THE OFFICIAL MAGAZINE OF THE COSTUME DESIGNERS GUILD LOCAL 892
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for your consideration
best costume design
Suttirat Larlarb
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“P A C O D E L G A D O ’ S C O S T U M E S A R E E X Q U I S I T E .” W EN D Y I D E , T H E T I M ES
FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING
BEST COSTUME DESIGN PACO DELGADO
“A C I N E M A T I C L A N D M A R K .” PETER DEB R U GE , V A R I E T Y
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WITH LOVE COMES THE COURAGE TO BE YOURSELF #TheDanishGirl
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For more on this film, go to www.FocusGuilds2015.com
MOTION PICTURE: © 2015 UNIVERSAL STUDIOS. ALL RIGHTS RESERVED. ARTWORK: © 2015 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.
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vol. 11, issue 4
FEATURES Emmy Award Winners . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Charlie Altuna Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3D Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
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Sneak Peeks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Contributors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Union Label. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 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 Photo by BrakhaX2 Grooming by Maia Camille Wagle. TOC: Star Wars: The Force Awakens Photo: Lucasfilm CD Michael Kaplan
President’s Letter Executive Director Labor Report
The Costume Department. . . . . . . . . . . . . . . . . . . . . . . . . 20 In My Shoes History of Dress
In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 What’s On/What’s In Boldface Names
Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Fall 2015 The Costume Designer
GHTS RESERVED. GHTS RESERVED.
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EDITOR’S NOTE
Technology can both limit and enable the achievements of an era; consider the many innovations seen in the history of garment construction. These milestones have come to define each period. For example, before the invention of zippers, there were only pins, buttons, and ties; think of the fibulae on Greek chitons or the eyelets and ribbons on 15th-century doublets. Likewise, royal purple and acid green are associated with the Victorian period because before the discovery of aniline dyes in 1856, these vivid colors could not be achieved in fabric. From plastics, to stretch fabrics, and now to 3D printing, each advance transforms the landscape of possibilities. An ability to adapt the newest tools is vital for Costume Design. With compressed timeframes and tightened budgets, 3D printing flings open a door to quickly construct forms, which in the past would have taken large budgets and months to develop. We have devoted part of our fall issue to explore 3D printing, in an effort to demystify it. Associate editor Christine Cover Ferro breaks down the process for us, as she tries it for herself. One of 3D printing’s early adapters, CD Charlie Altuna was kind enough to host a studio visit, and his enthusiasm for the process is contagious. Finally, we tackle the difficult topic of inspiration versus cultural appropriation in ACD Kristi Hoffman’s piece written from a Native American perspective. Another way to look at this problem is to ask, “When does the desire for exoticism have to be tempered by cultural sensitivity.” In the past, filmmakers borrowed liberally and indiscriminately from other cultures. But their reach wasn’t as global as ours is today. Technology has not only changed the way we design, it has also changed the way audiences look at our design. Ultimately, we will be held accountable for our choices. With the depth of creativity and the vast research resources available, our responsibility is to conjure this evocation of mystique without resorting to an archaic vocabulary, which is no longer in keeping with our global awareness and respect for other cultures. Dear readers, I know you are up to the challenge.
costumedesignersguild.com EDITOR IN CHIEF
Anna Wyckoff
ASSOCIATE EDITORS
Bonnie Nipar Christine Cover Ferro PRESIDENT
Salvador Perez
sperez@cdgia.com VICE PRESIDENT
Cate Adair
cadair@cdgia.com SECRETARY
Ivy Thaide
ithaide@cdgia.com TREASURER
Nanrose Buchman
nbuchman@cdgia.com EXECUTIVE BOARD
Mary Vogt
mvogt@cdgia.com
Christopher Lawrence clawrence@cdgia.com
Julie Weiss
jweiss@cdgia.com
Mona May
mmay@cdgia.com
Phillip Boutté Jr.
Costume Illustrators Representative pboutte@cdgia.com
Kristine Haag
ACD Representative khaag@cdgia.com LABOR REPRESENTATIVES
Betty Madden Sharon Day
BOARD ALTERNATES
Anna Wyckoff awyckoff@cdgia.com
Kristin Burke
kburke@cdgia.com
Jennifer Soulages
jsoulages@cdgia.com
Lyn Paolo
lpaolo@cdgia.com
Terry Gordon
tgordon@cdgia.com
CORRECTIONS In the summer 2015 issue (page 14), the following was incorrectly attributed to CD Lisa Padovani for Gotham. It was actually said by CD Jenny Eagan of Olive Kitteridge. “The spark of inspiration for this project was real life’s complexities and contradictions, which for all of us, is a journey.” The illustration for Wet Hot American Summer in the new directory of members (page 64) was designed by Leslie Schilling and illustrated by Jennie Compton.
BOARD OF TRUSTEES
Jacqueline Saint Anne jsaintanne@cdgia.com
Cliff Chally
chally@cdgia.com
Barbara Inglehart
bingleheart@cdgia.com ALTERNATE TRUSTEE
Dorothy Amos
damos@cdgia.com EXECUTIVE DIRECTOR
Rachael M. Stanley rstanley@cdgia.com
MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington
shuntington@cdgia.com RECEPTIONIST/SECRETARY
Cecilia Granados
cgranados@cdgia.com PUBLISHER
IngleDodd Media ADVERTISING
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The Costume Designer Fall 2015
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FOR YOUR CONSIDERATION
BEST COSTUME DESIGN
JACQUELINE WEST
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CONTRIBUTORS
Is there a product you find indispensable?
MARCY FROEHLICH
(Associate Editor, 3D Printing, Co-contributor to BFN)
(History of Dress, Text)
(In My Shoes)
My Pantone color swatch book. I bought it years ago and am so glad I did. A great resource! I ordered ice-blue ostrich feathers from South Africa using the numbering system, and they arrived in the perfect color.
At the moment, I find my iPhone, iPad mini, and mophie to be wonderful tools in our craft.
I can’t think of any one tangible thing that has been a constant. In the more abstract, while I’m fairly certain that I’ve never started out thinking “this character ‘has’ to be in yellow,” an inordinate amount of the color shows up in my palette. I’ve been fortunate to have trusting actors who were willing to play, from a poisonous chartreuse blouse, to a goldenrod kimono, to a lemon Mod dress.
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KRISTI HOFFMAN
CHRISTINE COVER FERRO
BONNIE NIPAR
ROBIN RICHESSON
(Associate Editor and What’s On/In)
STACY ELLEN RICH
(History of Dress, Illustration)
(Co-contributor to BFN)
I consider vintage jewelry indispensable to help make a contemporary character unique. Although I often embrace the delicacy of Victorian filigree or the precision of art deco cut glass, my favorite go-to pieces are British watch fob medals. Made in England from 1880 through 1940, and given for achievement in academics, sports, or business, when placed on a sterling silver chain, they bestow a rocker edge.
Whether I am working digitally or with paper and paint, I always seem to start with Clearprint Vellum, a 2B Tombow mono pencil, and a kneaded eraser. Ideas start here, and then go to the scanner or the illustration board.
I love Silamide thread! I’ve used it since being introduced to it in my college’s costume shop.This skein is still from my college days. I miss the old Rice’s label. I think that is why I stopped using this skein!
The Costume Designer Fall 2015
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“WORKING WITH A TOP-FLIGHT CRAFT TEAM THAT INCLUDES COSTUME DESIGNER KASIA WALICKA MAIMONE, THE DIRECTOR BATHES THE FILM IN A LOOK THAT FEELS UNFAILINGLY TRUE TO THE PERIOD WITHOUT EVER VERGING ON KITSCH; IT’S A MOVIE THAT ISN’T JUST TAKING PLACE IN THE LATE ‘70s AND EARLY ‘80s, BUT SEEMS TO HAVE BEEN MADE THEN.” SCOT T FOUNDAS,
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BEST COSTUME DESIGN KASIA WALICKA-MAIMONE
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UNION LABEL PRESIDENT’S LETTER Charlie Altuna, who is featured on our cover, has taken the technology of digital printing and incorporated it into his Costume Designs. Technology is moving so fast and is allowing Costume Designers to be even more creative then we have ever been. You can now order a digital printer online and set it up on your desk. We need to stay up to date with technology, and when possible, we should be ahead of it. The CDG education committee is planning a digital printing seminar so our members can learn how to put this technology to use. Social media is becoming a vital for Costume Designers. With instantaneous access to fans, we can create our own brands and become powerful players in the business. All CDG members should connect with social media for your jobs. We will be hosting another social media seminar next year, make a point to come and learn how to put this powerful tool to work for you. The Costume Designers’ job is to be the liaison with production on how a character should dress, whether it is a historically accurate reproduction or an original design choice. Assistant costume designer Kristi Hoffman brings up a very important point that we should understand where the design inspiration comes from, and be loyal to it. Of course, sometimes our work calls for satire, and historical accuracy is not what is required. If we as Costume Designers know what the origin of a costume is, we are much better prepared to design within the confines. We have to design with our creativity, if the script calls for a drag queen nun in a mini-dress and fishnets, we can’t be worried about offending some people, as we have to be able to design without limits. If you are designing a historical drama, the costume department should become the experts on authenticity through research and advisers. With easy access to so much information on the Internet, details are accessible and you will be called out for inaccuracies. We should honor the reality, but be free to design whatever the script calls for. The CDG Awards are in their 18th year. We have come a long way and are now a well-respected award in Hollywood. As the industry has evolved, so must we. The awards have changed slightly to honor all aspects of Costume Design, the former “Commercial Category” is now called “Short Form Design,” and includes commercials, music videos, webisodes, video games, and short films. All of our awards are for “Excellence” in each category, and our Television categories are Contemporary, Period, and Sci-Fi/Fantasy. Each medium has its own design aesthetic and shouldn’t be judged against each other. You can now submit your design project online. It’s so easy and efficient. As a nonprofit organization, our sponsors are greatly appreciated. Most of our sponsors are well known in the industry. When they sponsor an ad for the CDG, it’s their way of showing support for us as a profession. Please take a minute to thank the sponsors you see on our website, magazine, and other venues. Their support helps us provide services to all of our members. Thank you to all of our sponsors. The CDG Holiday party will again be sponsored by Western Costume Company at the Paley Center for Media in Beverly Hills on December 12, 2015. I look forward to seeing you all and celebrating the holidays. In solidarity, Salvador Perez sperez@ cdgia.com
GN
Holiday Card 2015 Created and Illustrated by Darell Fuentes Fall 2015 The Costume Designer
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UNION LABEL EXECUTIVE DIRECTOR
Dear Members, The Guild continues to grow with a current membership reaching more than 900 Costume Designers, assistant designers, and costume illustrators. Last year, President Salvador Perez instituted our triannual New Member Seminar. Costume Designers and Guild members Mary Vogt, Mona May, and Christopher Lawrence created a comprehensive curriculum. The skills and information covered were designed to help our new members enter the workforce armed with the most current information to perform at top levels of creativity and professionalism. Various longtime members teach the seminars, sharing years of experience and knowledge with our newbies. Our industry is an ever-evolving business. Our Education Chairperson, Ivy Thaide, hosts a monthly class schedule to help our members stay abreast of the newest computer skills and applications that are being used in today’s television and filmmaking. Vice President Cate Adair is spearheading volunteerism to help support our local food banks and animal shelters. Labor leaders Sharon Day and Betty Madden organized a group of members to walk to support homeless vets. I am pleased to see the generosity of these true union leaders who have dedicated their time and talent to continuing to build a viable union workforce and community partners. True union spirit is alive and well at the CDG! In other news after years of debate, searching, and controversy over a building purchase, we are finally moving to a permanent home! The CDG recently purchased a 4700-square-foot corner property on Magnolia Boulevard in Burbank. They say timing is everything, and this was certainly the case here. The perfect combination of location, price, accessibility, low interest rates, and plentiful parking have eluded us, until now. If you drive by, it may not look like much in its current state, but we have exciting plans for a remodel of the inner and outer building. The front half of the building will house our offices and the back will be our members’ area. We will finally have a dedicated area for classes, meetings, and other events. We invite you all to come by and see it when we move in May or June and will keep you posted about our progress. In solidarity, Rachael Stanley rstanley@cdgia.com
CALENDAR
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Dec. 12 Dec. 14 Dec. 24
CDG Holiday Party EBoard Meeting CDG Office Closes for Holidays
Jan. 4 Jan. 11
CDG Office Reopens EBoard Meeting
The Costume Designer Fall 2015
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“A POWERFUL, ENGAGING AND COMPELLING STORY
of how America challenged and changed five young black men, and how they in turn challenged and changed America. It never lacks for something to say or to show us.”
FOR YOUR CONSIDERATION
BEST COSTUME DESIGN KELLI JONES 10-15 UnionLabel.indd 13
© 2015 UNIVERSAL STUDIOS
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“RICHLY IMAGINED COSTUMES ARE AT ONCE OUTLANDISH AND PINPOINT-PRECISE.” Justin Chang,
“EVERYTHING IN THE FILM IS FULLY REALIZED.” Stephen Rebello,
BEST COSTUME DESIGN JENNY BEAVAN
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UNION LABEL LABOR REPORT
Betty Madden bmadden@cdgia.com
IATSE HEALTHCARE ACTION 2016 Save the Date invitation Mark your calendar now to attend, Saturday, January 30, 2016, at 9:30 a.m. IATSE Local 80 2520 West Olive Avenue Burbank, CA Give a gift to yourself this new year by attending the IA healthcare awareness discussion. Talk directly to representatives of the organizations listed below about the present healthcare delivery system. Get answers and learn more about our healthcare system and how it works for you. Healthcare Action program includes: “FIX IT” Healthcare at the Tipping Point, a 35-minute film Introduction program host Dwight Hicks, actor, San Francisco 49er and two-time Super Bowl champion Healthcare Updates: · (MPIPHP) Motion Picture Industry Pension & Health Plans · (CHC) Campaign for a Healthy California (Representing 4 million Californians) · ( LUUH) Labor United for Universal Healthcare LA County Federation of Labor · (PNHP) Physicians for a National Health Program Healthcare Structure-Discussion Watch for more IATSE healthcare 2016 information coming to you from the CDG weekly GEMS and CDG Newsletter. Please feel free to bring an IATSE friend or neighbor. We can’t wait to see you there.
Period Clothing Full Line In Stock - Victorian - Edwardian - Regency - Old West - Steampunk
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BEST COSTUME DESIGN MICHAEL WILKINSON
©2015 TWENTIETH CENTURY FOX
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ordstrom Studio Services wants to thank the Costume Designers Guild members for your longtime loyalty to us. We want to support all the members by providing an efficient, convenient, and friendly atmosphere for you to get your job done. Sometimes, this means a location outside of Los Angeles. Production away from home shouldn’t have to be stressful and “foreign.” We recognize that when you walk into a Nordstrom store, you should be treated with the respect that your buying power deserves. That is why we are focusing on expanding Studio Services to locations such as Atlanta, Chicago, San Francisco, Salt Lake City, Austin, and Puerto Rico. We have three more locations that are currently in the works, but we are not quite ready to announce them. On September 18, we just opened a gorgeous department in Vancouver, British Columbia, Canada, where we have been received extremely well. Our partnership and open communication has been key in helping to identify markets that are important to you. We are also partnering with the Customer Service Department in each of our Los Angeles stores to offer the option to shop/drop off after our usual Studio Services business hours, should you find yourself in a pinch. This includes Sunday. I welcome your feedback and input, and look forward to finishing the fall season together, with style and class! Warmly, Wendy Laurence-Williams National Studio Services Director wendy.laurence-williams @nordstrom.com 818-592-4759
Fall 2015 The Costume Designer
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FOR YOUR CONSIDER ATION
EXCELLENCE IN PERIOD FILM SANDY POWELL
“‘Carol’
is lusciously made. The outstanding Sandy Powell’s clothes are stunning.” “Beautifully
made and outstandingly intelligent. It is a creamily sensuous, richly observed piece of work. The clothes are all superbly presented.”
THELMA ADAMS “Sandy Powell’s costumes are exquisite. All of the cinematic elements harmonize.” Powell’s costumes are excellent.”
“ Sandy
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THE COSTUME DESIGNER- 4C FULL PAGE
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Congratulations TO OUR 2015 EMMY AWARD WINNERS
Costume Designers Marie Schley, left, and Nancy Jarzynko, winners of the award for outstanding costumes for a contemporary series, limited series, or movie for
Transparent
Costume Designers Lou Eyrich, from left, Ken Van Duyne and Elizabeth Macey, winners of the award for outstanding costumes for a period drama/fantasy series, limited series, or movie for
American Horror Story: Freak Show
Costume Designers Christina Mongini, left, and Cassandra Conners, winners of the award for costumes for a variety program for
Drunk History
All photos: Vince Bucci/Invision for the Television Academy/AP Images
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THE COSTUME DEPARTMENT
IN MY SHOES A Native American Perspective Harajuku of stereotypes that further trivialize and undermine Native s a traditionally raised Native American woman
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(Anishinaabekwe) and member of the Costume Designers Guild, I am often shocked and saddened by the way Native Americans continue to be portrayed in film, television, and other media. I would like to ask CDG members and filmmakers alike to pay special attention when working on projects with Native American subject matter as I feel it has long been a trend to use artistic license when portraying our culture. There is the impression that during a production we don’t have time to be culturally sensitive or that it is okay to take artistic liberties. Unfortunately, these conversations are often the beginning and end of trying to lend a voice of truth on projects representing Native Americans, projects that are often missing our input at the initiation. As members of the CDG, we interact directly with producers and directors at the beginning of the creative process. We are storytellers in our own craft, taking great pride in our research and ability to be authentic to our characters, leaving no stone unturned in the discovery process. With this in mind, I want to ask every member to support the importance of giving Native Americans an accurate portrayal through clothing. There are many resources that allow this authenticity to come forth. The process begins with getting the Native American perspective. In just the same way you would hire a specialist on military uniforms or a specific period, please include Native Americans to consult on your projects.You can reach out to local tribes relevant to the Native community you are researching. We hold our elders in high regard and you can also reach out to them, as well as to Native filmmakers. Also imperative is questioning the correctness of the research you find. When referencing books, please keep in mind who the author is.We don’t use words like “costumes” to describe our clothing. In fact, doing so is considered disrespectful. Please know that referencing an Edward Curtis photograph does not necessarily give you an accurate representation. Mr. Curtis, while known to many people as an extraordinary photographer, was also known for staging elements in his photographs to his liking. In our culture, the placement of every feather, bead, and object is sacred and has great significance spiritually. In the same way that you would not use sacred clothing from other cultures impulsively, please reconsider your appropriation of the different facets of Native American clothing, traditional wear, or regalia.The actual result of a cavalier attitude is the perpetuation 20
American culture. In my opinion, it is not appropriate for non-Natives to wear traditional Native American clothing or regalia. A person is not honoring or appreciating our culture by making the choice to do this. To the Native American community, participating in this behavior has the same negative impact that blackface has in the African-American community. Furthermore, once captured on screen, these images have had and continue to have a devastating impact on our people for generations to come. Many cultures have been marginalized by inaccurate portrayals, and I want to respectfully acknowledge this. It is my hope that I can continue to lend a voice in my own community, and we all can come together to make a positive difference. Storytelling is a crucial part of our culture. We have many beautiful stories passed down through the generations, imagine the beautiful stories we could create working together. Miigwech (Thank you), risti Hoffman K CDG member Sault Ste. Marie Tribe of Chippewa Indians
Resources indiancenter.org The Southern California Indian Center. bia.gov/WhoWeAre/BIA/OIS/TribalGovernmentServices /TribalDirectory Federally recognized tribes in the United States and their contact information. theautry.org/native-voices/theatre-native-voices Producing new works by Native American, Alaska Native, and First Nations playwrights. rednationff.com A Native American film festival. sundance.org Information on Native filmmakers. nativeappropriations.com A forum for discussing the representation of Native peoples. powwows.com Renewing and preserving Native American culture.
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“A powerful, important, timely film.” SCOTT MANTZ, ACCESS HOLLYWOOD
“Excellent visual contributions come courtesy of production designer Alice Normington and costume designer Jane Petrie.” JUSTIN CHANG, VARIETY
FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING
BEST COSTUME DESIGN JANE PETRIE
For more on this film, go to www.FocusGuilds2015.com
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THE COSTUME DEPARTMENT
HISTORY OF DRESS Harajuku Japanese street fashion has blossomed in the Harajuku district of Shibuya,Tokyo.The feeling is young and exuberant, naïve—yet edgy, and constantly changing. It’s the quintessence of individual expression. Many styles have emerged from the mix of traditional Japanese dress with alternative fashion. One of the most popular is Gothic Lolita, a young doll-like look with black corsets and short crinolines, parasols, and
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the odd spider or bat. Decora style combines layers of accessories with pink, a favorite color, and short tutu skirts. Fairy Kei is childlike, using pastel colors with toy and baby motifs. Many incarnations exist, some use school uniforms, some take hip hop, punk, or heavy metal cues, all are intended to express an avant-garde, free fashion sense. Illustration by Robin Richesson rrichesson@cdgia.com Text by Marcy Froehlich mfroehlich@cdgia.com
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Face Off photos: Syfy Network/ŠBrett-Patrick Jenkins
The Answer Is Yes Charlie Altuna Profile
Face Off photos: Syfy Network/©Brett-Patrick Jenkins
I
think of myself as a traditional Costume Designer, but I have to bring in my love of technology and look for new ways to create things. I started sewing when I was 10, but I was also this little tech kid who would take apart radios. Basically, I’ve been trying to figure out how to marry the whole art department and costume world for years, and 3D printing has completely changed the game. Originally, I came from fashion. First, I began assisting a stylist. At 19, the Celestine Agency took me on. With every celebrity I have ever worked with, I didn’t just use clothes off the rack, I often built them. In a way I was trapped, because the job was so glamorous, and the money was good. My world was Rodeo Drive, but Face Off changed my life and, 10 seasons later, we are still here. When 3D printing first started, I was designing Linkin Park’s wardrobe. Joe Hahn from Linkin Park was into little figurines which were 3D printed. I thought, “This is amazing!” All my friends are from SCI-Arc (Southern California Institute of Architecture) and we geek out YouTubing technology, then asking, “What can we do with this?” I was walking through Comic-Con one year and found the answer. I met the people behind 3D systems. They loved my show and, eventually, I bought one of their 3D printers. It was a game changer. When a contestant asked for a finch skull, it took two hours to print. The ability to create forms instantaneously is like being a genie. In my shop, we don’t just offer to tailor a suit, we will make anything. We will
make a hundred pieces overnight. We specialize in merging costumes with special effects. We just never say no. We will make a yeti or two, then build you that gown, with animatronics. I have a group of amazing people that have worked together on Face Off, but we also make other Costume Designers’ projects as well. Budgets have been cut, casting is late, everything’s last minute, and so 3D printing is the perfect solution. Where you used to have a couple weeks to make something, now you have two to three days to prep huge things or just overnight. Thankfully, I’m completely ADD—I want everything immediately. So I understand when you say, “I need 18 track suits by four o’clock in the morning because we’re shooting them at five.” I get that. A recent event for Lions Gate involved 96 jumpsuits with branding for Samsung and The Hunger Games. Everything was made from scratch. Then we bought the boots and sprayed them white, but we had to spray them a certain way so they wouldn’t chip when they were bending. Three days later, I flew it all to New York and did the event. I love that. I live for the times when there are four projects going on simultaneously. When 12 people are in the shop and everyone is running over each other, it’s like a ballet, and oh, it’s so incredible! It’s all I want in life. I am so inspired by all the people that are working here. I could never do Face Off alone. I am thrilled to announce that in the next few months I am hoping to take the shop union.
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3D Printing BY CHRISTINE COVER FERRO
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hree-dimensional printing, formally known as additive manufacturing, has taken a series of evolutionary leaps in the last few years. The intent of the technology when it was originally developed in the early eighties was to speed up the development of prototypes in industrial product design. Since then, the technology has found its way into just about every discipline, and scientists have developed the capacity to “print” with just about every material imaginable, from metals, to food, to biological tissue, to, quite usefully for Costume Design, fabric. 3D printing has become so prolific and varied that the replicators aboard Star Trek’s Enterprise and Voyager no longer seem far-fetched. The process begins by creating a virtual design. Designs can be created from scratch using modeling software or by using a 3D scan of an existing object (or person) and modifying as desired. This design is then optimized for printing, adding support to intricate geometry as needed and breaking it down into very thin (as in 0.1mm) slices. The printer then builds each of these slices in a sequenced stack, creating the finished object. That 3D printing is being steadily integrated into the Costume Design and fabrication process won’t be news to any design team that has recently done any sort of specialty fabrication. Components for comic book heroes and science fiction costumes have been prototyped with 3D printers for the last several years. The proliferation of the technology will only continue to make it more accessible, either in-house or through third parties, even when the project doesn’t have a nine-figure budget.
How It Works There are numerous processes that fall under the 3D printing umbrella. The most commonly encountered are:
Extrusion Also known as Fused Deposition Modeling (FDM) and Fused Filament Fabrication (FFF), is probably what most people think of when they think of 3D printing. A thermoplastic filament is fed through a heated extruder that deposits each new layer onto a build plate. For pieces that have overhanging geometry, support structures need to be worked in. With FDM, a second water-soluble
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filament fills in the gaps until completion and is then washed away. FFF requires that breakaway structures be designed in and are then snapped off upon completion. The process can be slow, and layers may not always completely adhere properly, although this can be remedied with post-processing. The quality of personal-use machines is constantly improving, and the development of new filament materials has exploded in the last few years, allowing users to print in metal or wood composites, as well as more flexible plastics.
Inkjet Either binder or material jetting, as the name suggests, work much like your home printer. Instead of ink on paper, the printer selectively sprays binder onto a powder bed in the case of binder jetting; and, for the latter, liquid or melted build materials are jetted through multiple heads onto a build plate and cured with UV light as each layer is deposited. Both systems allow for simultaneous use of multiple colors.
Stereolithography Also known as SLA, stereolithography uses an ultraviolet laser to project the sequence of cross sections of the finished object onto a vat of liquid ultraviolet light reactive polymer resin. As the laser completes projecting each cross section, curing the surface of the resin, a platform in the vat moves down the distance equivalent to the thickness of the layers. The laser then projects the next layer onto the new liquid surface, and the cycle continues until the object is complete. Once the finished object comes out of the vat, a chemical bath cleans off excess resin, and further curing the piece in an ultraviolet oven fully cures the resin. This process is one of the most accurate in the market, but is limited by the resin’s instability, as it will often become brittle over time.
Selective Laser Sintering SLS, also known as laser melting, uses an ultraviolet laser, but the material on the platform is densely packed powder (plastic, nylon, or metals). The laser fuses the powder it hits, the platform moves down, a roller creates a smooth, new layer and the next layer is fused to itself as well as the previous layer. The process accommodates the most intricate structures without the support structures that would be necessary in other processes. Because the materials used are some of the strongest available within the technology, pieces produced through this method can be functional
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The scan is imported into a design program, in this case, Meshmixer, where it can be resized and manipulated. The software can also identify and fix potential trouble spots (holes in the structure, overhanging pieces that would need supports, etc.)
Screen capture of a 3D scan using the 123D Catch App. A 360° series of photos are taken with a smartphone camera, and the app stitches them together into a 3D model of the object.
A base is added from the sofware’s set of preprogrammed objects, and the object is exported into a 3D print file. The final print file is sent to a 3D printing service provider, in this case, Staples. Printing prices for a 1”x 3/4”x 3/4” object ranged from $7 for plastic to $267 for polished silver, with turnaround times starting at three business days.
Background forms created by Nervous System: Hyphae Crispata #1 and Florescence Ornata 2. N-e-r-v-o-u-s.com
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products rather than prototypes. For example, stereolithography might be used to create a mold to cast an intricate ring, but SLS can be used to create the finished ring straight from the digital file. Due to the heat generated, cooling times, especially for metal, which requires a much higher powered laser, can be considerable. This is a commercial process, as the machinery would be cost-prohibitive to individuals, and industrial-level ventilation is required to deal with the toxic fumes generated.
Getting Started Software Training
While expanding into a third dimension will naturally add certain challenges, much of the relevant software is designed to be intuitive and user-friendly. Anyone able to work in Photoshop would be able to transfer that skill set into modeling software with some training and practice. For those who want to learn the technology, video tutorials for most processes or software mentioned in this article are available online at sites like YouTube and Instructables. Some of these can also be found on their vendor’s websites as well as their own online courses. Additionally, anyone who has taken advantage of the IATSE offer for a discounted membership to lynda.com, 12 different courses for all experience levels are offered and encompass just about every vendor in the market. The offer extended this summer is still available, but the promotional subscriptions will expire at the end of August 2016, regardless of the user start date.
Development and Printing Centers For those who aren’t in a position to render and/or produce their own pieces, a crop of resources have sprung up to accommodate a broad range of services. Based in Los Angeles, Morpheus Prototypes is an additive manufacturing studio that offers several different printing technologies to suit the many needs that can come up in manufacturing costume pieces. They also offer custom painting and finishing, as well as laser cutting and engraving. ExOne is a manufacturing technology company that is set up to work with customers to develop new pieces, from working with designers on the virtual build process through the printing and post-processing of the finished products, and will handle limited production runs. With offices throughout the US and abroad, production centers are available even when working on location.
Specialty Costumes Shops Los Angeles shops Ironhead Studio, Quantum Creation FX, Legacy Effects, and CD Charlie Altuna’s studio all incorporated 3D printing into their respective toolboxes within the last few years. In addition, Legacy Effects is at the forefront of 3D printing innovation. The house is a member of the Additive Manufacturing User Group, a consortium of users focused on education and advancement of uses and applications of 3D printing via con-
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ferences and intra-industry collaboration, and through which Legacy exchanges information with apparel giants like Nike and UnderArmour to develop better ways to apply the technology to all things wearable. Being an active player in the field has helped Legacy find more efficient and cost-effective methods in both the prototyping and manufacturing process. The doors this has opened make it quite possible for them to work with designers that might have previously considered their services out of their reach due to budget constraints. Looking to the future, co-owner Alan Scott maintains that the end goal is to be able to create finished products via 3D printing. Stronger, lighter, more flexible materials already make it possible to manufacture certain pieces this way, but the bulk of usage remains in prototyping.
Tools 3D Scanners
While certainly not at the level of sophistication or resolution of industrial 3D scanners, your smartphone now has yet another use. Autodesk’s 123D Catch, available now, as well as Microsoft’s Mobile Fusion project and ETH Zurich Computer Vision and Geometry Group’s 3D Mobile Scanner, currently in beta testing, let users create a 3D model from a series of photos and then upload the file to make modifications and generate a virtual model.
Desktop 3D Printers In the late aughts, the race was on to develop the first affordable personal 3D printer: the “holy grail” was a commercially available printer below $5,000, and this wouldn’t be a reality until 2009. Six years later, reliable quality desktop printers, now available in the hundreds, may not be in every household, but they are readily available for prices comparable to mid-range conventional printers. Two examples are the New Matter MOD-t and the Tiko Unibody, both FFF printers compatible with many commercially available filaments. The MOD-t can print pieces up to 6x4x5 inches and is currently available for purchase for $399. The Tiko wrapped up a wildly successful Kickstarter campaign and will likely hit the market in 2016, with Kickstarter preorders ($179) expected to start shipping this November. Its build area is just shy of 5x5x5 inches, and the machine itself is remarkably compact for its build size. Intended for professional use but commercially available at an accessible price point, Autodesk started shipping Ember earlier this year. The printer works through digital light processing, which has many similarities to stereolithography, and comes in at just under $6,000. Aside from the capacity to print some of the most intricate detail in the market, the system is set apart by being completely open source; Autodesk has made both Ember’s mechanical files and its resin recipe publicly available. The crown jewel of the system is arguably the Spark platform, which enables users to add 3D printing functionality to other applications to prepare, optimize, and deliver 3D models to any 3D printer in the market. Evidence of
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how well the software has been received includes Microsoft’s move to embed it into the Windows 10 operating system, Going further into the future, 2D printing giant HP joined the race late last year with the announcement that their Multi Jet Fusion printer would be ready in late 2016. The machine’s projected speed will be more than 20 times faster that Material Extrusion printers and 12 times faster than Laser Sintering. Early models will work with plastics, but future versions are slated to be compatible with ceramics and metals, and able to change color, texture, transparency, elasticity, and conductivity within the same build.
3D Garments San Francisco-based Electroloom entered the scene in May of this year with a since-funded Kickstarter campaign. Similar to the technology used in electroplating metals, the Electroloom currently creates an electric field to guide a nanofiber solution onto a template, creating a seamless garment. The template itself is created by the user and can be made of any material, so anything from a quick cutout to an intricate, CAD-drafted vinyl mold will turn out a finished garment. Conductive materials work best, but tests on plastics, wood, and cardboard have been successful. The current fiber solution is a cotton-poly blend that “prints” white and takes dye, and is similar to ultrasuede in texture and drape, with colored versions, along with silk and acrylic blends currently in development. The way the fibers bond over the template allows them to retain their entire topography, so, for example, a “print” of a garment with sunburst pleats or contours would retain those shapes when taken off the mold. For more detail on new technology, please visit the CDG website.
Photo and jewelry design by Igor Knezevic (Local 800) for alienology.com.
Upcoming Seminars If you want to learn more about how 3D printing can be applied to the Costume Design and build process, as well as speak with some on the vendors mentioned above, please keep an eye out for the upcoming 3D printing seminar and check out the websites below. lynda.com/3D-Printing-training-tutorials/6343-0.html 3dprintingindustry.com/3d-printing-basics-free-beginners-guide/ 3dprintingfromscratch.com/ shapeways.com/blog/ microsoftvirtualacademy.com/en-us/training-courses/3d-printing-essentials-8854 au.autodesk.com/au-online/classes-on-demand/search?full-text=3d+printing
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SNEAK PEEKS The Greatest Costumes You’ve Never Seen During the evolution of any project, there are costumes which are designed but never made. Characters are changed, plot points adjusted, entire films or television shows scrapped, or given to a new director who has a different vision. Sometimes garments are made, filmed, and edited out. In this section, we celebrate the costumes that have been seen by only a select few.
CD SHAREN DAVIS ILL GINA FLANAGAN UNTITLED FILM 32
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WHAT’S ON
Flesh and Bone
Supergirl Costume Designer
KIERSTEN RONNING
Assistant Designer
LEIGH BELL Illustrators
Grandfathered Costume Designer
MONA MAY
ALAN VILLANUEVA KEITH CHRISTENSEN
TOM BROECKER
Life in Pieces
Costume Designer
AUDREY FISHER Assistant Designers
ALLISON LEACH KOREEN HEAVER Illustrators
ALAN VILLANUEVA TAKASHI MORIMOTO
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Costume Designer
The Man in the High Castle
Rosewood Costume Designer
KELLI JONES
Costume Designer
REIKO KURUMADA
Assistant Designer
DAVID OCHOA
Assistant Designer
JERIANA SAN JUAN
Photos: Supergirl/CBS; Grandfathered/FOX; The Man in the High Castle/Amazon; Rosewood/FOX; Life in Pieces/NBC; Flesh and Bone/Starz
Compiled by: Bonnie Nipar
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Photos: Youth/FOX Searchlight Pictures; The Danish Girl/Focus Features; Beasts of No Nation/Netflix; Star Wars: The Force Awakens/Disney; The Revenant/Twentieth Century Fox; Joy/Twentieth Century Fox
Photos: Supergirl/CBS; Grandfathered/FOX; The Man in the High Castle/Amazon; Rosewood/FOX; Life in Pieces/NBC; Flesh and Bone/Starz
WHAT’S IN
Joy
Youth Costume Designer
CARLO POGGIOLI
Assistant Designers
SERENA FIUMI LUCA CANFORA
The Danish Girl Costume Designer
PACO DELGADO
Assistant Designer
SALLY TURNER
Costume Designer
Beasts of No Nation
MICHAEL WILKINSON
Costume Designer
JENNY EAGAN
The Revenant Star Wars: The Force Awakens Costume Designer
MICHAEL KAPLAN
Assistant Designers
VIVIENNE JONES NIGEL EGERTON
Costume Designer
JACQUELINE WEST
Assistant Designer
MEGHAN KASPERLIK
Assistant Designers
J.R. HAWBAKER MONIQUE McCRAE Illustrator
KIRSTEN FRANSON
Illustrators
GLYN DILLON DERMOT POWER Fall 2015 The Costume Designer
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Making Memories and Staying Connected
Celebrate the holidays with union member only savings from Union Plus. There’s a discount for just about everyone on your list. From clothing and flowers to gift certificates, even movies, plays, sporting events, and computers - Union Plus is your holiday gift helper. Don’t forget to stay connected with 15% off qualified AT&T wireless plans through Union Plus.*
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*Avail. only to current members of qual. AFL-CIO member unions. Must provide valid union membership card or other acceptable proof of union membership & subscribe to svc under an indv. account for which the member is personally liable. See details at www.UnionPlus.org/ATT or visit an AT&T store. Discount subj. to agmt between Union Plus and AT&T & may be interrupted, changed or discontinued w/out notice. Discount applies only to recurring mo. svc charge of qual. voice & data plans, not overages. Not avail. w/ unlim. voice plans. For Family Talk, applies only to primary line. For all Mobile Share plans, applies only to the mo. plan charge of plans with more than 300MB, not to add’l mo. device access charges. May take up to 2 bill cycles after elig. confirmed & will not apply to prior charges. Discount applied after application of any avail. credit & may not be combined w/ other svc discounts. Add’l restr’s apply. Contact AT&T at 866-499-8008 w/ questions.
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IN FOCUS BOLDFACE NAMES
BFN - WORK Photo: Matt Hovermale
CD Barbara Chennault is the new Costume Designer for the situation comedy The Soul Man, starring Cedric the Entertainer and Niecy Nash for TV Land. Now in their fifth and final season, this high-spirited and enthusiastic comedy will be home to Chennault and her crew from November to March. CD Tracey White is part of the costume crew. CD Molly Grundman is designing the half-hour comedy Flaked, starring Will Arnett.The eight-episode run will air on Netflix in 2016. Shooting takes place in Venice, California. CD Heidi Higginbotham is Costume Designing Rush Hour, a mid-season replacement project at Warner Bros. to air on CBS. Higginbotham reports that she’s got a great crew working long hours to make all the stunts in the current 13 episodes look seamless. CD Christopher Kristoff is on her crew. CD Denise Wingate is back in Atlanta working on the WB/Newline comedy Fist Fight, with CD Derek Sullivan as her supervisor. The feature stars Charlie Day as a timid English teacher forced to fight Ice Cube, a terrifying history teacher, against the backdrop of a high school facing budget cuts, waves of student pranks and fired teachers.
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American Speed CD Kim Ngo wrapped up a CMT production called American Speed, produced by Stephen David Entertainment. The three-part docudrama miniseries told the story of NASCAR from the dusty dirt roads of 1930s to the modern black asphalts of 2000s. In total, Ngo and her costume crew dressed 60 main characters and 600+ background actors within the eight decades of costumes. It was a challenge executing this in rural West Virginia, but the production was a success, and they’re all happy to be back in Los Angeles.
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BFN - WORK CD Michael Boyd had the pleasure of spending the summer working on the new Dolly Parton biopic based on her hit song, “Coat of Many Colors,” for Warner Bros., airing on NBC. The film is set in 1955 in the Appalachian area of Tennessee where Dolly grew up. The cast included Rick Schroder, Gerald McRaney, Jennifer Nettles, and Alyvia Alyn Lind as Young Dolly. Sam Haskell and Hudson Hickman were producers and are the best out there, a real pleasure to work with. Much like the story of the close-knit Parton family, Boyd had a great family of pros with him in Conyers, Georgia.
Robbie McKeithan, Michelle Dockery, Alonzo Wilson, and director Charlotte Sieling (L to R). CD Alonzo Wilson, with ACD Robbie McKeithan, just wrapped up a new TNT pilot, Good Behavior, starring Michelle Dockery, Juan Diego Botto, and Terry Kinney. The pilot filmed on location in Wilmington, North Carolina. CD Bonnie Stauch just returned from Cincinnati, Ohio, where she finished principal photography on the Lionsgate feature Marauders. This is her second collaboration with director Steven C. Miller and fourth with Bruce Willis. The feature also starred Christopher Meloni, Dave Bautista, and Adrian Grenier.
Kim Dometrovich, Michael Boyd, Oksana Shore, and Synithia Cochran (L to R)
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CD Susan Lyall has joined Steven Soderbergh in Utah on HBO’s Mosaic, a film with an interactive element, starring Sharon Stone, Garrett Hedlund, and Jennifer Ferrin.
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To play the part, they have to dress the part!
-Wide array of Contemporary Wear -Men’s and Women’s Couture -Costumes and Uniforms
545 Circle 7 Drive, Glendale, CA 91201 818.553.4800 | Monday-Friday 8am-6pm www.abcstudioscostumes.com
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COSTUME
BFN - WORK CD Mynka Draper designed the pilot for Urban Cowboy for Fox, in Austin, Texas. The reimagining of the classic film was modernized, combining the exciting worlds of rodeo and music, and was directed by Craig Brewer.
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DEPARTMENT
Mandi Line on The Arrangement CD Mandi Line just finished E’s second scripted pilot, The Arrangement, in Vancouver, British Columbia. The Arrangement was directed by Ken Olin and written by Mad Men’s Jonathan Abrahams. Josh Henderson, Christine Evangelista, and Michael Vartan star. Fall 2015 The Costume Designer
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IN FOCUS
CAMO SURPLUS CAMO SURPLUS would like to thank the costume designers who have allowed us to provide them with Military Uniforms, Zombie Wear and Post-Apocalyptic Fashions. If you have yet to call us for your production needs, know that since 1965 CAMO SURPLUS has provided the military clothing, equipment and consulting skills needed to complete various films, stage, video and television productions. CAMO SURPLUS has assisted costume designers on such notable productions as, The Expendables 1, 2 & 3, Hunger Games 3 & 4, Rambo 2 & 3, Water World, Red Dawn (1984), and more. CAMO SURPLUS can facilitate small or large productions, so call us with your needs--or better yet--come on down!
BOLDFACE NAMES
BFN - WORK CD Alana Morshead was the Costume Designer on the film Equals, a sci-fi love story, starring Kristen Stewart, Nicholas Hoult, Guy Pearce, and Jacki Weaver. The feature just had its world premiere at the Venice Film Festival, North American premiere at TIFF, and was recently announced to be under distribution by A24 for a spring 2016 release. Filming took place in Japan and Singapore.
(323) 263-8564 www. camosurplus.com
camosurplus@aol.com
2835 E. 26th St. Vernon, CA 90058 Sci-fi love story Equals
After touring Elon Musk’s Space X, CD Christopher Lawrence, ACD Stacy Caballero, and ILL Christian Cordella teamed up to create spacesuits for Mars in the futuristic feature The Space Between Us. The project stars Gary Oldman, Britt Robertson, Asa Butterfield, and Carla Gugino, and shot in New Mexico.
Dennis Quaid and Caroline Cave from A Dog’s Purpose CD Shay Cunliffe is just wrapping up A Dog’s Purpose. This DreamWorks production, directed by Lasse Hallström and shot in Winnipeg, Manitoba, was mainly prepped in Los Angeles with the help of CD Valerie Laven-Cooper. 46
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IN FOCUS BOLDFACE NAMES
BFN - WORK CD Peggy Stamper wrapped the pilot Guilt in early September for ABC Family. It was directed by Gary Fleder, with whom Stamper worked on season one of October Road, and was written and produced by Nichole Millard and Kathryn Price, with Steve McPherson. Guilt stars Billy Zane, Katrina Law, and Daisy Head.The story centers on two sisters in London—one a student who finds herself involved in a murder mystery, and the other a lawyer out to defend her sister’s innocence.The pilot was shot in Budapest, Hungary, for London with an English and Hungarian crew.
BFN - EXHIBITIONS CD Francine Lecoultre exhibited in the event Sculptural People, a Performance and Installation at Barbara’s in the Brewery Arts Complex. In the Coda: Chrome Project, Lecoultre playfully mixes abstract art, sculpture, and costume to generate her vision of the powerful woman of the future, with an athletic body, strong mind, and free spirit.
ABC television show Guilt
CD Arefeh Mansouri is the Costume Designer of the Afghan movie Utopia. The drama features three intersecting stories and a multinational cast, and was directed by Hassan Nazer.
Francine Lecoultre’s Coda: Chrome Project
BFN - PRESS Exemplary Women from Iran: Fashion and CD Arefeh Mansouri have been featured in the Amazon #1 bestseller—Jewels of Allah: The Untold Story of Women in Iran, written by Dr. Nina Ansary.
Arefeh Mansouri on Utopia 48
Jewels of Allah: The Untold Story of Women in Iran
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We’re Here, For You For over 90 years, MPTF has been helping Hollywood take care of its own. Together, we ensure that the magic we create isn’t just on screen. Find out more at MPTF.com
Healthcare / Wellness / Aid & Services Senior Care / Residential Retirement 855-760-MPTF (6783) www.mptf.com
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BFN - HONORS
BFN - ENTREPRENEURS CD Salvador Perez launched a line on retailer gilt.com focused on The Mindy Project star Mindy Kaling’s character’s favorite garment— coats. In keeping with Perez’s flair for color, the collection features vibrant colors and prints.
Salvador Perez from The Mindy Project new line A scene from Last Train to Nibroc CD Marcy Froehlich was nominated for her sixth Ovation Award for the play Last Train to Nibroc, at the Rubicon Theatre.
CD Janie Bryant is the brand-new ambassador for Hartmann Luggage and is doing a store opening next week at the Beverly Center for them. CD Lyn Paolo spoke at the Smithsonian on DC style in October and also did an event with the Limited to help them launch their new campaign The New Face of Leadership.
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BFN - ENTREPRENEURS CD Mildred Brignoni wrote CDs Janie Bryant, Lori Eskowitz-Carter, and Jill Ohanneand produced her own docuson, along with Local 829’s Daniel Lawson, each contributed to a mentary Web series this past capsule collection that HSN unveiled on its TV shopping network and summer. Brignoni set off with website October 22.To differentiate the designers within the quartet, only a backpack and camera to HSN assigned each a particular category that plays to their strengths: Guatemala and parts of Central Having worked on Hot in Cleveland and Clipped, Eskowitz-Carter America to shoot the ProteKt. put a contemporary spin to track suits. Ohanneson, whose most reShe tells the story behind her cent project was dressing murderous socialites on Revenge, added HSNtasteful - FEATURED ON THE LIST WITH COLLEEN LOPEZ heritage and family that share details to ponchos. Strongly identified with her ’60s-inspired similar struggles to the millions work on Mad Men, Bryant glammed up leggings with gold zippers. of Central Americans’ desire to They all appear in behind-the-scenes videos that HSN plans to broadflee their countries, while they cast during the launch of the collection called From the Set. surrender to living in poverty. You can learn about her journey at www.mildred brignoni.com /project-protekt
Web documentary series ProteKt
Compiled and written by: Christine Cover Ferro christine.coverferro@gmail.com and Stacy Ellen Rich lastace@mac.com
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SCRAPBOOK
The climactic scene from Casablanca. From left: Conrad Veidt (Major Heinrich Strasser), Claude Rains (Captain Louis Renault), Paul Henreid (Victor Laszlo), Humphrey Bogart (Rick Blaine), and Ingrid Bergman (Ilsa Lund). Photo: Getty Images.
Costume Designer Orry-Kelly
F
amous for gowns which were remembered long after a film’s last frame, one of Orry-Kelly’s boldest choices was to reconsider military garments with trademark elegance in the 1942 classic, Casablanca. The simple lines and flawless proportions of the trench coats and skirt suits never compete with believability, while making a lasting impact, even in black and white.
A new AACTA-nominated documentary, Women He’s Undressed, explores Orry-Kelly’s life and celebrated career.
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The Costume Designer Fall 2015
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“CREDIT TO THE FILM’S REAL STAR: COSTUME DESIGNER KATE HAWLEY, WHO DRAPES THE INNOCENT EDITH AND THE DUPLICITOUS LUCILLE IN DRESSES AND NIGHTGOWNS THAT PERFECTLY MATCH DEL TORO’S DIRECTORIAL STYLE.” -ALONSO DURALDE, THE WRAP
“THE COSTUMES FULLY REALIZE THE WORLD AS A KIND OF STUNNING, WAKING DREAM.” -BRYAN BISHOP, THE VERGE
FOR YOUR CONS I DE RATION
BEST COSTUME DESIGN
KATE HAWLEY
© 2015 UNIVERSAL STUDIOS
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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
Non-Profit Org. U.S. Postage Paid Santa Ana, CA Permit No. 450
costumedesignersguild.com
F O R YO U R CO N S I D E R AT I O N I N
A L L C AT E G O R I E S
I N C LU D I N G
BEST COSTUME DESIGN DANIEL ORLANDI
“COSTUME DESIGNER DANIEL ORLANDI BRINGS MID-CENTURY L.A. TO LIFE.” ASSOCIATED PRESS
TIMES CHANGE. C O U R AG E I S F O R E V E R .
BleeckerStreetGuilds.com
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