governmental research study only to discover that they are the subjects of a brutal, secret program.

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In NYC, CD Melissa Meister is busy assisting Jenny Beaven on WB’s Sherlock Holmes, with Guy Ritchie directing and Robert Downey Jr. starring as the beloved English detective. CD Amy Westcott is also in New York working on 13, the American remake of the award-winning French film, 13 Tzameti, a dark tale of high-stakes Russian roulette starring Mickey Rourke and Ray Winstone. CD Dana Campbell reports having a challenging and joyful experience working with Lasse Hallström on Dear John, which filmed in beautiful Charleston, S.C. On location in Michigan, CD Maria France wraps stoner comedy High School starring Adrian Brody and directed by John Stalberg in January. L.A. locals ACD Brie Harris and supervisor Brenda Maben joined France’s team. Deena Appel is heading to Portland, Oregon, to design the drama Untitled Crowley Project, starring Brendan Fraiser and Harrison Ford. Ford will be working with longtime collaborator Bernie Pollack.

BOLDFACE PRESS CD Michele Michel graces the cover of the First Entertainment Credit Union magazine, the Show. With a monthly distribution of 60,000, this issue of the Show will put the

CD Isis Mussenden has just started work on her third animated film for DreamWorks, Puss ’N Boots, where she is using her animation and CGI skills more than ever! Illustrator Derek B. Sullivan was pleased to assist CD Susan Lyall on HBO’s new pilot The Washingtonienne, which wrapped mid-November. CD Molly Maginnis signed on to design TV show Bones with ACD Nanrose Buchman and recently designed the comedy Role Models. Web Therapy, a webisode about an Internet therapist (Lisa Kudrow) who does threeminute sessions, features costumes by CD Ariyela WaldCohain. Watch at www.Lstudio.com. CD Jenni Gullet is designing both a miniseries for CBS and Paramount Pictures entitled Harper’s Island, and she is happy to see series television back in production. Susan Kaufmann just wrapped her first season of the A&E series The Beast, starring Patrick Swayze and Travis Fimmel. CD Denise Wingate is currently designing the costumes for Fox pilot Eva Adams. Michele Michel on the cover of the Show.

Winter 2009 The Costume Designer

Serj Costumes & Tailoring

BOLDFACE NAMES BOLDFACE PRESS

30 years of tailoring experience. Head tailor - Fox Studios - 2002-2008 Full-service tailor shop, fitting on site or at your location, alterations overnight-service available, leather work, custom made for men and women, wedding gowns made, hand beading.

Starz documentary Fashion in Film

focus on the work of CDG members. Check out Michele’s website and shop for unique products designed by your fellow costume designers at www.designedbyhollywood.com. L.A. Times/The Envelope writer Elizabeth Snead interviewed our two Dannys: Danny Glicker, who talked about his once-ina-lifetime experience working on Gus Van Sant’s film Milk (Dec. 3) and CD Daniel Orlandi on his designs for Frost/Nixon (Jan. 7). Orlandi explained his approach to ’70’s style which is as modern today as it was then. Starz documentary Fashion in Film (http://www.starz.com/titles/fashioninfilm) featured mini-interviews with Guild members Sharen Davis, Michael Kaplan, Deborah Landis, Debra McGuire and Arianne Phillips … Boothe Moore, fashion critic for the L.A. Times wrote: Fashioning a Character. “Costumes aren’t just eye candy in this season’s Oscar-bait films. Style telegraphs the inner journey.” She goes on to say … “save for a few product placements … fashion companies have stayed out of the picture, leaving the work to the real costume designers.” Dec. 7, 2008, Image section. Variety’s V Plus, Eye on the Oscars singled out two heavily researched, artfully crafted period dramas: Milk by CD Danny Glicker and The Curious Case of Benjamin Button (Jacqueline West) for “Creating the look, grounded in reality.”

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The Costume Designer Winter 2009

Daily Variety

BOLDFACE NAMES BOLDFACE FESTIVALS & EVENTS

The Chronicles of Narnia: The Exhibition began its five-year tour at The Franklin Museum in Philadelphia this winter and will be open through April 2009. The interactive science exhibit displays more than 20 costumes designed by Isis Mussenden and her Associate Designer, Kimberly Adams. Osso Bucco, with costumes by Ellen Ryba, has been nominated for Best Feature at the 2008 Best of the Midwest Awards. Worldâ&#x20AC;&#x2122;s Greatest Dad, directed by Bobcat Goldthwait and starring Robin Williams, will premiere at Sundance in January and features costumes designed by Sarah De Sa Rego. Women in Film has chosen NY member Juliet Polcsa as the first Costume Designer to be interviewed for their video series. This past November, Bloomingdales NY displayed CD Johnetta Booneâ&#x20AC;&#x2122;s costumes for Cadillac Records in their windows at 59th and Lexington. CD Wendy Partridge was â&#x20AC;&#x153;astonishedâ&#x20AC;? to get the call from the Lincoln Highway National Museum who asked her to create 37 authentic WWI uniforms and an Abraham Lincoln costume for the museumâ&#x20AC;&#x2122;s inauguration parade float. Partridge, who is donating her time and the materials, will participate in the Washington parade for President Barack Obama.

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Clint Eastwood and Deborah Hopper

PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)

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The Costume Designer Winter 2009

Clint Eastwood & Deborah Hopper: Wire Images/Getty

BOLDFACE HONORS

Clint Eastwood presented Deborah Hopper with the Costume Designer of the Year Award at the 12th Annual Hollywood Awards black tie gala, October 27. In December, The Womanâ&#x20AC;&#x2122;s International Film and Television Showcase, which is committed to recognizing both the contribution and leadership of International filmmakers, honored Sharen Davis for her outstanding Costume Designs. CD Anya Sarre was presented with the Film Fashion Visionary Award at The Bel Air Film Festival. Anya is featured daily on The Insiderâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Get the Look for Lessâ&#x20AC;? and at www. theinsider.com/obsessions/LRA%27S Wardrobe Cam. Winter 2009 The Costume Designer

BOLDFACE NAMES

Evan Rachel Wood presenting Albert Wolsky with his award.

Albert Wolsky received the Hollywood Life/Hamilton Watches, Behind the Camera Award presented by Evan Rachel Wood, November 9. Congratulations to our fellow CDG designers on their 2008 nominations: Danny Glicker/Milk (Oscar), Deborah Hopper/ Changeling (BAFTA), Jacqueline West/ The Curious Case of Benjamin Button (Oscar & BAFTA), Albert Wolsky/Revolutionary Road (Oscar & BAFTA).

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The Costume Designer Winter 2009

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In January, designers Jim Lapidus and Michael Travis were in Las Vegas to collaborate with The Liberace Museum on a coffee table book which will include Lapidus’ sketches and Travis’ designs for the world-famous entertainer. CD Cyntha Bergstrom of Private Practice, alongside ACD Kathryn Battistone, will travel to Las Vegas to show their handmade flower accessory line, Ryn Rina, at the Pool Tradeshow, a division of Magic geared toward innovations in fashion (February 17–19). Check out www.Rynrina.com. CD Diah Wymont has partnered with an Italian men’s wholesale company to produce

Evan Rachel Wood & Albert Wolsky/Courtesy of Hollywood Network, Inc./Getty Images

BOLDFACE HONORS

BOLDFACE NAMES BOLDFACE ENTREPRENEURS

THE

MUSIC & ENTERTAINMENT MEMORABILIA

Consign to our upcoming Music & Entertainment Auction June 6-7, 2009 â&#x20AC;&#x201C; Dallas, Texas

COSTUME DESIGN CENTER

Congratulates the nominees & honorees of the 11th annual Costume Designers Guild Awards

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REALIZING TOP PRICES FOR:

ready-to-wear suits in the style of Prada and Dolce & Gabbana. This custom, union-approved line is manufactured in Italy. Contact Diah (310-980-8821 or diahdiah@aol.com) to view the collection at her downtown L.A. studio. During her hiatus from Lincoln Heights, CD Tashiba Jones-Wilson has launched zmjdenim, designer denim in womenâ&#x20AC;&#x2122;s sizes. Check out Tashibaâ&#x20AC;&#x2122;s fashionable CD Wymontâ&#x20AC;&#x2122;s ready-to-wear suits. and fabulous designs at zmjdenim.com. CD Kristin Burke announces the launch of frocktalk. com, which spotlights the artistry of Costume Design in film and features a Costume Design Review with contributing editors who are working CDs. In addition to frocktalk.com, this past October, Kristin was featured in an article about Scandinavian women in Hollywood for Swedish Elle.

Screen-Worn Costumes Scripts and Props Autographed Material Awards "MM 2VBMJUZ &OUFSUBJONFOU Memorabilia

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Sold For: $7,170

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The Costume Designer Winter 2009

Compiled by: Sharon Day sday@costumedesignersguild.com Audrey Fisher afisher@costumedesignersguild.com Cheryl Marshall cmarshall@costumedesignersguild.com Deena Appel dappel@costumedesignersguild.com

HA.com/696-100007

WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES: 'JOF %FDPSBUJWF "SUT "OUJRVFT 3BSF $PJOT $VSSFODZ *MMVTUSBUJPO "SU $PNJDT $PNJD "SU $JWJM 8BS "NFSJDBOB "NFSJDBO *OEJBO "SU 3BSF #PPLT .BOVTDSJQUT &OUFSUBJONFOU .FNPSBCJMJB +FXFMSZ 5JNFQJFDFT /BUVSBM )JTUPSZ 4QPSUT $PMMFDUJCMFT 7JOUBHF .PWJF 1PTUFST BOE 4UBNQT

5P DPOTJHO ZPVS NBUFSJBM UP B GVUVSF BVDUJPO DBMM POF PG PVS DPOTJHONFOU EJSFDUPST UPEBZ 5IF DPOTJHONFOU EFBEMJOF GPS UIJT BVDUJPO JT "QSJM CONSIGN NOW! Doug Norwine 800-872-6467, ext. 1452 (DougN@HA.com) 3500 Maple Avenue, 17th Floor Dallas, Texas 75219 800-872-6467 HA.com/Entertainment

Receive a free copy of this catalog, or one from another Heritage category. Register online at HA.com/CDG16543 or call 866-835-3243 and mention reference CDG16543. The entire auction will go online approximately May 17 at HA.com/Entertainment. TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Mike Sadler 16129; Andrea Voss 16406. t 5IJT BVDUJPO JT TVCKFDU UP B #VZFS T 1SFNJVN

We P Fi n d ay ersâ&#x20AC;&#x2122; Fe e s Annual Sales Exceed $700 Million 425,000+ Online Registered Bidder-Members

SCRAPBOOK

Costume Designer Marilyn Vance and Kevin Costner, The Untouchables, 1987.

The Costume Designer Winter 2009