The Costume Designer - Winter 2012

THE OFFICIAL MAGAZINE OF THE COSTUME DESIGNERS GUILD LOCAL 892 Non-Profit Org. U.S. Postage Paid Santa Ana, CA Permit No. 450

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

WINTER 2012

costumedesignersguild.com

OUTSTANDING MADE FOR TELEVISION MOVIE OR MINI SERIES

MILDRED PIERCE Ann Roth

PROUDLY CONGRATULATES OUR 2012 COSTUME DESIGNERS GUILD AWARDS NOMINEES

OUTSTANDING PERIOD/FANTASY TELEVISION SERIES

BOARDWALK EMPIRE® John Dunn, Lisa Padovani GAME OF THRONES® Michele Clapton

©2012 Home Box Office, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Office, Inc.

CD’s Revealed CDG Award Nominees Honorees: Eyrich & Stewart Collaborators: Eastwood & Hopper Keep Your Hat On!

WHO ARE WE?

COSTUME DESIGNERS GUILD NOMINEE

EXCELLENCE IN PERIOD FILM MICHAEL O’CONNOR

vol. 8, issue 1

38

28

42

FEATURES Costume Designer Guild Awards 2012 . . . . 19 Costume Designers Revealed . . . . . . . . . . . . 20 ACADEMY AWARD® NOMINNEE

BEST COSTUME DESIGN MICHAEL O’CONNOR

Mark Bridges, Wendy Chuck, Sharen Davis, Lou Eyrich, Deborah Hopper, Chrisi Karvonides, Marlene Stewart

BAFTA AWARD NOMINEE

BEST COSTUME DESIGN MICHAEL O’CONNOR

CDG Award Nominees . . . . . . . . . . . . . . . . . 28 Lou Eyrich’s Road to Glee . . . . . . . . . . . . . . 34 Career Achievement in Television Award

Marlene Stewart–A Material Girl . . . . . . . . . 36 Disaronno Career Achievement in Film Award

“TRANSFIXING. MICHAEL O’CONNOR’S COSTUMES ARE MARVELOUS.”

The Subject of Loyalty . . . . . . . . . . . . . . . . . 38

– JOE MORGENSTERN,

Distinguished Collaborators: Clint Eastwood & Deborah Hopper

Keep Your Hat On! . . . . . . . . . . . . . . . . . . . . 42 Hats From 2011 TV Shows & Films

DEPARTMENTS COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

COVER CD’s Roundtable photographed by Steven Silverstein

For up-to-the-minute screening information, exclusive video content, the score, screenplay and more on this extraordinary film, go to: www.FocusAwards2011.com

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 President’s Letter, Executive Director, Labor Report

The Costume Department . . . . . . . . . . . . . . . 14 Meet the Illustrators History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Boldface Names

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Winter 2012 The Costume Designer

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EDITOR’S NOTE

T

his issue is a first in many ways. It is the first to use our new logo; to have current Costume Designers on the cover; to shoot original photography. And, the first time a roundtable interview has been conducted. When I initially thought about the content, I felt a little like Michel Hazanavicius pitching the concept of The Artist. He wanted to give audiences not what it had shown an appetite for—but what it didn’t know it wanted. Yet, I wasn’t entirely sure about making noticeable changes after Deena Appel stepped down. She and her predecessor, Sharon Day, delivered excellent creativity and journalistic standards over the years, and I applaud them for it.

As it happens, though, I’m the CDG’s Communications Director and frequently interact with members and the public about branding, press, the website and social media. This gives me a strategic responsibility and perspective, and I knew instinctively that something different could be spectacular, given the right approach. I’m not hesitant to take risks or work hard, so drawing from years of related experience, I waded into the deep end with only a few weeks to get it done!

Risk, dedication and revelation are subtexts throughout this issue. In these pages, we are honoring Costume Designers for their achievements—impossible distinctions without exceptional design skills, instincts, work ethic and a measure of risk-taking. I doubt there is a single one who hasn’t sidestepped boundaries to create magic, including the 31 CDG Award nominees tracked down by a team of volunteers to answer just one question. Their answers may surprise you.

A designer we discuss more in-depth is Marlene Stewart, who is being honored with a Career Achievement in Film Award, having worked on some of the highest grossing films of the last 30 years. Another is the unstoppable Lou Eyrich, who is receiving the Television Award for her work on popular series such as Glee and Nip/Tuck. And, we have an insightful story on Deborah Hopper and director Clint Eastwood, who are receiving the Distinguished Collaborator Award together this year. Stewart, Eyrich and Hopper were invited to our first roundtable cover story and photo shoot, along with Mark Bridges, Wendy Chuck, Sharen Davis and Chrisi Karvonides. Their comments are inspirational—and revealing.

The idea for the cover story arose from my frustration when designers are rarely asked to grace the fronts of industry publications. But it’s more discouraging when they’re missing from the covers of our own magazine! I’m sure it had been thought about before but it’s a significant endeavor to bring seven participants together, produce a photo shoot and conduct a roundtable. I appreciate Board President, Mary Rose, for co-moderating, Salvador Perez for conjuring up makeup and hair, the photo shoot team, and CDG’s Cheryl Marshall.

And, thanks to everyone who stayed on: Jacqueline Saint Anne for turning in a delightful assigned feature, “Keep Your Hat On!”; the nominees team: Bonnie Nipar, Christine Jordan, Zelda Lambrecht, Glenda Maddox and Rob Saduski for burning the midnight oil; Courtney Hoffman for cleverly writing “Meet the Illustrators”; Marcy Froehlich and Robin Richesson for the latest “History of Dress”; plus newbie, Cynthia Obsenares, for stepping into “Boldface.”

Finally, I want to thank you, in advance, for keeping an open mind to the changes that have been made. I truly hope you enjoy it and look forward to your comments!

Gina Silverstein gsilverstein@cdgia.com

costumedesignersguild.com EDITOR-AT-LARGE

Gina Silverstein ASSOCIATE EDITOR

Bonnie Nipar PRESIDENT

Mary Rose mrose@cdgia.com VICE PRESIDENT

Van Broughton Ramsey vramsey@cdgia.com SECRETARY

Beth Pasternak bpasternak@cdgia.com TREASURER

Marilyn Matthews mmatthews@cdgia.com EXECUTIVE BOARD

Deena Appel dappel@cdgia.com

April Ferry aferry@cdgia.com

Salvador Perez sperez@cdgia.com

Cliff Chally cchally@cdgia.com

Brigitta Romanov (ACD) bromanov@cdgia.com

Felipe Sanchez (Illustrators) fsanchez@cdgia.com BOARD ALTERNATES

Robert Blackman rblackman@cdgia.com

Julie Weiss jweiss@cdgia.com

Mark Bridges mbridges@cdgia.com

Sharon Day sday@cdgia.com BOARD OF TRUSTEES

Peter Flaherty pflaherty@cdgia.com

Jacqueline Saint Anne jsaintanne@cdgia.com

Karyn Wagner kwagner@cdgia.com

DreamWorks Pictures and Participant Media Thank the Costume Designers Guild and Proudly Congratulate Our Nominee

SHAREN DAVIS

EXCELLENCE IN PERIOD FILM

EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@cdgia.com COMMUNICATIONS DIRECTOR

Gina Silverstein gsilverstein@cdgia.com MEMBER SERVICES ADMINISTRATOR

Suzanne Huntington shuntington@cdgia.com RECEPTIONIST/SECRETARY

Cheryl Marshall cmarshall@cdgia.com PUBLISHER

IngleDodd Publishing ADVERTISING DIRECTOR

Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

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The Costume Designer Winter 2012

www.DreamWorksPicturesAwards.com ©2012 DreamWorks II Distribution Co., LLC

Contributors

BONNIE NIPAR

MARCY FROEHLICH

COURTNEY HOFFMAN

(Associate Editor, Nominees) Joined the Guild in 1997 and works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of the CDG magazine, Nipar happily took over four recurring columns. With her sense of wanderlust, Nipar enjoys searching for the treasures of Locations, and also finds “It’s a treat to honor the latest accomplishments of our peers.”

(History of Dress, text) Joined the Guild in 1992 fresh from New York and Broadway. Her designs have run the gamut from theater and opera to film and TV, from Waiting for Godot to the Miss America Pageant!

She is also a co-author (with Barbara Inglehart and Pamela Shaw) of Shopping LA: The Insiders’ Sourcebook for Film & Fashion. Froehlich has long had an interest in historical costume and research, so she is delighted to contribute to the magazine in this way.

(Meet the Illustrators) This Los Angeles native and CDG newbie is thrilled to join the writing staff of The Costume Designer. A graduate of New York University, she is happy to be back in Los Angeles working alongside her Costume Designer heroes. Hoffman currently works as an Assistant Costume Designer for film and television. “I am ecstatic to have the opportunity to know my fellow ACDs and share their stories. I enjoyed the magazine long before I was a member and being able to contribute is a dream come true.”

WANT TO STOP CONTENT THEFT?

SAY “ACTION.” JOIN CREATIVE AMERICA

CYNTHIA OBSENARES

ROBIN RICHESSON

JACQUELINE SAINT ANNE

(Boldface Names) After six years in advertising, Obsenares discovered her love for costume design upon opening her WeHo fashion boutique, bcurious. Intrigued by customers Wendy Benbrook, Frank Helmer and Colleen Atwood, she produced her portfolio and in 2004 joined the CDG. In 2009, she founded BCurious Productions with her husband to engage in the storytelling process as a producer.

Obsenares practices her benevolent life philosophy through her volunteer work for the CDG and local community.

(History of Dress, Illustrator) Joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist, and an educator. “I trained to work as an illustrator for print (publishing) so when the CDG began the magazine, I was pleased to be asked to illustrate for it. I love working in film, but I have to admit, I missed seeing my work in print! The History of Dress column is a great way for me to learn more about clothing and participate in this publication.”

(Keep Your Hat On) The Emmy Award-wnning Costume Designer, and former President of the CDG, continues to serve the Guild as a Trustee.

Born in Panama and educated in Europe and the United States, she earned her master’s from The Ring Theatre at the University of Miami. She has designed for film, video, television, webisodes and mobisodes, ballet, IMAX, opera and theater. Chronicling our Illustrator members since the very first issue, Saint Anne is always a welcome contributor.

You make it. They take it. Let’s stop them. Thieves are making millions of dollars trafficking in stolen film and television. America has already lost 140,000 film and television jobs to content theft.

Wages, benefits and residuals are all being hit hard. Now there’s a way to fight back. Creative America is a new grassroots voice for the entertainment community and anyone else who believes America must do more to protect our jobs and creativity. Join us. Sign up at CreativeAmerica.org and make your voice heard.

UNITED TO FIGHT CONTENT THEFT

CreativeAmerica.org

Winter 2012 The Costume Designer

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union label PRESIDENT’S LETTER Dear Colleagues,

COSTUME DESIGNERS GUILD NOMINEE EXCELLENCE IN PERIOD FILM SANDY POWELL

11

Our Costume Designer’s 25th issue turned out to be the last magazine edited by Deena Appel. Our dedicated editor since the fall of 2006, who tirelessly and passionately edited the magazine with such diligence and love, has decided to give her time to her career (presently on the new hit show Last Man Standing) and spend more time with her son Oliver. Deena is an exemplary, great single mom since the birth of Oliver, who will be in grade school this year. We will all miss her and her work, but the print she left has made a deep impression and won’t be forgotten. Thank you so much Deena for all that you’ve done.

If some of you are concerned about the fate of the CDG magazine, not to worry. By this time, most of you know of the existence of a new addition to CDG office with a new title of Communications Director, Gina Silverstein. After interviewing many very qualified applicants, Gina was hired by the Executive Board last June ... as part of the restructuring plan that we, the Board, had talked about. Since then, she took on an amazing amount of duties. First, Gina has worked on helping us re-brand with a new logo, communications and social media, that’s been well used by many members. We all were aware for a long time that our website had many years of layered patchwork and was antiquated in so many ways, yet not much was done. When the Board decided, with Gina’s persuasion, to start with a completely new Web design, she took on bringing scores of Web design companies to be interviewed by the Board. We all agreed that this is an area where membership money should be spent. We have been assured it will be completed by the beginning of March.

When Gina heard that Deena no longer was editing the magazine, she said, “If the Board will let me do the next issue, I would like to try. I have experience with editing and writing, and am confident that I can do it. But, if the Board is not pleased with it afterward, I’m fine for you to take it outside.” Although, I declined to do much with the magazine in the past, I felt somewhat responsible since I was the one who pitched for Gina to the Board, especially when the Board passed her proposal.

On Sunday, January 15, seven costume designers and I gathered in the CDG large Conference Room 800, and Gina’s other half, Steven Silverstein, who is a professional fashion photographer, shot a beautiful cover story for the magazine, all pro bono. And now, here we are with this issue on time.

Congratulations to Gina. What do readers think about this WE APPRECIATE THE ONGOING issue? We want to know. Let’s hear from you.

SUPPORT OF OUR CORPORATE SPONSORS Awards will be here soon before we know it. It’s impossible to do an encore of Julie Weiss, try to compete DIAMOND LEVEL with Julie? That an impossibility, who’s kidding! That said, the 14th Annual CDG Awards are going to have a little different flavor than last year, but just as good and interesting. Don’t forget, Lacoste Symposium is the day after the Awards.

Rachael and I will be so busy these next few months… Executive Session in Atlanta, negotiations, General Membership Meeting, etc. This president wonSAPPHIRE LEVEL ders if the whole of March vacation for me is a possibility… Don’t laugh, one can dream, can’t one?

With love and respect, Mary Rose mrose@cdgia.com

ACADEMY AWARD® NOMINATIONS

RUBY LEVEL

BEST PICTURE BEST COSTUME DESIGN SANDY POWELL INCLUDING

Winter 2012 The Costume Designer

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union label EXECUTIVE DIRECTOR COSTUME DESIGNERS GUILD AWARD NOMINEE TRISH SUMMERVILLE We used to joke that things here at the Costume Designers Guild moved at glacial speed, but not anymore. We are now moving at warp speed into the future and 2012 will bring exciting new changes along with some oldtime favorite events. Our calendar is already full with contract negotiations, exhibits, seminars, classes, parties, and special events. Our Retirement Committee is setting benchmarks for other IA locals to follow and has opened new avenues for our retiring members to continue to be a part of our community and in the spring we will host our 2nd Annual Retirees luncheon. Our CDG Awards event grows bigger every year with more stars and CDG members celebrating the winners of our beautiful award. We are happy to once again have Lacoste as our sponsor. Our collaboration with FIDM for the Art of Motion Picture Costume Design Exhibit opening in February and the ATAS Exhibit in July have become well-attended artistic events. We are very excited about the redesign of our logo. The image loosely based on our award statuette will add a level of class and sophistication to our branding campaign. Our website has been completely overhauled and redesigned from the ground up.

Look for our launch in early March. In January, our receptionist Cheryl Marshall, became a full-time member of our team. Suzanne Huntington continues on as Member Services Administrator. Last June, we added a Communications Director, Gina Silverstein, to our ranks. I remain as Executive Director and will lead the negotiating team in contract negotiations later this spring, continue to teach seminars, and head the CDG office throughout the year. What all of this really means is that we are working harder, faster, and more efficiently than ever to build a better community and future for all of our members. But we can’t do it without you. Take time in the start of this new year to make sure all of your information with the Guild office is current. Come by and use the research library or drop in for a coffee or soda or just to say hello. We thank all of you for your support and participation this last year and look forward to having more member involvement this year. We welcome 2012!

Best wishes, Rachael Stanley rstanley@cdgia.com

EVERY ASPECT OF THIS

“

SUPERBLY MADE FILM IS PRECISE.” X RENE RODRIGUEZ

union label LABOR REPORT

NOMINEES

COSTUME DESIGNERS GUILD EXCELLENCE IN CONTEMPORARY FILM

LEESA EVANS CHRISTINE WADA

CONSIDER US

The Martin Luther King breakfast rang in the new year 2012. Sharon Day and I thank you for the opportunity to attend this informative and energetic event launching the 2012 agenda. This is election year, so be prepared to hear political candidates promising you everything from jobs to healthcare security but remember politicians suffer short-term memory loss. They take off their jackets and roll up their sleeves to get elected but in Washington they are buttoned up and doing business at high-stake levels.

We the People can be left behind.

Corporations spend millions holding our elected politicians accountable to corporate profits every day of every week of every month of every year. Our representatives are in office doing the politics of greed. And We the People have something corporations fear—we are the 99%, numbering in the millions. To overpower We the People, legislatures in 34 states are busy with legislation to limit our right to vote.

Why should the poor, the sick, the disabled, the under-aged be allowed representation? The 1% tell us they provide all that we need and desire. The 1% do not want to share their wealth. We the People need to work harder for less pay, work longer hours to produce the best products to provide higher profits for the 1%. The productivity of the average worker is up 75% while wages have risen 23% on average and healthcare costs have gone up nearly 400% over the past 20 years.

We the People have a voice. Vote your own best interest. Know the candidates past record before you vote. Remember, corporate media is not about your best interest.

Public-sponsored media, newspapers, newsmagazines and newsletters are all resources too.

In Solidarity, Betty Madden bmadden@cdgia.com

universalpicturesawards.com

Š 2011 UNIVERSAL STUDIOS

Winter 2012 The Costume Designer

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THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS GINA FLANAGAN Growing up in a Willy Wonka story of sorts, Gina Flanagan’s family owned the Ghirardelli Chocolate Co. in San Francisco. At 10, her father moved the family to the big island of Hawaii for a change of pace and a Macadamia nut endeavor. From an early age, she and her brother began a collection of comic books and she was quickly infatuated with the characters and the whimsy of illustrations.

Next, there was the dilemma of what type of artist to be? After pursuing acting, fashion design and various art classes, she began at the Academy of Art College in San Francisco. In her third year, the chairman of Parsons recruited her to further her studies in New York.

Upon graduating, she was hired by Bob Mackie, but quickly realized the cost of The Book of Eli NYC living was too high CD Sharen Davis (2010) and moved to Los Angeles.

She began work in ready-to-wear fashion and found it was not for her. After researching the best fit, she discovered the CDG and submitted a portfolio to enter as an illustrator ... finally, she found her match. Now primarily working in gouache, she has worked for CDs Sharen Davis, Ruth Carter, Albert Wolsky, Ha Nguyen and Marlene Stewart, to name a few.

Davis, who Flanagan attributes to pulling her out of retirement after motherhood, explains, “Gina has the gift of understanding your insight and a bounty of patience. She captures amazing facial likenesses of the talent she illustrates and her use of gouache paint is breathtaking. A wonderful, sweet and talented lady!” Flanagan describes the role of an illustrator as a glue to get the department on the same page by nailing the mood and look of a character. “I’d like to think we save the production money by communicating the designers’ ideas on paper instead of creating designs that get rejected after they are made,” she says. Her knowledge of construction helps her create realistic sketches that translate seamlessly to reality for a director.

Now, a mother to three girls, she incorporates any type of art into their fun. She has special enthusiasm for all things comic related. Her girls tease that she likes kids’ movies more than they do. The road from juvenile comic aficionado to Costume Illustrator for Star Trek, Batman and The Time Machine has landed Flanagan her very own “Golden Ticket” and she could not be happier. ginaanita123@gmail.com 14

The Costume Designer Winter 2012

WESTERN COSTUME CO. Zookeeper/CD Mona May (2011)

Nine/CD Colleen Atwood (2009)

BRYAN KOPP Growing up amidst the geriatric golfers in quaint Sarasota, Florida, Bryan Kopp was happily sandwiched between doting parents and a sister. He began sketching as early as he can remember; everything was a sketchpad from algebra homework to the margins of his school assignments using anything from markers to makeup. His free time was spent obsessing over ’80s movies and imagining other worlds.

During English class in middle and high school, he loved drawing the characters out of the assigned readings, an early intro to translating page to picture.

After a brief pit stop at Arizona State University to study interpersonal communication to become a couples’ therapist, he decided to pursue a degree in fashion from the International Academy of Design and Technology in Florida. Out of college, he worked for Betsy Johnson as an assistant sportswear designer but in 2008, the recession cut back on the entire design team. He moved to Chicago for solace and a friend got him a gig on Public Enemies in extras casting to oversee the fittings.

It was there he began interacting with CD Colleen Atwood who gave him a shot drawing sketches for her next film, Alice in Wonderland, and encouraged him to move to Los Angeles. “She’s so wonderful, she changed my life,” says the grateful Kopp, who has continued to work with the designer. The affection is mutual as Atwood adds, “I knew right away he was a real talent. His sketches had a sense of fun and he really saw the nonsense I wanted from the characters. It has been great to see him develop and branch out into all the areas his great eye can embrace.”

He feels empowered by critiques, notes, thoughts and corrections and loves designers who “communicate with me openly and honestly to bring out the best work I can do.” He spends time analyzing every detail of research and inspiration sheets in order to understand the designer’s vision. He uses his knowledge of fashion and playfulness of various animation styles based on the tone and subject matter.

When he’s not chained to a desk sketching, Kopp loves swatching at ISW ... it’s better than Disneyland and his idea of a good time! brynn921@gmail.com

FELIPE SANCHEZ With five crazy siblings in San Diego, Felipe Sanchez always found hilarity in the quirky dysfunction of his childhood. With MTV blasting in the background, he explored every clothing fad from rockabilly, steam punk, new romantic to punk. Spending hours with markers mocking up oversized posters, Sanchez was convinced he wanted to design album covers.

After winning FIDM’s “Designer of Tomorrow” scholarship, Sanchez moved to Los Angeles to study fashion. While attending FIDM, he met CD Mona May amidst the crazy 1980s fashion trends. The two worked in their respective careers, but quickly merged to be lifelong collaborators. “When I was doing Clueless, I got him on board and helped with his deal,” says May. “We both joined the Guild and were excited to be on a big studio feature!

Our relationship has continued to be the most creative and inspiring.” It was then that Sanchez knew he had found his calling in the entertainment industry.

Now with an “impactful and dreamlike” style, Sanchez switches up his mediums based on projects. “In traditional media, the artistic flare is more evident,” he says. “On the computer, things have evolved between artistic and realistic.” He enjoys every medium from pencil, marker, acrylic and oil to Cintique 21-UX and Wacom tablets … whatever gets the job done!

“Sanchez is always my first choice as a costume illustrator,” CD Kym Barrett explains. “He brings an enthusiastic spirit, professional commitment and human heart along with wonderful skills everyday.” May adds, “His artistry and understanding of character make the sketch come alive for the director and star to see our vision … he is truly a magician with his paintbrush.”

When he’s not sketching away, Sanchez can be found stretched out among his 550-thread count cotton sheets sipping a sparkling ice water with lemon. He also enjoys the company of his cat Mars, who equally enjoys this pasttime. Sanchez also immerses himself in all things fashion, food, decor, art, hair and makeup. Meximoda@yahoo.com

would like to Congratulate all the Nominees & Honorees of the 14th Annual Costume Designers Guild Awards

Courtney Hoffman courtneyehoffman@gmail.com Winter 2012 The Costume Designer

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THE COSTUME DEPARTMENT

HISTORY OF DRESS 1830 –1840 APOLLO KNOT: A popular hairdo that incorporated a vertical twisted loop into the fussy hairstyle.

PELERINE:

Cape or collar that spread over the shoulders that became larger as the sleeves became larger.

GAITERS: Originally short “chaps” that protected the leg from the knee down to the ankle, and sometimes over the shoes.

Eventually, also became the name of the short elastic-sided half boot that the gaiter covered. First appeared in 1837, called ES boots in England.

LEG-OF-MUTTON SLEEVES (Also known as gigot, the French word for a sheep’s leg): Sleeves that are voluminous at the top and narrow at the elbow to hug the lower arm down to the wrist, from 1825 on.

M-NOTCH LAPELS: Notch on a man’s lapel between the collar and lapel, from 1803 until 1855 ( 1 8 7 0 s for evening).

SLEEVE

PUFFS:

Stuffed puffs made of muslin worn under the sleeves to plump out the sleeve fullness.

Warner Bros. Pictures would like to thank the

Costume Designers Guild for honoring

CLINT EASTWOOD & DEBORAH HOPPER Distinguished Collaborator Award

WATCH FOB: Pocket watches were becoming more affordable in this century, and a fob was a seal or medallion that hung outside the pocket so the watch was easily pulled out. In the early part of the century when tailcoats were worn, the fob was attached to one end of a black moiré ribbon while the other end was attached to the watch, which was placed in a front pocket of the pants. Later, the watch moved to a vest pocket.

and congratulate our nominees for Excellence in Fantasy Film

JANY TEMIME

CINDY EVANS

Illustrations by Robin Richesson rrichesson@cdgia.com Text by Marcy Froehlich mfroehlich@cdgia.com

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The Costume Designer Winter 2012

© 2012 Warner Bros. Entertainment Inc. All Rights Reserved.

costume designers guild awards 2012

Universal Pictures Proudly Congratulates Our 2012 Costume Designers Guild Nominees

Leesa Evans Christine Wada Excellence In Contemporary Film

Š UNIVERSAL STUDIOS

JANE LYNCH

CLINT EASTWOOD

KATE BECKINSALE

Event Host

Distinguished Collaborator with Deborah Hopper

Lacoste Spotlight Award

By Gina Silverstein with Mary Rose Photography by Steven Silverstein

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The Costume Designer Winter 2012

Awards, BAFTAs, and Satellites, among others. In addition, two will receive the CDG’s Career Achievement Awards this year and another the Distinguished Collaborator Award, with three others nominated in various categories.

One of the interesting revelations of their candid discussion: it doesn’t matter where you come from to achieve similar measures of excellence. Some worked their way up the ladder from cutting and fitting (Wendy Chuck), others fell into it by chance (Lou Eyrich) or took another road—acting (Mark Bridges, Sharen Davis) or teaching (Deborah Hopper)—before realizing their true calling. One went to a top university (Chrisi Karvonides) while some learned from mentors or by trial and error on their own (Marlene Stewart).

And, for all of their differences, there is one very distinct common denominator—a passion for designing costumes.

In Our First Roundtable Discussion “Y

OU’RE GRATIFIED

Special thanks to makeup artist Debbie Zoller, hairstylist Vickie Mynes, Thomas Canny Studio and ADG Studio 800. Set photos courtesy of The Kobal Collection.

O

ne day in January, we gathered a group of Costume Designers who were asked to reveal themselves and their artistry in our first-ever roundtable. As professionals who work endless hours behind the camera from the distance of their costume departments, they are not usually in the spotlight so bringing them together was like Forrest Gump’s chocolates—we weren’t sure what we were gonna get. It must be said, if participating in our inaugural experiment made these designers at all nervous, they hid it well. Instead, as they settled into the groove of the discussion, they provided a fascinating look into their work and thoughts about the industry.

To coincide with this awards season, each was chosen for having achieved the highest levels of distinction in the art of costume design. Collectively, they have over 30 past nominations or wins for their work in film and television—Emmys, Oscars, CDG

IT HAS A LIFE AND

PEOPLE WILL SEE IT BECAUSE THAT’S WHY WE DID IT IN THE

”

FIRST PLACE. ~MARK BRIDGES

The Artist (2011) WHEN DID YOU DECIDE TO BECOME A COSTUME DESIGNER? DAVIS I went to college for acting and we had to take every aspect of costumes. I moved to Los Angeles and through a series of events, I got to do costumes and fell in love with it.

BRIDGES It’s great that we studied acting because it helps us know what the actor is doing and with character development, and always keeping movement in mind. But for me, it’s a combination of all of the things I’m attracted to like painting and drawing and fabric and color, all in one job. (To Karvonides) We were both at NYU for a while but then you went to Yale.

KARVONIDES Yale, yes... I started in fashion in New York, then started working for the opera companies and immediately realized that was the perfect fit.

EYRICH I was dating a guy who did lighting for a band and the costume designer for the tour had to leave unexpectedly. I had been helping her out because I was bored and they said, “Do you

want to take the job?” I jumped in and did that for six years with different bands, and then got tired of being on the road. A movie came into Minneapolis where I was living and Carol Ramsey was the designer. I interviewed and said, “I’ll do anything, I’ll be the P.A. I’ll do whatever, I just want to learn.” I stayed with Carol for about eight years. Then she pushed me out of the nest and I became a designer.

CHUCK I started as a cutter/fitter in TV in Australia and quickly started going to set and realizing that I didn’t want to sit behind a sewing machine all day. It really opened up my world view and now I’m here.

STEWART I just came from a different world [fashion] and didn’t know anybody in the movie business because I just sort of fell into it.

HOPPER My mother was the head of the department at opera and ballet companies and I was always around that whole environment. I decided to be a teacher so I have a teaching degree and then somehow that didn’t work out because I went back to

Winter 2012 The Costume Designer

21

what I knew best, what was natural to me. I started as a seamstress and became a costumer. I worked my way up through the ranks. Clint [Eastwood] is very good about that and allows that path to happen for you.

When you got into Costume Design, was it everything you expected?

(Laughter) DAVIS It was more than I expected. My first film was in Minneapolis and Alan Rudolph hired me. I met him at a bar. We were not allowed to discuss the film or any thoughts I had on it.

EYRICH What was the film?

DAVIS Equinox. And he just said, ‘OK, here’s Monet and all the colors have to look like Monet. Go for it.’ And I had to create a world that was both futuristic and from the late ’50s/’60s, and he wanted them mixed. And I thought, this is the most amazing thing that has ever happened to anyone.

WHAT HAS CHANGED SINCE YOU STARTED? DAVIS When I started … without a cell phone, and without all the new devices, your head was free to design, check into your machine and go. But now everything’s so instantaneous. The challenge now is to be creative without being interrupted. They really expect it in a day and it’s 80% politics and 20% design.

STEWART I think that’s true, everything is really instantaneous

and the technology being used in the process of making a film has set the tone of the way I have to design, how things are videoconferenced and everybody is in different countries. So I think that aspect has really informed the design process.

“T

HE SCRIPTS ARE

REALLY INCREDIBLE.

FIND IT GRATIFYING HOW DO YOU PREP FOR A JOB? HAS THAT CHANGED? DAVIS Every project is different. Every director wants different things.

Some want straight out illustrations, some like to see the person there.

It’s still that. The director is still creative and has his way of sourcing information. So that part is the same.

BRIDGES I find myself more and more having to put my hands on clothes, for inspiration or color... I will look at things and get an idea.

One thing will lead to another. I think it’s garments, research, and then maybe a sketch just to explain. So that’s kind of my one, two, three.

STEWART It depends on what kind of film I’m making but right now the big challenge is incorporating all aspects of communication constantly with so many people. I work with illustrators and all of the illustrations have to be photo realistic. We look at a website and change things on the screen while someone is looking at it in another country.

DAVIS You don’t have the energy of the human being that’s going to be in the clothes. You need that, you know. The sketch is great but it’s not the whole thing.

BECAUSE

”

~CHRISI KARVONIDES

American Horror Story

HROUGH A

SERIES OF EVENTS, GOT TO DO

COSTUMES AND FELL IN LOVE

”

The Help photo courtesy of Disney.

~SHAREN DAVIS

22

The Costume Designer Winter 2012

CREAT-

CHARACTERS.

“T

WITH IT.

I’M

ING THESE AMAZING

The Help (2011)

I

I

WHAT IS THE TOUGHEST DECISION YOU’VE EVER MADE AS A DESIGNER? KARVONIDES When to quit. (Laughter) I’m actually getting good at that now. And, when to say no.

STEWART Yes, when to say no.

DAVIS I still don’t say “no.” I’ll say, “I know you need it tomorrow but I can have it in five days.”

EYRICH And it’s going to cost this much.

DAVIS And I’m going to need this many people.

KARVONIDES So tell me if we’re going to proceed or not.

STEWART You can have two out of three. It’s going to look good, it’s going to happen quickly, and it’s going to cost you a lot of money. So you pick the two out of the three that you want.

KARVONIDES One of our flaws is that we are so good at getting it done, getting it there the next morning, sewing it up at the last second. I don’t think any of us ever show the drama that happened to get it there in front of that camera. But recently, it has come to the point where enough is enough because the window of prep has diminished to zero.

BRIDGES I agree, knowing what your limits are and speaking up for those limits. Like when to quit or when to say no or when to explain. What to persevere on and what to keep pushing to keep your vision.

HOW MUCH ARE YOU PREPARED TO FIGHT FOR WHAT YOU BELIEVE IN? STEWART Costume design from my experience is really a collaborative team effort. Even if you believe in something and feel really passionate about it, I think the better way to do it is to create it, have an explanation and then kind of let it be. Otherwise, you’re just too exhausted from the process because it does go through a lot of people.

BRIDGES I think that’s part of our job being politically adept.

And, I think you’re absolutely right, you put it out there. You’ve presented your ideas. You know, we’re not mind readers, contrary to popular belief. (Laughter) And it may not be envisioned by the other party so what is the point of setting up a bad situation?

DAVIS I think the most I’ve ever done is ask, “What’s bothering you about it?” And then trying to find a medium ground to change it—maybe it’s a hat, maybe it’s a belt, or maybe it’s a shoe. Get the opinions of whoever, the producer, director, and see if I can kind of keep the concept there … that would be my hardest fight.

All of it’s timing too.

BRIDGES I’m not going in right before lunch. (Laughter). You learn the rhythm of when to bring up these things.

STEWART You just have to re-frame it a little bit and see it as a collaboration more.

Winter 2012 The Costume Designer

23

HOW DO THE CHALLENGES DIFFER WORKING ON LOCATION THAN IN LOS ANGELES? CHUCK You have to start interviewing people, you have to find a space to work in, you have to make the space work even if it’s a dirty warehouse. You know, all the comforts and luxuries that we have here like Studio Services aren’t in those places. That’s a whole job in itself before you even get to the job.

STEWART My favorite office space happened in Moscow. They gave us the men’s bathroom because “it’s not in use.” (Laughter) EYRICH Flying in the day before you shoot and get your rental car in a small town in North Carolina. You have to learn the city, learn where the malls are and navigate at six in the morning.

Although, when you shoot in New York it’s different. The hotel is in walking distance usually and they have vans.

HOPPER I think it’s fun though. I enjoy it actually. I don’t know that I’d want to do it all the time but it’s fun.

STEWART It’s an adventure in a way.

CHUCK It takes a sense of adventure which is not on our list of credentials that we automatically think of. I think one thing is a great sense of direction, which has really helped me, like the ability to land and make a home straight away.

EYRICH Well, it is nice to shoot where someone’s not sick of you. (Laughter) And not thinking, “Oh, you’re shooting in our neighborhood again.”

ARE YOU ABLE TO DETACH YOURSELF FROM PROJECTS? KARVONIDES I got very emotionally attached [to Pan Am]. I really, really admired the creative producer for the project who was a stewardess. Originally, we were going to do the pilot in New York and bring the series back to Los Angeles. But it didn’t happen so you have to let it go. And, I moved on to American Horror Story and got to work with amazing actors.

EYRICH Which was really hard for me to give it up.

KARVONIDES (Nods) I gave up a pilot and then Lou gave up her pilot and so we were both in the same boat.

STEWART I find it pretty easy [to detach] because what interests me is something that I haven’t done. And by the cycle of a movie, eight months to a year … you’re ready and then you have a whole new world to explore, especially if you do research and just inhabit that world. So in a way, it’s like a separate lifetime.

BRIDGES I kind of grew up in theater early on and made good friends and then it was always so emotional to leave those people and go in four different directions. I don’t feel it that much with films. It’s understood that we work together and have this shared experience but then you’re ready for a new challenge.

CHUCK It’s hard to not see some of your crew again though. I feel so respectful of the hard work they give us, to support us. So I think that breaks my heart a little bit.

The Descendants (2011)

“I ’

T S HARD TO NOT

SEE SOME OF YOUR CREW AGAIN.

I

FEEL

SO RESPECTFUL OF THE HARD WORK

”

THEY GIVE US. ~WENDY CHUCK

“I

REMEMBER GETTING

THE SCRIPT AND THINKING OH, HIGH SCHOOL, A

~LOU EYRICH

Glee WHAT WAS YOUR TOUGHEST DAY ON YOUR LAST FILM OR CURRENT SHOW? KARVONIDES We didn’t even get a script. We got pages at seven o’clock at night and it’s all my leads the next morning at five.

EYRICH The new thing in TV is double-up days. It’s not even first and second unit anymore, it’s a double-up day. And you get the script the night before so you’re shooting two different episodes, sometimes three episodes, in one day on two different sets. And you’re trying to keep your head together with those two call sheets, and in the morning, you just don’t know how you’re going to do it, how you’re going to get through that day. You just have a good team.

KARVONIDES The costumers, if it wasn’t for them, I would just go home to the beach and call it a day. And the stamina that everybody has to have. Actually, my rule of thumb right now is everybody has to be younger than me. (Laughter) But the scripts are really incredible and the stories that are being told, I find it gratifying because I’m creating these amazing characters.

What is your one guilty pleasure in designing?

STEWART My guilty pleasure is going someplace for lunch, going to a nice restaurant.

EYRICH Getting to sit and eat.

24

The Costume Designer Winter 2012

”

MUSICAL,WHATEVER.

CHUCK Leaving the set early when everyone else has a cold, rainy night, 10 hours ahead of them still.

STEWART If you can get to work with some very high-end fabrics when you’re making things. It depends on what director you’re working with if you can indulge in some of your luxuries.

HAVE YOU WORKED ON A PROJECT THAT BECAME BIGGER THAN YOU THOUGHT IT WOULD BE? BRIDGES When [The Artist] did so well at Cannes in its first public viewing and when the Weinstein’s bought it—we thought, “OK, all of our hard work has paid off.” I think it’s always those late-night, early-morning dying-at-your-home-washer things.

You’re gratified it has a life and people will see it because that’s why we did it in the first place. But it doesn’t always turn out that way.

EYRICH I remember getting the script for Glee and thinking, “Oh, high school, a musical, whatever.” Then we started shooting and I did get that magical feeling. I can’t explain it but there was a buzz like “there’s something here.” Then the flip side is the night before they shot the “Don’t Stop Believing” number, they wanted everybody in just red T-shirts and I high-tailed it to American Apparel. I didn’t know it was going to be a big hit and then after the fact, it ends up getting attention and (holds head) ughh, that’s not my best work! The red T-shirts! (Laughter)

Winter 2012 The Costume Designer

25

STEWART I usually ask other people in my crew, “Am I crazy or

“I

did they really say that?”

BRIDGES When I was very young somebody said, “See as much as

THINK THE BEST

WAS TO NOT BE

…

OVER-

WHELMED.

TAKE

ADVICE

I

you can and do as much as you can, whether it’s for pay or not.” I will still say that to people who are starting out because you get a sense for what works and what doesn’t as well as exposing you to new things and actually doing it. So, that was really good advice.

And, I worked for a designer who said, “If you’re happy with 75% of what’s on the screen, then you’re doing really well.”

WAS GIVEN

JUST

”

ONE STEP AT A TIME. ~DEBORAH HOPPER

J. Edgar (2011) STEWART It’s always hard to tell. I try to take a project that has some sort of historical interest because research is interesting to me. You hope that it will be good, if you get to work with an interesting actor, or great director. Then sometimes movies that you think are going to be amazing don’t really reach a wide audience.

Sometimes it’s marketing, sometimes they release it at a strange time of year. I don’t know, after so many years, you just kind of learn they do what they’re going to do, sometimes it works, and sometimes it doesn’t. But I don’t think you can know. It’s not so good if everybody imagines this is going to be the next best movie and then it’s not so good.

BRIDGES All you can do is ... know in your heart that you did your best that was humanly possible under the set of circumstances—time, money, staff, cooperation—and be good with it.

some films and tv shows become iconic.

How do you think your costumes will hold up?

BRIDGES Well, I think we take a lesson from Edith Head who always kind of stood on the fence. She made some mistakes, right at the time of the new look, so some of her other costumes looked a little dated. I think you learn to try to keep things timeless and not go into the latest trend. You know, people have lived to regret shows they did in the ’80s (Laughter). I personally try to

26

The Costume Designer Winter 2012

make those sacrifices, or able to, it can be quite rewarding. But for me personally, I don’t think it was without a few sacrifices, absolutely.

stick with classics since projects today have such a long life with different mediums. You don’t want them to look like ‘oh yeah, that’s the trend from spring ’09.’ People will recognize that and it will take them out of the piece. So if you stay kind of classic, hopefully in 20 years, only the hairstyle or the scale of the earrings or something else will date it.

WHAT WAS THE BEST ADVICE ANYONE EVER GAVE YOU IN YOUR CAREER? CHUCK Don’t take it personally.

HOPPER Wear comfortable shoes. (Laughter) I think the best advice that I was given, really early on before I even started in feature films, was to not be overwhelmed. You know, just take one step at a time because sometimes these projects are huge and you can panic.

STEWART Strangely enough, I don’t think I ever got advice. You just have to go through the experience, at least for me. To know what it’s like to be overwhelmed and trying to figure out how not to be. To not take it personally especially when you’re dealing with actors and trying to understand what’s happening on a movie set. That’s probably the most difficult learning curve—trying to understand the psychology of how to work in that kind of environment. Maybe that’s why we need a therapist!

HOPPER Or become the therapist.

DO YOU THINK YOU’VE MADE SACRIFICES IN YOUR PERSONAL LIVES? HOPPER I think everybody agrees on that. The amount of time that we have to spend, it takes away from your family, your friends. You can’t plan trips, your health.

STEWART I think the hardest part is the length of the day and other people who are outside of the business, they’re going home and it’s your lunchtime. So communicating or interacting with people outside the business becomes even more challenging sometimes because they don’t believe you can’t talk for a week.

BRIDGES This business takes us away from home and loved ones and extraordinary hours but conversely it gives us great trips to Berlin and Morocco and Italy and Moscow. (Laughter) If you’re willing to

HOW DO YOU SEE YOUR CAREER EVOLVING? STEWART I got the chance to work with some people from Berlin Opera. To be able to work with people who had such a level of craftsmanship and learn from them... And, now trying to keep up to that level on another project will be challenging because of the different kinds of craftsmanship involved.

KARVONIDES I always wanted to be a painter in the beginning and thought, “Oh, I’ll get to that when I retire.” And then one day about nine years ago I said, “What am I waiting for, I just need to do it now.”

EYRICH Having the privilege of working in contemporary television for so long, I’d love to get into anything period. Preferably film but television too.

BRIDGES I take the projects as they sort of float my way or not.

Experience has taught us the ones to say yes to and the ones to probably pass on. You get an intuition at this point. So I think perhaps being a little wiser in my selections. [But] I’m happy with my life and career.

(Everyone nods in agreement.)

CHUCK We wouldn’t be here otherwise.

Real Steel (2011)

“T

HE TECHNOLOGY

BEING USED IN THE

PROCESS OF MAKING A FILM HAS SET THE

I DESIGN.

TONE OF THE WAY HAVE TO

”

~MARLENE STEWART

Winter 2012 The Costume Designer

27

Costume Designers Guild Our nominees were asked: Choose one costume that you believe was

Award Nominees 2012 superlative for the narrative of your nominated project, and tell us why?

EXCELLENCE IN CONTEMPORARY FILM

EXCELLENCE IN PERIOD FILM THE ARTIST

BRIDESMAIDS

Costume Designer: MARK BRIDGES Assistant Designer: PAMELA SHAW

Costume Designers: LEESA EVANS AND CHRISTINE WADA We loved the “little boy” baby blue vintage blazer Annie wore during the engagement party. For us, it set the tone for her character and created the contrast we needed between Annie’s sweet— but a tad desperate style—and Helen’s head-to-toe designer looks.

I think the black and gold art deco dress that Peppy wears to her restaurant interview is most important to the narrative. It is one garment that visually communicates so many different things at once; her move from ingénue to star, her attempt to impress, and the silhouettes of 1929. It also sets her up high for the eventual outcome of the scene.

THE DESCENDANTS Costume Designer: WENDY CHUCK

THE HELP

The navy blue and white reverse print shirt with waves and surfboards. Matt wears it on the journey to his father-in-law’s after learning of his wife’s affair. It represents the unpredictability and power of water, yet is playful, tying in all the elements of this tale. At this point, Matt is sad, confused, chaotic and “out of his depth.” This shirt gives his character permission to leap into the depths of his discovery in which he will drown or swim.

Costume Designer: SHAREN DAVIS Assistant Designer: BETH MORGAN Illustrator: GINA FLANAGAN The character of Skeeter, played by Emma Stone, was the bridge to all different worlds in the movie.

Her interview ensemble stood out for me because it represented a new generation of women in the workplace. She contrasted the uptight Southern Belles yet maintained the timeless simplicity of a maid’s uniform.

DRIVE Costume Designer: ERIN BENACH Assistant Designer: LINDSAY MCKAY Driver’s white satin scorpion jacket. We all took a risk—the DP, director, Ryan and myself. It is inspiring to make creative decisions without fear. After seven different iterations, nine builds and about 120 white and silver swatches camera tested, I was able to get everyone comfortable with doing it. We thought of it as a costume for a flawed superhero and always had the back story of how he picked it up in some thrift store along the way.

HUGO

THE GIRL WITH THE DRAGON TATTOO Costume Designer: TRISH SUMMERVILLE

MELANCHOLIA Costume Designer: MANON RASMUSSEN The wedding dress Kirsten Dunst is wearing in almost half of the film because it is such a contrast to the way she feels inside. The dress is like a little girl’s princess dream-like heaven, and her mind is black like hell. I especially like the scene where she is walking, lifting up her dress, trying to avoid the roots that want to capture her. And, also the scene when she is floating in the river with the dress on.

Photos courtesy of The Kobal Collection.

Salander’s costumes are integral to telling our story. I kept her androgynous, slight. Silhouettes and color play a great role; dark muted hoods and a long waxed coat allow her to disappear into the shadows or become threatening and fearless. Layers were also key, working not only as her shield to society but for the weather in Sweden. Drop crotch utility pants layered over thermals, combat boots for agility and fingerless wool gloves for hacking complete her look.

Photos courtesy of The Kobal Collection. The Help photo courtesy of Disney.

Costume Designer: SANDY POWELL Hugo has only one costume, it has to explain everything about his past and present. He is an orphan with no one to care for him. Consequently, his clothes are too small and have never been cleaned. I wanted him to have a strong look yet with an air of vulnerability and be recognizable in the crowded station. The rust and green stripes on the sweater were part of the graphic look I wanted to give all the characters as if they were illustrations from a children’s book.

JANE EYRE Costume Designer: MICHAEL O’CONNOR Assistant Designers: ANNA KOT AND LUAN PLACKS It is a simple, stylish dress and well reflects Jane’s role as governess in its color and fabric design. It was designed with an historical Jacobean feel, which was in fashion in the 1830s to 1840s. I designed it with the location of the Jacobean house we filmed at in mind.

W.E. Costume Designer: ARIANNE PHILLIPS Assistant Designer: LAURA MORGAN I designed a costume “inspired by” an Elsa Schiaparelli gown for Wallis Simpson. It is a 1930s blue silk velvet dress with a silver lamé waistcoat trimmed in blue leather with a black patent trapunto belt, and a twisted lamé fascinator. It was all about modernity and relevance. It is understated yet with a distinctive point of view, just like Wallis herself.

EXCELLENCE IN FANTASY FILM

OUTSTANDING CONTEMPORARY TV SERIES

HARRY POTTER AND THE DEATHLY HALLOWS PART 2

GLEE Costume Designers: LOU EYRICH AND JENNIFER EVE

Costume Designer: JANY TEMIME Assistant Designers: VIVIENNE JONES AND RICHARD DAVIES

LE: In the “Candy Man” episode, some of the girls break off and start their own glee club, “The Troubletones.” Inspired by Christina Aguilera’s video, we chose feminine yet strong colors for their powerful performance. JE: A sectionals episode, “The New Direction,” had 10 boys and two girls.

Celebrating the strength of menswear, the girls are in dinner jackets, ruffled shirts, bow ties, tulle skirts and oxfords. LE: They show how kids find strength while learning what is true to them.

I chose the Bellatrix costume because it is my favorite. Although Voldemort is the “key” of the story, Bellatrix is the feminine form of “evil.” Helena Bonham Carter’s costume has the mixture of sexiness and danger, which is the essence of Harry Potter’s success.

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES

MODERN FAMILY

Costume Designer: PENNY ROSE Associate Designer: JOHN NORSTER Illustrator: DARRELL WARNER

Costume Designer: ALIX FRIEDBERG Light-up dresses for the “Little Bo Bleep” episode were tricky, using 180 blinking lights on a single battery pack. Much of the humor of Cam’s & Mitch’s storyline relied on them. Lily’s dress had to be tacky enough for even Cam to think it was in bad taste. The producers thought we could just “string up some Christmas lights.” After seeing it, I believe they had a new appreciation for the work and skill required to translate the written word onto the screen.

Ian McShane has a wonderful face and I thought, why not a biker pirate! We constructed a costume consisting of a silk shirt, moleskin breeches, leather vest and long leather coat, all heavily decorated with metal studs and silk braid, and severely distressed to look like he had it on for years. The overall effect was powerful and quite intimidating.

RED RIDING HOOD Costume Designer: CINDY EVANS Assistant Designer: NANCY BRYANT Illustrator: KIT STOLEN

REVENGE

I dreamed about how to portray the titular “red cape” and had a vision of a beautiful, rough hewn crimson cape that would move with our heroine with the greatest of whimsy and ease. The fabric was a heavy gage silk matka but it was light as a feather, with an embroidered pattern added to the edges. In the story, Grandmother gives it to her as a wedding gift, over many years weaving her own narrative of love and mystery into every fiber.

THOR Costume Designer: ALEXANDRA BYRNE Assistant Designer: BOBBY WOJEWODSKI

X-MEN: FIRST CLASS Costume Designer: SAMMY SHELDON Assistant Designer: RICHARD SALE The original 1963 comic was the key for our suits. To move away from the “sprayed-on” look to something more stylish, meant combining comic book imagery, the latest technology, shaping and detail of ’60s era NASA space suits. We experimented with fabrics including ballistic nylon and Kevlar to represent the paneling of the original illustrations. I believe we created a suit that was functional yet futuristic for the period, reflecting the space race era in which the film is set.

Photos courtesy of The Kobal Collection.

The key element of Loki’s look is the coat. I felt it was the perfect element of clothing to embody his vanity and to utilize Tom’s wonderful physical ability and range of movement. The idea came from the elegance and showmanship of gentlemen in Rome parading in their winter coats with up turned collars at the first hint of chill in the air. Throughout the film, Loki has three different styles of coat—all part of his ability to change his appearance.

Photos courtesy of The Kobal Collection. Sons of Anarchy Photo courtesy of Prashant Gupta/FX

Costume Designer: JILL OHANNESON While there is no shortage of parties on Revenge, there is a particular benefit event where Victoria (Madeleine Stowe) wears a silver one-shouldered evening gown, which I feel is the most indicative of what our show is about. Soft and flowery on the outside, yet a multitude of layers hide the steel resolve of the character to keep their secrets safe.

SATURDAY NIGHT LIVE Costume Designers: TOM BROECKER AND ERIC JUSTIAN TB: The great part about designing SNL is incorporating modern design into a great mix of “fashion” and character costuming—from dressing our hosts in the latest runway fashions to designing Lady Gaga’s wine cork costume. It’s 7th Avenue and Salvation Army rolled into one. EJ: For “The Lawrence Welk Girls” and our guest star, we made custom, colorful, seasonal costumes in three days! We have an incredibly talented support staff.

SONS OF ANARCHY Costume Designer: KELLI JONES Setting the tone for the season was the character Jax’s oversized cut, white T-shirt, dark carpenter jeans, and white tennis shoes. He wore it two episodes in a row as his “staple” uniform, signifying his prison mindset of wearing the same thing again and again, giving no thought to anything but the turmoil in his mind. It represented the simple Army style of dress that the SOA boys are comprised of … urban, strong, and solid.

OUTSTANDING PERIOD/FANTASY TV SERIES

OUTSTANDING TV MOW OR MINISERIES DOWNTON ABBEY

BOARDWALK EMPIRE

Costume Designer: SUSANNAH BUXTON

Costume Designers: JOHN A. DUNN AND LISA PADOVANI

The first series’ final scene depicts the summer as war is declared. Michelle Dockery’s striped cotton dress expresses Mary’s class, age and personality. It has an innocence and simplicity with its high waist and narrow skirt, which restricted movement. Mary and her sisters have no idea of the horrors ahead. So much needs to be conveyed about the character, even if it is subliminal.

JD: We strove to put narrative detail into every costume and treat every character as a living representation of a fascinating period in America. Nucky’s arc, from Atlantic City’s strongman to a very troubled and dark character was fascinating to chronicle. Despite his apparent downfall this season, Nucky innately understands the importance of maintaining his sartorial elegance and never lets that slide. LP: The beauty of the project is the wide scope of clothing we get to create.

THE KENNEDYS Costume Designer: CHRISTOPHER HARGADON

THE BORGIAS

One of the most haunting and poignant images is JFK’s funeral, where Jackie is shrouded in the long veil, the flat dome hat, and the chic wool suit. America was accustomed to seeing Jackie in clear pastels, so it was important to find the same semi-transparency of the actual veil, to re-create the Cassini suit in the correct boucle wool, and to build a felt hat matching the original.

GAME OF THRONES Costume Designer: MICHELE CLAPTON Assistant Designers: ALEXANDER FORDHAM AND CHLOE AUBREY Ned Stark’s quilted linen and leather with fur-trimmed cloak encompasses the blend of cultures and styles that we researched. We hand-dyed the linen skirts and aged into them; the leather doublet was stripped back, painted, aged and waxed. It was completely suited to his environment in Winterfell. When he travels to Kingslanding in the heat, he clings to this northern look, causing him to sweat and look uncomfortable, underlining the fact he doesn’t want to be there.

ONCE UPON A TIME Costume Designer: EDUARDO CASTRO Rumpelstiltskin’s costume, created for Robert Carlyle for the pilot, ironically was the only costume the network asked me to re-design. Originally, we did a beautiful costume that lacked “mystery” and “danger.” Our producer-creator Eddie Kitsis said, “think Rock Star” and it all clicked!

Armed with some embossed crocodile leather and a quick sketch, my collaboration with our amazing cutter fitter Mitchell MacKay blossomed. The result was perfection! A rarity considering the pace but when it happens, relish the moment!

PAN AM (SERIES) Costume Designer: ANE CRABTREE Maggie’s green print dress in Berlin looks very much like the Marimekko prints Jackie Kennedy wore during the presidential campaign. I like to feel the history and emotion of the time, to infuse it within the creative bones of a project. Maggie’s dress was a positive message of hope and lifts the scene with the youth-infused culture of 1963. I love those designer’s secret messages that lie within a costume! I do that within the work for myself … something to smile back on later.

MILDRED PIERCE Costume Designer: ANN ROTH Photos courtesy of The Kobal Collection. Compiled by: Bonnie Nipar, Glenda Maddox, Christine Jordan, Zelda Lambrecht and Rob Saduski. Photo editing by: Gina Silverstein. Mildred Pierce photo courtesy of Andrew Schwartz/HBO

Lucrezia’s wedding dress, in gold and white, carries the concept and expression of wealth and power of both the Borgias family and the Vatican at the time. I designed it to mirror the beauty of this young woman, a pope’s daughter. It should have astonished all the guests who arrived from all over to witness it.

Photos courtesy of The Kobal Collection. ABC’s Once Upon a Time photo courtesy of ABC/Kharen Hill. Game of Thornes photo courtesy of Nick Briggs/HBO.

Costume Designer: GABRIELLA PESCUCCI Assistant Designer: ROSSANO MARCHI

After they are married, Guy Pearce’s character, Monty, comes to the door in a shirt, riding jodhpurs, no shoes, with a drink in his hand. His appearance really tells the story of Mildred Pierce.

EXCELLENCE IN COMMERCIAL COSTUME DESIGN CARL’S JR.:

“MISS TURKEY”

Costume Designer: FRANCINE LECOULTRE I walked the line between creating a sexy bikini without being too cartoon-y and one that did not play its cards too early to reveal the burger pattern until the final close-up. The color palette and scale of the pattern were essential. All of the technical aspects of the design were exciting, from creating the concept of the “hero” fabric to the accessories and details.

DOS EQUIS:

“THE MOST INTERESTING MAN…” Costume Designer: JULIE VOGEL

We used the gold medal–winning pommel horse champion as the stunt double for the “most interesting man in the world.” He performed the pommel routine on a live horse running in circles. In order for him to look like he belonged at the ball and perform at the same time, I made two Lycra tuxedos. In this spot, I feel you get a sense of who the “most interesting man” really is.

SWIFFER:

“COUNTRY DIRT COWGIRL”

Costume Designer: ROSEANNE FIEDLER I had the unique challenge of conveying the personalities of dirt, dust, mud and grime. I worked with unconventional materials to create the clothing to make sure it looked realistic, yet remain appealing to the viewer. As a designer, it was definitely a fun opportunity to take something so ordinary as “dirt stuck in a rut” and make it attractive!

By Gina Silverstein

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The Costume Designer Winter 2012

Although Eyrich had designed Nip/Tuck for five seasons and received two Costume Designer Guild nominations for her work, she was ready for a new challenge. “I was creatively bored,” she explains.

“How many suits, how many lab coats can you do? I loved everybody but... I was like OK, give me something new.” While her own high school musical experiences in the Midwest gave her an intimacy with the concept, when she first read the script for Glee, Eyrich wasn’t sure it would resonate with audiences. It wasn’t until shooting started that she had a “magical feeling” about it, especially when the talented young actors got on stage. There was electricity in the air.

Glee

Photos courtesy of The Kobal Collection

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erhaps it was kismet that Costume Designer Lou Eyrich started her designing career in the music industry and ended up on one of the most popular and award-winning television shows with a focus on singing. Eyrich, who grew up in Minnesota, was actually in her own high school’s glee club, choir and band. Later in her 20s, while dating a lighting roadie, she became the band’s costume designer “totally by accident” when the woman who had been designing for them left in the middle of the tour. Eyrich wasn’t sure she could do it but was willing to try. She jumped in and for the next six years was on the road, touring first with the Manhattan Transfer, then with Prince and Bette Midler. She also worked on Prince’s film Graffiti Bridge as an assistant in 1990.

In 1991, tired of the road and ready for something new, she heard that Costume Designer Carol Ramsey was looking for a wardrobe assistant for Crossing the Bridge, filming in Minneapolis where she was living. Eyrich told the designer she was willing to do anything to learn and was hired. After the film, she moved to Los Angeles and for the next eight years, worked her way up from wardrobe assistant to costumer to Assistant Costume Designer on films, television pilots and MOWs with Ramsey. Finally the designer, who Eyrich says she “owes her career to,” suggested it was time to get out on her own.

Eyrich, who assisted Ramsey for the pilot and season one of WB’s Popular, went on to design seasons two and three after Ramsey left for a film project. The series, co-created and written by Ryan Murphy, marked the beginning of a long, successful collaboration. In 2005, Murphy tapped Eyrich to design the costumes for his acclaimed FX series Nip/Tuck. Next, was the critically acclaimed film Running With Scissors in 2006, with an all-star cast including Annette Bening and Joseph Fiennes. And, in 2009, when Murphy created the musical comedy-drama series Glee, he turned to Eyrich again to design the contemporary looks for the Lima, Nip/Tuck Ohio, teenagers and their teachers.

At the start, Eyrich worked closely with Murphy, who is visually creative and specific about what he wanted. Together, they decided the identities of the characters. Aside from superb acting and storylines, part of the appeal of the show has been the costumes the students wear for their music and dance numbers, a combination of custom builds, shopping and when doing a tribute episode, originals. Even the students’ classroom costumes are often put together with a style that breaks from current teenage trends. The adults too, are memorable. Emma Pillsbury (Jayma Mays)—a guidance counselor with a germ phobia—has touched off blogs like What Would Emma Pillsbury Wear, devoted to tracking the prim, cardigan-clad character’s every costume change, while coach Sue Sylvester (Jane Lynch) has become synonymous with tracksuits.

Eyrich’s exceptional contributions to the success of Glee have been recognized. In 2010, she received the Costume Designers Guild Award for Outstanding Contemporary Television Series for her work, along with two Emmy nominations in 2010 and 2011 (shared with costume supervisor Marisa Aboitiz). In addition, she won the 2010 Hollywood Style Award for Outstanding Design in Television.

This season, Eyrich has a Co-costume Designer, Jennifer Eve, to help with a schedule that increasingly has double-up days, shooting two or three episodes on different sets. They have been nominated for a 2012 Costume Designers Guild Award.

Eyrich feels privileged to have worked in contemporary television for so long and looks forward to expanding her horizons in the future to “anything period.” Whatever road she decides to take, it will undoubtedly lead to something special.

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C

ostume Designer Marlene Stewart started in the fashion world but her passion was costume design, which she has been superbly crafting for nearly 30 years. After receiving her master’s degree in European history from UC Berkeley, the Boston native first explored an interest in fashion, earning a degree in design from the Fashion Institute of Design & Merchandising (FIDM).

She received the Bob Mackie Award for Design while a student there.

In the early 1980s, Stewart used her education and creativity to design her own women’s clothing label, Covers, that went global— New York, London, Tokyo, Paris, Milan and Rome—which was no easy feat before the Internet made selling more accessible. About the same time, Stewart met Madonna, who asked her to design clothing for her music videos. Eventually, their collaboration grew to 11 influential videos including Like a Prayer (1984), Material Girl (1985), Express Yourself (1989) and Vogue (1990), the latter earning Stewart a 1990 MTV Music Video Award for Best Costumes. She also toured three times with the fashion-forward pop star and worked with her on the films Truth or Dare (1991) and Dangerous Game (1993).

Stewart’s dynamic style sensibility, which ran the gamut from provocative to sophisticated to avant-garde, caught the attention of other top performers and she ended up designing concert costumes for Cher, Paula Abdul and Gloria Estefan, as well as music video costumes for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles and Eurythmics.

The same year Madonna’s video, Like a Prayer, was released, Stewart had already stepped into Hollywood, designing her first feature film. She continued moving between both worlds for the next 10 years, while her film career took off in 1991 with Oliver Stone’s The Doors, starring Val Kilmer as the legendary singer Jim Morrison.

At that point, there was no stopping Stewart. Two mega-hits the same year solidified her place in the industry: James Cameron’s Terminator 2: Judgment Day, starring Arnold Schwarzenegger, and Stone’s conspiracy period film, JFK. Setting an incredibly industrious pace, a string of back-to-back films followed, including another

Night at the Museum: Battle of the Smithsonian (2009) Tropic Thunder (2008)

Stewart is this year’s recipient of the Disaronno Career Achievement in Film Award 36

The Costume Designer Winter 2012

Photos courtesy of The Kobal Collection

By Gina Silverstein

Schwarzenegger hit, Cameron’s True Lies (1994), Curtis Hanson’s The River Wild (1994), starring Meryl Streep, and the comedy To Wong Foo Thanks for Everything, Julie Newmar (1995), for which Stewart designed costumes for a trio of drag queens.

For the last 15 years, Stewart hasn’t looked back. She finds that having a fashion background has been helpful but says it was a “relief to get out of that world” so she could design characters, real people and “whatever that person really is.” Although Stewart’s career has spanned a wide range of genres, as she moves forward, she would like to take on more historical projects. Enjoying the research, it allows her to tap into her history education, explore new worlds and inhabit time periods she has never been in before. Stewart’s latest project, Hansel and Gretel: Witch Hunters, due for a 2013 release, has given her that opportunity. Others have been last year’s hit, Real Steel, set in the near future, Shawn Levy’s Night at the Museum: Battle of the Smithsonian (2009) with its collection of historical characters, and the 2008 comedy adventure Tropic Thunder, which required Vietnam-era uniforms.

She has also successfully designed for the contemporary genre.

Recent films include the Levy’s Date Night (2010), with Steve Carell and Tina Fey, 21 Grams (2003), Coyote Ugly (2000), Gone in Sixty Seconds (2000) and Ridley Scott’s Enemy of the State (1998).

While she thoroughly likes the process of designing, Stewart has noticed there have been steady changes in the three decades since she began, whether working with illustrators in another country, making selections via the Web or video conferencing meetings. She explains, “It’s so much about so many other things that take you away, so by the time you’ve spoken to everyone and drawn a picture of it, just to actually get some fabric in your hands is really what it’s about.”

Stewart, who is currently at work designing Oblivion starring Tom Cruise, dreams about creating an entire film in Vacuna.

Perhaps for her next project, this material girl will have yards and yards of the delicate cashmere in her hands, designing costumes for a period of the past.

Real Steel (2011)

By Gina Silverstein

Costume Designer Deborah Hopper and Director, Producer & Actor Clint Eastwood Share This Year’s Distinguished Collaborator Award

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The Costume Designer Winter 2012

the Ugly—was released in 1966, Eastwood’s worldwide fame was solidified. The next year, he and his financial advisor, Irving Leonard, launched Malpaso Productions.

In 1971, Eastwood made his directorial debut with Play Misty for Me, in which he also starred. The same year, Malpaso and Warner Bros. joined forces in what would become the longest running partnership in movie history. Their first film was Dirty Harry. Eastwood’s Harry Callahan, a trigger-happy San Francisco police inspector, is arguably one of his most memorable characters. The film was a phenomenal success setting off a string of sequels—Magnum Force (1973), The Enforcer (1976), Sudden Impact (1983) and The Dead Pool (1988)—as well as the mainstream phrases: “You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya, punk?” and “Go ahead, make my day,” which Eastwood uttered with his trademark growl through clenched teeth.

In 1976, Eastwood directed and starred in The Outlaw Josey Wales, a revisionist Western in which he plays the role of a preacher driven to revenge by the brutal murder of his wife and son. The intelligence Eastwood brought to the project brought critical acclaim and attention as a serious filmmaker. Viewed as a Western masterpiece, the film was later selected for preservation in the National Film Registry at the Library of Congress in 1996.

Costume Designer Deborah Hopper, who started her career working in the costume departments of touring Broadway productions, ice shows, opera and ballet companies, met Eastwood for the first time in 1984 on Tightrope as the women’s costumer. Still new to the industry, she remembers, “I was in awe of everything he did and how he ran his production company.” Hopper worked on seven more films with him including Heartbreak Ridge (1986), Bird (1988) and The Rookie (1992), moving up the ladder to women’s costume supervisor and costume supervisor. She then left the Malpaso team to work with her close friend, Costume Designer Ellen

Clint Eastwood on the set of Mystic River (2003)

Photos courtesy of The Kobal Collection

T

he consequence of loyalty is often an undercurrent for the characters in Clint Eastwood’s films. In J. Edgar, Clyde Tolson is Hoover’s most ardent supporter for nearly a half century despite Hoover’s abuses of power. In Million Dollar Baby, trainer Frankie Dunn is intensely loyal to his best fighter who doesn’t return the favor. And, in Mystic River, detective Sean Devine must look past the loyalty of friendship to do his job and solve a homicide. It is an interesting parallel that Eastwood is fiercely loyal to those who support the making of his films. He has assembled an inseparable team of individuals, many of whom have worked with him for more than 25 years and appear to be equally loyal to him.

But longevity doesn’t automatically produce loyalty—or superior creativity. The litmus test, though, is the consistent, award-winning output of this group. It is impossible to get exceptional results year after year without the allegiance, trust and remarkable talent this team has together.

Eastwood’s ability to extract the best from them is perhaps a testament to his legendary work ethic. Born in 1930 during the Great Depression, he often moved around Northern California with his family while his father sought work. It instilled in him self-discipline and the capability to create without indulgence. Critic Roger Ebert once said that Eastwood knows “how to tell a story that contains everything it needs and absolutely nothing else.”

Eastwood began his career inauspiciously, working his way up. After a stint in the military, he landed at Universal Pictures in 1954 as a contract player appearing in 11 films in two years. When Universal released him, he stayed at it, making ends meet with small roles in films and television. His breakthrough finally came in 1959 when he was cast as Rowdy Yates in the popular CBS Western series Rawhide. Its six-year run led to a pivotal film role as “The Man With No Name” in a trilogy of Westerns directed by Sergio Leone in Italy and Spain. By the time the last one—The Good, the Bad and

Mirojnick, on Basic Instinct (1992), Chaplin (1992), Intersection (1994), Exit to Eden (1994), Showgirls (1995), Strange Days (1995) and Mulholland Falls (1996).

Meanwhile, Eastwood continued growing as both an actor and director, expanding his range of work. In 1992, he directed, produced and starred in Unforgiven, a darkly relentless and powerful Western that garnered four Academy Awards including Best Picture and Best Director. Considered by some to be one of the best movies ever made, Richard Corliss in Time magazine wrote that it was “Eastwood’s meditation on age, repute, courage, heroism—on all those burdens he has been carrying with such grace for decades.” It would be the filmmaker’s last Western.

When Hopper started working with Malpaso again in 1997 as costume supervisor, it was for two starkly different films. The first was Absolute Power, a political thriller, and the second was Midnight in the Garden of Good and Evil, based on the novel about a reporter (John Cusack) covering the murder trial of a Southern antiques dealer (Kevin Spacey) accused of killing his boyfriend (Jude Law). Although Midnight did not hit big at the box office, Hopper’s costumes were undoubtedly memorable. Who can forget Law’s bad-boy character displaying his goods in a fray-edged

sleeveless jean shirt, and the gowns that transsexual Lady Chablis sashayed around Savannah in?

In 1999, Hopper became a member of the Costume Designers Guild and received Costume Designer credit for the first time on an Eastwood film, Space Cowboys, at the start of the millennium. From that point forward, she worked almost exclusively on the Eastwood team, hitting a stride with Mystic River in 2003 that continues today.

The film garnered Academy Award nominations for Best Director and Best Picture, as well as a Best Actor win for Sean Penn and Best Supporting Actor for Tim Robbins. Hopper’s color palette for the characters distinctly fit the despondency of the film, blending perfectly into the working-class environment it was set in.

“Often the most unobtrusive choices are the best,” Hopper says about her contributions to Eastwood films. “Clint’s sets are quiet, without distractions and he prefers the costumes to be that way too, unless there is a specific reason for the wardrobe to call attention to itself. Costume design needs to work as part of the whole production in order to make the story believable.”

On the heels of Mystic River came the critically acclaimed, megahit Million Dollar Baby in 2004, a story of estrangement, forgiveness and redemption, set in a boxing gym. “The film had one of those

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J. Edgar (2011) scripts,” Hopper remembers. “When I read it, I knew it was going to do well.” The film picked up four Academy Awards including Best Motion Picture of the Year, and Best Achievement in Directing for Eastwood, along with 46 other wins and 30 nominations. Arguably Eastwood’s finest film, he envisioned a specific period look for the film although it was set in the present—a “timeless quality” which was echoed by the cinematography, locations and costumes.

In 2006, Flags of Our Fathers and Letters From Iwo Jima were World War II companion films told through American and Japanese eyes, respectively. Eastwood was nominated for Best Director for Letters From Iwo Jima, an intimate masterpiece about military discipline and honor until death. Each project had similar period costume requirements—and challenges. For Flags of Our Fathers, Hopper had the daunting task of locating five hundred 1940s U.S. Marine uniforms and off-duty clothes for the principals and extras. To stay true to the era and the famous flag-raising photo on which the film was based, Hopper, a former history major, researched the “real characters.” She then utilized costume houses and designed made-to-order costumes using modern fabrics that were dyed and aged. On the first day of shooting in Iceland, the crew learned they would also be shooting scenes for Letters. “We already had some Japanese soldier uniforms but we had to research and prep quickly for the officers,” she says. In the end, she pulled it together masterfully. “I absolutely loved working on Letters. It was one of my favorites.”

Changeling (2011)

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The Costume Designer Winter 2012

Letters From Iwo Jima On Eastwood’s next film, Changeling, Hopper again turned to old photographs to accurately depict the Depression-era clothing needed for close to 1,000 men, women and children. She also reviewed archival footage on the main character, Christine Collins.

Hopper’s attention to detail and a collaborative design process helped actress Angelina Jolie’s approach to the character. “The wardrobe choices are really the first steps toward Christine,” remarked Jolie.

“They make you feel a little softer and just so delicate, hidden behind it all.” Hopper finds it inspiring when an actor puts on the clothes and has a transformation—and feels surprised and rewarded when

she sees her work on the big screen. Hopper earned nominations from BAFTA and the Costume Designers for Changeling, and was named Costume Designer of the Year at the Hollywood Film Festival.

Other well-received films followed, including Gran Torino (2008), Invictus (2009), Hereafter (2010) and J. Edgar (2011). One challenge Hopper faced for J. Edgar was designing costumes for more than 130 speaking roles and 3,000 extras in a film that moved back and forth over six decades from the early 1900s to 1972. “In addition to dressing the cast in styles appropriate to the period, I felt my job was to help provide the audience with a subtle guide to where they were at any moment in Hoover’s lifetime,” she says about the endeavor.

Eastwood preferred a muted palette, so she created a color scheme to communicate the time periods using brown, textured fabrics in the 1920s; shades of gray and navy blue with striping and texture in the 1930s; and smooth, solid navy, gray and dark brown fabrics in the 1960s.

Hopper also focused on how characters’ tastes in clothing would naturally change over the course of time and as they age. She started with youthful, feminine and slightly flirtatious dresses for Hoover’s secretary, Helen Gandy (Naomi Watts), then developed more of a business look for her as the film progressed, culminating in classic suits. After researching Hoover, Hopper learned that he and his protégé Tolson (Armie Hammer) were fastidious in their appearances but it wasn’t until Tolson came along that Hoover paid attention to fashion as a power statement. There is a scene in the film when Tolson takes him to his tailor to buy a new suit. Hopper purposefully dresses him in a fitted, double-breasted costume for the first time to signify his transformation.

Yet, for the entire film she accessorizes both men with pocket squares, watch fobs, ties, tie tacks and cuff links to illustrate how fundamentally meticulous they were throughout their lives.

The next project Eastwood has in development is (2006) Trouble With the Curve, a baseball film slated for 2013, which Hopper has been busy prepping. She will show him boards and sketches of how she would like it to look. He will give his input about the characters, allowing her freedom to create. “Our working relationship is unique and special,” Hopper says about her continuing collaboration with Eastwood. “Because of Clint’s trust, I have learned to trust my own instincts. His ever-changing style and interests have allowed me to grow.” It will be Hopper’s 24th film with the director. “I am extremely honored to have worked side by side with the best filmmaker of our time,” she adds.

And that is ... loyalty.

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“T

by Jacqueline Saint Anne

A look at recent millinery in films and television

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The Costume Designer Winter 2012

he Hat, The Hat! It matters not what else a lady’s wearing…” Ann Croswell’s Ernest in Love gives us a peek into the Victorian’s view of the importance of the hat. Status, attitude, self-confidence, mystery, disguise, were all provided by the creations of a lady’s milliner or a gentleman’s hatter.

Costume Designers have stunned us in last year’s films and current television productions with their exciting use of hats. Employing eccentric milliners and mad hatters, designers have used the crown of fashion to sit atop the looks of the kings and queens of entertainment. They’ve delineated character and called attention to the faces. They have used hats to create a style, to impart an attitude, to let a character go incognito in a disguise. Hats have figured in dialogue and carried story points. Designers have communicated wealth, status, rank, weather conditions, the need for safety or used a hat to help our eye follow a character’s progress through a crowd.

Morgan Freeman, who has worn hats for many films including last year’s Dolphin Tale, designed by Costume Designer Hope Hanafin, says that a hat completes his character: “Finding the hat, I always like to find the hat.” For a designer, that moment when an actor finds his character in a costume piece is exhilarating. It is the kick of an outfit.

Photos courtesy of The Kobal Collection. Once Upon a Time photo courtesy of Eduardo Castro. Boardwalk Empire photo courtesy of Macall B. Polay/HBO.

Milliner creating a hat for Once Upon a Time/CD Eduardo Castro

That kick has been the hallmark of Costume Designer Penny Rose’s Pirates of the Caribbean films. Rose makes all of the pirate hats at Peroni in Rome. The moment of working with Johnny Depp and finding his perfect hat lives on in the icon Rose created. She illustrates a selection of designs and makes them in triplicate … you never know when a good stiff wind will send one overboard! Rose chooses felts in muted colors, then Peroni breaks them down further and the final touch is added: salt stains.

In Los Angeles, film and television’s topper treasure Harry Rotz at Western Costume Company made the hats for Pan Am’s stewardesses, and from the designs of Costume Designer Jacqueline West for Water for Elephants they created tiaras and hats for Reese Witherspoon and the circus ladies. Costume Designer Deborah Hopper worked closely with Rotz on J. Edgar to detail the hats for Leonardo DiCaprio, imbuing the hats with Hoover’s characteristic swoop of brim and then arcing that style through the decades.

Costume Designers John Dunn and Lisa Padovani say that at Boardwalk Empire, they’re “all about the hats. For our viewers a hat may enliven their imagination of the past just enough to make them feel as though they were living in another age.” In their costume shop at the Brooklyn Navy Yard in New York, their full-time milliner, Sasha Richter, sometimes refurbishes and re-trims older hats, sometimes creates the new imaginings of the design team. They buy and rent the men’s hats but are delighted to begin working with the new Worth and Worth Hatters at their workshop on 57th Street, packed with original equipment from the 1920s, a re-creation of an atelier where the alchemist’s tools are felt, straw, ribbons, horsehair and wooden molding blocks.

Boardwalk Empire/CDs John Dunn and Lisa Padovani

Pirates of the Caribbean: On Stranger Tides (2011)/CD Penny Rose

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Costume Designer Joanna Johnston designed and made all the fabric hats, both civilian and military, for the World War I film War Horse. The military cloth hats were all made in Poland and the civilian cloth hats were made by a variety of hatters and milliners in England.

Johnston credits a combined effort of talent, including Cosprop and Jane Smith, for amazingly beautiful hats. Because this is a war film, huge numbers of military helmets, both German and British, were required so Johnston bought some originals and made many reproductions. A few principals wore original World War I helmets, notably, the German and the Geordie who rescued Joey in No Man’s Land.

In a city filled with music, Costume Designer Alonzo Wilson designs the costumes of the series Treme. New Orleans residents adorn themselves with chapeaux, which Wilson represents in the gamut of hat styles he chooses, from John Goodman in a Panama to the plethora of Kangols, fedoras and caps. But the true gold of headwear are the Mardi Gras Indian “crowns” which Wilson makes himself. Having learned the arts of hatting and millinery from a former colleague, he takes these skills into the secret and stealthy world of the tribes, now called gangs of the Afro/Indian culture. Gangs exist from the early settlement days of Louisiana when slaves began to “mask” to celebrate their culture and stories. Mardi Gras Indian costumes and headdresses reach dimensions of 8 ft tall and 5 ft wide, and the colors and designs are highly secret until Fat Tuesday or Mardi Gras. On that day, the Indians come forth unannounced in the neighborhoods and

streets of New Orleans to the delight of residents. Wilson creates a color scheme of his own, beading and feathering each design to celebrate the heritage of the Indians.

The fashion writer, Suzy Menkes, has said that “millinery is an art form in which pure creativity comes from inside one head to perch on another…” Once Upon a Time’s Costume Designer Eduardo Castro is designing from just that space on his fantasy television show—at breakneck speed. For the “Wonderland” episode, Castro has re-created a Mad Hatter’s hat, part classic trumpet shape, and part exaggerated, with his personal flair. From the buzz of the Vancouver workroom where cutter-fitter Mitchell Mackay is also the principals’ milliner, Castro has also designed a hat/headdress/disguise for the Queen of Hearts. A fertile atmosphere of creativity demands a flexible, quick-thinking designer. In a “Snow White” episode, the dwarves are hatched from eggs out of which they appear fully bearded and wearing nightcaps. Castro was inspired from some whimsical pieces he found at Koi in South Pasadena. The “Lady of the Lake” episode required a sexy siren gothic gown with icicle headdress to emerge via elevator from the water. Five prototypes were built and tested—on a TV schedule—before finding the right fabric then rushed into production times three. Castro’s team includes five assistants each with an area of concentration including soldiers, modern dress and fantasy.

Each assistant is a costume maker and responsible for the hatting of the characters in their area. He spends one day a week with each of them, buying fabrics, choosing hats, accessories and sketching.

In the film Hugo, Costume Designer Sandy Powell shows us a cross section of 1930s life, dressed for travel on the railway, by utilizing an array of Trilbys, Derbys and Homburgs and an occasional top hat for men. Sir Ben Kingsley’s elegant hats were made in Italy by Peroni. The station inspector’s hat, made by milliner Sue Andrews, was a fanciful design Powell created, with exaggerated proportions to enhance Sacha Baron Cohen’s intimidating and comic character. Hundreds of hats were considered for Mme. Emilie until just the right cloche spoke to the designer and actor. Kay Maesseh knitted Powell’s charming design for a scarf and hat set worn by Lisette, the flower seller, and Isabelle’s hero beret that saves Hugo is in reality an ordinary French blue wool beret. Depicting a time when no one would leave the house without a hat, Powell exhibits her astute character analysis in portraying Hugo without a hat to show that he was alone, with no one to care whether or not he was dressed properly.

War Horse (2011)/CD Joanna Johnston

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The Costume Designer Winter 2012

Mildred Pierce (2011)/CD Ann Roth

Hugo (2011)/CD Sandy Powell Known for her accuracy and realism, Costume Designer Ann Roth worked within the director’s vision for the production of Mildred Pierce—the East being grey/black and gritty, and the West being brown and dusty. Remaining close to the book on which it was based, Roth worked with her longtime collaborator/milliner, Scott Coppock, to begin with Depression era hats from 1931. All 2,000 hats were touched by his magic or made from Roth’s designs. Mildred’s 1931 hats begin at a time when she is very poor and has only three dresses. Three years later, in 1934, her costume arc begins to rise with a better income and her hats reflecting her increasingly comfortable circumstances. Mildred’s hat cycle ends with her stunning wedding.

Hats have been around as long as there have been heads to wear them. From its first pictorial depictions in ancient Greece, Asia, and Egypt to the fashionable stores in Paris or Beverly Hills, hats have weathered the whims of fashion. Since the early 21st century, flamboyant hats have made a comeback, with a new wave of competitive young designers creating millinery that include turban caps, trompe l’oeil effect felt hats and tall headpieces made of human hair. Some new hat collections have been described as “wearable sculpture.” And thanks to costume designers’ persistence of style in recent period and contemporary productions, a resurgence of men’s chapeaux is being evidenced at every party and social event on the calendar. A hat is no longer viewed as old school.

So in this new year, you can keep your hat on … and leave everyone wondering which is the more interesting piece of work … you or your hat.

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IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK After finishing The River series in Hawaii, CD Kathryn Morrison has returned to Oahu to design a new ABC pilot drama,

Last Resort, about the fugitive crew of a U.S. nuclear submarine.

Shawn Ryan (The Shield) stars, with director Martin Campbell (Casino Royale) at the helm. CD Robert Blackman, with the help of ILL Alan Villanueva, is prepping The Munsters pilot, based on the original series, for NBC. Envisioned by Bryan Fuller (Pushing Daisies), the reboot will be edgier and darker, exploring the origins of the residents of 1313 Mockingbird Lane. Bryan Singer (X-Men) is the director/producer. CD Elizabeth Bass started designing a Nickelodeon pilot in January called Bad Fairy, shooting at Paramount for Rocart Productions. Her 705 crew includes costume supervisor Molly Mitchell, key costumer Jim Hanson, costumer Kim Engelman and set costumer Brigit Jones.

CD Mandi Line and new CDGer ACD Niki Spina are jumping

CD Nipar’s Are You There, Chelsea?

Brenda Cooper (Happily Divorced) Courtesy TV Land. Bonnie Nipar (Cast of Are You There, Chelsea?) Courtesy NBC. Johnetta Boone (Good Deeds) Courtesy Quantrell Colbert/Tyler Perry Studios.

Zicklin and Julie Larson, and based on Chelsea Handler’s books about dating in her 20s, the show stars Laura Prepon (That ’70s Show) as Chelsea Newman, Chelsea Handler as her older sister, Sloane, and a round of talented actors including Ali Wong, Jake McDorman, Lauren Lapkus, Mark Povinelli and Lenny Clarke.

CD Mary Zophres started the Coen Brothers’ next feature, Inside Llewyn Davis, loosely based on folk singer Dave Van Ronk. Set in 1961, the film will include source music and live performances throughout. ACD Terry Anderson is on board during Los Angeles prep and filming begins February 6 in NYC with stars Oscar Isaac as Llewyn Davis, Carey Mulligan, John Goodman, F. Murray Abraham and Justin Timberlake.

After two years at Tyler Perry Studios in Atlanta, CD Johnetta Boone is a regular Georgian. Her latest film, Good Deeds, is an upliftHappily Divorced, helmed by CD Cooper from season two of Pretty Little Liars into a pilot for Disney called Zombies and Cheerleaders before season three of PLL in March. CD Brenda Cooper and CD Terry Gordon, as supervisor, returned to the second season of Happily Divorced for TV Land, starring Fran Drescher and John Michael Higgins. CD Mimi Kaupe is in Austin, Texas, wrapping up season one of The Lying Game for ABC Family, a drama based on the book by Sara Shepard, who also wrote Pretty Little Liars.

CD Bonnie Stauch is delighted to be working with Rob Schneider again on his new sitcom, Rob, airing Thursdays after The Big Bang Theory on CBS with an ensemble cast featuring Cheech Marin, Eugenio Derbez, Lupe Ontiveros, Ricky Rico, Juan Martinez, Manolo Travieso and Claudia Bassols. Rob marries into a large Mexican-American family with a lot of misunderstanding and confusion, but a lot of love for his new wife, Maggie, played by Bassols. CD Bonnie Nipar picked up Are You There, Chelsea?, which premiered January 11 on NBC. “It’s been a wondrous adventure with a fabulous cast, producers and crew,” says Nipar. Created by Dottie Dartland-

ing romantic drama about relationships and the defining choices we make in our lives. Opening in February, it was written, produced and directed by Tyler Perry with an ensemble cast of Perry, Thandie Newton, Brian White, Rebecca Romijn, Jamie Kennedy, Eddie Cibrian, Jordenn Thompson, Beverly Johnson, Phylicia Rashad and Gabrielle Union. CD Denise Wingate is also in Atlanta for the action thriller Killing Season, starring Robert DeNiro and John Travolta for Millennium Films and Corsan Pictures. Principal photography began on January 30 with director Mark Steven Johnson (Ghost Rider, Daredevil). DeNiro plays an American military vet living in a cabin in the Appalachians when he strikes up a friendship with a Serbian soldier seeking revenge on CD Boone’s feature Good Deeds him, played by Travolta.

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BOLDFACE NAMES BOLDFACE AT WORK CD Christine Bieselin Clark has signed on to another sci-fi adventure, Ender’s Game, an adaptation of the novel by Orson Scott Card, with Gavin Hood directing. The feature, starring Harrison Ford, Asa Butterfield, Hailee Steinfeld and Abigail Breslin, will film in New Orleans this spring. Christine is joined by ACD Dorotka Sapinksa and ILLs Constantine Sekeris, Phillip Boutte, Jr., Alan Villanueva and Gloria Shih. Costume supervisor Dan Moore rounds out the team for what will prove to be a challenging and exciting project. Sci-fi action is resonating in the industry: CD Marlene Stewart is designing Oblivion, a post-apocalyptic feature, starring Tom Cruise, from director Joseph Kosinski (TRON: Legacy) with ACD Lisa Tomczeszyn and ILL Christian Cordella on her team. ACD Ann Foley is assisting CD Michael Kaplan on the next untitled Star Trek sequel with ILLs Keith Christensen, Constantine Sekeris & Phillip Boutte, Jr. Kaplan will be collaborating with director JJ Abrams at Paramount Studios but details are under wraps for now! CD Jacqueline West is traveling back in time with ACD Stacy Caballero for The Seventh Son, an 18thcentury lesson in how to exorcise ghosts, contain witches and bind boggarts! The feature stars Jeff Bridges, Julianne Moore and Ben Barnes, with director Sergey Bodrov.

CD Betsy Heimann and ACD Autumn Saville of Broken City moved from NYC to New Orleans to continue filming with director Allen Hughes, and an all-star cast, including Mark Wahlberg, Russell Crowe and Catherine ZetaJones. While enjoying the New Orleans culture and cuisine, the duo ran into CD Daniel Orlandi , who is designing a Jay Roach film, Dog Fight.

CD Christine Bieselin Clark CD Derek Sullivan is assisting Orlandi on the political comedy with Will Ferrell, Zach Galifianakis, Dan Aykroyd, Dylan McDermott and John Lithgow, who have the crew in stitches every day. CD Jenny Eagan and local assistant designer, Lauren Bott, are also in the Big Easy for the feature Now You See Me. Principal photography started January 16, with director Louis Leterrier (The Incredible Hulk) and actors Jesse Eisenberg, Woody Harrelson, Mark Ruffalo, Isla Fisher, Morgan Freeman, Melanie Laurent, Dave Franco, Michael Caine and Common.

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The Costume Designer Winter 2012

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Christine Bieselin Clark (Ender’s Game by Orson Scott Card) Courtesy Orson Scott Card/Summit Entertainment. Erin Lareau photo Courtesy almondsandpatience.blogspot.com.

IN FOCUS

IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK CD Kimberly Adams is working in the Louisiana town of Shreveport designing the feature film Snitch, starring Dwayne Johnson, Susan Sarandon, Jon Bernthal, Barry Pepper and directed by Ric Roman Waugh. Adams is grateful to CD Mary McLeod, who provided insight into area shopping and local crew, and wants to pay it forward. Anyone heading to Shreveport can feel free to contact Kimberly for advice!

Internationally, CD George Little is back in Jordan with the new untitled Kathryn Bigelow (The Hurt Locker) project about the search for Bin Laden.

The film will begin shooting mid-February, on location through June.

Little, who designed The Hurt Locker, Katy Perry prop by CD Lareau brings back CD Dan Lester to assist. CD Erin Lareau is on the home stretch of the Katy Perry California Dreams Tour, encompassing 125 cities around the globe. Lareau created Swarovski-embellished costumes, accessories and props for the tour including Ms. Perry’s shoes & stockings, a guitar, and even a five-foot-tall elephant auctioned for charity to prevent elephant extinction. CD Shay Cunliffe is still on the go with the latest installment of The Bourne Legacy, spending December in Alberta, Canada, and January in Manila, Philippines, using a local team, along with costume supervisor Kate Edwards and set costumer Nicole Greenbaum (New York), and 2nd unit supervisor Wendy Craig and set costumer Dawn Climie (Los Angeles). Cunliffe’s “utterly new and interesting challenge”—the Alaska-based project Big Miracle, based on a true story of an Inupiat Eskimo whale hunt—is opening in February, starring Drew Barrymore and John Krasinski.

CD Trayce Gigi Field designed Casa de mi Padre, a comedy feature starring Will Ferrell and directed by Matt Piedmont. Watch for Field’s quirky “’70s fun meets taco Western” designs hitting theaters on March 16. CD Marcia L. Zigler dressed the red carpet stars of the People’s Choice Awards 2012 including SuChin Pak and the shorts/live performances by Jane Lynch, Michael Hitchcock and Neal Patrick Harris.

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The Costume Designer Winter 2012

Marlene Stewart Career Achievement in Film Award We congratulate our clients on their nominations EXCELLENCE IN PERIOD FILM

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IN FOCUS

BOLDFACE NAMES BOLDFACE PRESS In a recent issue of TV Guide, the Glee cast dons spectacular costumes in red leather, glittery gloves and fedoras a la Michael Jackson, a tribute episode that aired January 31. “One of our challenges,” explained Co-CD Jennifer Eve, “was to take the inspiration of Michael Jackson but keep the iconic Glee characterizations.” Eve joined CD Lou Eyrich in 2011 on the hit show, now in its third season.

CDs Colleen Atwood and Jenny Beavan shared press space in the December 16 issue of The Hollywood Reporter. Titled “Costume Design: Where Women Reign,” the article noted that nearly 85% of the Costume Designers Guild are female. “It’s nice to be in an area of film that has traditionally embraced women as a true part of the collaborative process,” Atwood remarked.

Glamour magazine and zap2it.com’s TV fashion blog interviewed CD

Trayce Gigi Field (self with costume) Courtesy Sonja Flemming/CBS.

Trayce Gigi Field in December about collaborating with 2 Broke Girls creator Michael Patrick King and her inspiration for the lead characters’ closets.

“The girls are broke, so we tend to repeat their clothes, which is something you don’t always see on sitcoms ... they have real closets,” commented Field, who designed the show’s restaurant uniforms using close-out vintage fabric from the ’70s. “I’m really particular about all the small details on everything and anything.”

CD Field for 2 Broke Girls

“Longtime Collaborators Help Dress the Parts” was a recent Variety article that included CD Wendy Chuck, whose work with director Alexander Payne dates back to 1999’s Election, CD Deborah Hopper’s relationship with director Clint Eastwood on more than a dozen films and CD Joanna Johnston’s collaboration with Steven Spielberg.

Johnston, a Brit, first worked with Spielberg as an ACD for retired CD Anthony Powell on Indiana Jones and the Temple of Doom in 1984 before graduating to Costume Designer for the 1989 Indiana Jones installment. A number of other films followed with War Horse as their latest collaboration. Although the article didn’t mention it, Johnston has also teamed extensively with director Robert Zemeckis.

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IN FOCUS

BOLDFACE NAMES The online purveyor of costume news, Clothes on Film , interviewed CD Michael Kaplan about his work on the box-offi ce hit Mission: Impossible—Ghost Protocol. Kaplan designed made-to-order suits for the principal actors, including 16 versions of a blue suit and 20 multiples of custom-made CD Kaplan’s Mission: Impossible— shoes that Tom Cruise Ghost Protocol wears during a Dubai sequence. “There were so many different circumstances which called for these vast numbers: stunts with various harnesses, stunts with pads, shoes for running, climbing, and distressed versions,” Kaplan said of the process. “Hopefully, in the end it all comes together and has a seamless look.”

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The Costume Designer Winter 2012

In December, the Los Angeles Times published an aptly titled piece— “Movies: Designs That Build Character.” A number of recent films were covered including The Muppets, designed by CD Rahel Afiley, who was given kudos for a 1970sinspired matching two-button, notchCD Afiley’s Christian Louboutin lapel powder blue for The Muppets suit that Walter and his human sibling (Jason Segel) wear in an early musical number.

But the best laugh-out-loud fashion joke of the year was Afiley’s hiring of Christian Louboutin to create a fabulous pair of red-soled heels for Miss Piggy to wear in her new job as the plus-size editor of French Vogue.

In Wall Street Journal online, CD Daniel Orlandi, who designed The Blind Side, was an expert panelist for “How Fashionable Is Your College Team?” In it, he critiques football uniforms for fashion credibility. Voting local UCLA’s team one of the worst with their blue-andgold combination, Orlandi said the jersey “doesn’t look intimidating” and that it reminded him of the cartoon duck Baby Huey.

Michael Kaplan photo (Mission: Impossible—Ghost Protocol) Courtesy Paramount Pictures. Rahel Afiley photo (Ms. Piggy in Christian Louboutin shoes) Courtesy Shoerazzi.com

BOLDFACE PRESS

Bouquets to the

Costume Designers Guild Nominees, Honorees and Members

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IN FOCUS

BOLDFACE NAMES BOLDFACE PRESS

CD Ruth Myers was covered by MTV Style for the costumes she designed for the film Effie, shot on location in Venice, Italy, now in postproduction. The film is based on the true story about the relationship between 19th-century art critic John Ruskin and his teenage bride, played

by Dakota Fanning. Myers designed Victorian-era costumes for Fanning using taffeta, satin and velvet, topped with a medley of floral-accented hats and even a tiara.

BOLDFACE HONORS Congrats to CD Shawna Trpcic for winning the Best Costume Design award from the International Academy of Web Television (IAWTV) for the Web series Dragon Age: Redemption .

IAWTV’s membership voted on nominees from more than 350 official submissions. The inaugural event, which was streamed live, was held at the Venetian Resort CD Trpcic accepts IAWTV Award Hotel and Casino in Las Vegas during the Consumer Technology Tradeshow. ACD Kristin Ingram was also nominated for her work on The Guild.

CD Suzanne M.B. Chambliss passed her doctoral dissertation defense on December 6, 2011, and will be officially walking in the May 18, 2012, commencement ceremony at Louisiana State University in Baton Rouge, Louisiana. Her PhD is in theatre history, dramatic literature, dramatic theory and criticism with a minor in arts education.

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The Costume Designer Winter 2012

Ruth Myers photo (Effie) Courtesy Sovereign Films. Shawna Trpcic (IAWTV Award) Courtesy barnyardfx.blogspot.com.

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BOLDFACE HONORS

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CD West wins Satellite Award CD Jacqueline West took home a statue on December 18 from the International Press Academy (IPA). The organization presented its 16th Annual Satellite Award for Best Costume Design to West for her work on Water for Elephants. CD Mark Bridges was also nominated for The Artist.

CD Julie Weiss was in Toronto as a guest speaker at the Canadian Alliance of Film and Television Costume Arts and Design (CAFTCAD) on January 14. She shared personal stories with the sold-out crowd and discussed her creative process on a few of the many films she has designed costumes for including Steel Magnolias, Twelve Monkeys, Fear and Loathing in Las Vegas, American Beauty and Frida. It was one of the most successful events to date for CAFTCAD, a nonprofit organization founded by several of CDG’s Canadian members to educate and promote Costume Design.

CAFTCAD hosts CD Weiss

Jacqueline West (Water for Elephants) Courtesy David James/Twentieth Century Fox. Julie Weiss (CAFTCAD) Courtesy Canadian Alliance of Film and Television.

BOLDFACE NAMES

CD Patricia Field was honored by Devine Design’s 20th anniversary fundraiser on December 7 at the Beverly Hilton Hotel in Beverly Hills, for her support of Project Angel Food. In 2011, the charity cooked and delivered more than 700,000 meals to people with HIV, AIDS, cancer and other life-threatening illnesses. “I am the character police and when you see people of good character, it’s like seeing beauty,” Field said about the nonprofit’s volunteers and donors.

Co-CDs John Dunn and Lisa Padovani of HBO’s Boardwalk Empire were the featured speakers at the first-ever “FashionSpeak Fridays: Speakeasy Fashion” on January 6, sponsored by the National Arts Club at the Tilden Mansion, New York City.

taking off into the cybersphere with a quarterly digital fashion magazine and blog. Ferguson produces and styles editorials for the web-zine and also blogs about ready-to-wear fashion, accessory trends and designer profiles. Join its Facebook group to receive all updates CD Ferguson styles for ContentMode.com and share your fashion cents. http://www.contentmode.com.

In between costume gigs, ACD Cynthia Obsenares line produced an L.A./Hungarian crew for the first-ever Hungarian 3D romantic comedy feature S.O.S. Love! 2, starring Daryl Hannah, C.J. Thomason, Christine Kelly and Billy Zane. Beautifully shot on the RED 3D rig with award-winning director Tamás Sas, the film premiered December 15 in Hungary and is awaiting its U.S. premiere.

This zany rom-com sequel follows the adventurous owners of a Hungarian dating service who travel to Hollywood in search of a match for the spoiled sister (Kelly) of a Russian mobster.

Compiled and written by: Cynthia Obseneres, cynthiaobseneres@gmail.com Gina Silverstein, gsilverstein@cdgia.com

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Winter 2012 The Costume Designer

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CD Kate DeBlasio designed for the independent feature film Goats, which premiered at the 2012 Sundance Film Festival in January. Directed by Christopher Neil and starring David Duchovny, Vera Farmiga, Justin Kirk and Keri Russell, Goats is an oddball coming-of-age story, shot on location in Tucson and CDs Dunn & Padovani in NYC Albuquerque. “The project was great fun, characters ranged from wealthy new age hippie-boho to Steve McQueen-inspired mountaineer looks,” said DeBlasio. Another plus was playing with the baby goats!

Custom made and Alterations for the Entertainment Industry

CalArts is hosting an event on February 8 dedicated to its predecessor, the Chouinard Art Institute (1921– 1972), influential in the emergence of Los Angeles as an international art center. Alumnus and retired CD Alice Estes Davis is a keynote speaker. The event is in conjunction with the Chouinard Foundation which has launched a new online library to preserve the legacy of Chouinard catalog circa 1950s the school whose teachers and students included CDs Edith Head, Bonnie Cashin, Theadora Van Runkle, Howard Shoup and Nolan Miller, among many others. The library includes filmed interviews, articles,

CD Deborah Ferguson’s passion project is

Deborah Ferguson (ContentMode.com) Courtesy www.contentmode.com

BOLDFACE EVENTS

BOLDFACE ENTREPRENEURS John Dunn (w/CD Lisa Padovani) Courtesy Jason Kempin/Getty Images. (FIDM Exhibit)

BOLDFACE NAMES

essays, an artist directory and an upcoming feature-length documentary featuring Van Runkle and other alumnae. http:// www.chouinardfoundation.org

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IN FOCUS

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FIDM’s 2010 Exhibit: The Young Victoria

by CD Sandy Powell

COSTUMES AS ART The 20th Annual “The Art of Motion Picture Costume Design” exhibition opens February 14, 2012, at FIDM Museum honoring costumes from many of the most acclaimed films of 2011. With the help of the Costume Designers Guild, the 10,000-square-foot space will showcase period costumes from The Artist (CD Mark Bridges), The Help (CD Sharen Davis), Hugo (CD Sandy Powell), J. Edgar (CD Deborah Hopper), Jane Eyre (CD Michael O’Connor), My Week With Marilyn (CD Jill Taylor), W.E. (CD Arianne Phillips), and Water for Elephants (CD Jacqueline West), with fantasy costumes from Real Steel (CD Marlene Stewart). Free to the public. Open 10 a.m.–4 p.m. through April 28, closed Sundays and Mondays.

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ig n a s o s tu m e D e s C y d tu S · ig n n as Fa s h io n D e s n d b a g d e s ig a in h d A F n a B , a e o E a rn e ry, s h ,0 0 0 -p ie c e h o o s e m il li n to ry in th e 6 is h e e s to m a m in o r · C tu s o rc h c ry b o u n d a ri a a e n s li e R ip c · is s d e s s on. e le c ti v e c ti o n · C ro a n d a n im a ti ll , o n C ig y s d e d tu S ic h Fa s h io n ti o n , g ra p c o m m u n ic a p s yc h o lo g y,

Gown by: Stephen Ferradino, Class of 2010 Photo by: Volker Correll

Join the fashion revolution: mcd.woodbury.edu/fashiondesign