“ ONE OF THE MOST WELL-MADE TV SHOWS IN THE MODERN ERA. The level of craft is impeccable.” OBSERVER
“In a show that’s so incredibly steeped in its characters’ inner worlds, Mekel Bailey’s thoughtful costuming choices serve to reflect just that.”
Manhunt : Tobias Menzies as Edwin Stanton. Will Harrison as David Herold.
Photos: Apple Studios
Kinds of Kindness
: Emma Stone as Emily. Jesse Plemons as Andrew. Photos: Searchlight Pictures
Photos: Courtesy of The Paley Center for Media and Courtesy of Sakis Lalas
COMMUNICATIONS & CREATIVE DIRECTOR
Anna Wyckoff awyckoff@cdgia.com
CREATIVE DIRECTORS
Allana Johnson allana@yokcreative.com
Turner Johnson turner@yokcreative.com
MANAGING EDITOR
Gary V. Foss garyvictorfoss@gmail.com
ASSOCIATE EDITOR
Bonnie Nipar bnipar@cdgia.com
PRESIDENT
Terry Gordon tgordon@cdgia.com
VICE PRESIDENT
Ivy Thaide Ithaide@cdgia.com
EXECUTIVE DIRECTOR
Brigitta Romanov bromanov@cdgia.com
ASSISTANT EXECUTIVE DIRECTOR
Doug Boney dboney@cdgia.com
MEMBER SERVICES
DIRECTOR
Suzanne Huntington shuntington@cdgia.com
SECRETARY
Kristin Ingram kingram@cdgia.com
TREASURER
Nanrose Buchman nbuchman@cdgia.com
EXECUTIVE BOARD
Catherine Adair cadair@cdgia.com
Phillip Boutté pboutte@cdgia.com
Salvador Perez sperez@cdgia.com
Nancy Steiner nsteiner@cdgia.com
ACD REPRESENTATIVE
David Matwijkow dmatwijkow@cdgia.com
COSTUME ILLUSTRATOR REPRESENTATIVE
Oksana Nedavniaya onedavniay@cdgia.com
LABOR REPRESENTATIVE
Dana Woods dwoods@cdgia.com
BOARD ALTERNATES
Michelle R. Cole mcole@cdgia.com
Julie Weiss jweiss@cdgia.com
Daniel Selon dselon@cdgia.com
Ami Goodheart agoodheart@cdgia.com
BOARD OF TRUSTEES
Cliff Chally cchally@cdgia.com
Jacqueline SaintAnne jsaintanne@cdgia.com
Barbara Inglehart binglehart@cdgia.com
Mikael Sharafyan msharafyan@cdgia.com
CDGA EXECUTIVE PRODUCER
Kristin Ingram kingram@cdgia.com
BOOKKEEPER
Aja Davis adavis@cdgia.com
ADMINISTRATIVE ASSISTANT
Natalie Gallegos ngallegos@cdgia.com
PUBLISHER
Moontide www.moontide.agency
ADVERTISING
Ken Rose 818.312.6880 kenrose@mac.com
Elizabeth Ferris Eferris@afmla.com
COVER PHOTOGRAPHY
Cher and Bob Mackie
Carson Kressley for Getty images courtesy of The Paley Center
Communications & Creative Director
Anna Wyckoff Associate Editor
Bonnie Nipar
Stacy Ellen Rich Contributor
Turner Johnson Creative Director
Fawnia Soo Hoo Contributor
Gary Victor Foss Managing Editor
Allana Johnson Creative Director
This pronouncement encompasses so many avenues in our current condition. Without question, our primary focus has been our IATSE contract negotiations. Determined to succeed with our Pay Parity campaign and our members’ priority objectives, our local’s cohesive and concise presentation and negotiation points met with fantastic results. I am proud to have been part of the CDG leadership alongside Brigitta and Doug working to negotiate a very productive tentative agreement/contract. This resolution and success did not happen overnight, nor did it involve just a few participants, and it certainly did not come easily or inexpensively. This monumental achievement has been years in the making. It became a movement for our community who stood determined to address the wage inequities we face in our profession.
Years of strategy, planning, campaigning, and persistence has paid off. To recap our process: Prominent professional services were enlisted to collect significant and relevant data and statistics, essential rights organizations became our advocates, and numerous member surveys were conducted resulting in invaluable job-related information. Coverage from major press and social media outlets amplified our campaign. Panels were held, labor involved, representatives and industry professionals were engaged. We marched in solidarity with our IATSE kith and kin, supported our DGA, WGA, and SAG brethren, and proved that union means united.
We were heard.
It’s impossible to assess the hours Brigitta and Doug devoted to this contract achievement. I can say it’s been complete immersion for all of us—from concept to conclusion. In addition to the years of prep, we three enjoyed 8- to 14-hour days in sessions with IATSE and AMPTP from March through July. Being in the negotiations room with our IATSE leadership team—President Matthew D. Loeb and Vice President Mike Miller—and the AMPTP was an incredible experience: enlightening, nerve-racking, exhausting, suspenseful, and ultimately fulfilling. This is not to say we got everything we wanted. This is negotiation, after all. But many long-term objectives were successful, and we live to fight another day.
In my 42 years as an IATSE member and dual card holder—892 and 705—I have never seen an agreement as beneficial to all our IATSE members as this one. Read the contract! Learn what we all achieved!
In solidarity, Terry Ann
Terry Ann Gordon tgordon@cdgia.com
Gordon
Photo: Kelly Serfoss
Dear Members,
First and foremost, I would like to extend my deepest gratitude to the IATSE leadership and the heads of the 13 Hollywood locals. Your unwavering support and solidarity throughout the process have been instrumental in achieving this agreement. The strength and unity of our union have once again proven to be a powerful force in advocating for the rights and interests of all our members.
I also want to express my heartfelt appreciation to the members of our Local Negotiating Committee and the General Negotiating Committee. Your tireless efforts, dedication, and expertise have been invaluable. You have all worked diligently, often behind the scenes, to ensure that the voices of IATSE members were heard and that our concerns were addressed. Your commitment to the betterment of our guild and the industry as a whole is truly commendable.
Furthermore, I would like to acknowledge the Alliance of Motion Picture and Television Producers (AMPTP) for their partnership in these negotiations. Their willingness to engage in meaningful dialogue and collaborate with us has been crucial in reaching this tentative agreement for both our local and the general agreement. It is through this spirit of cooperation that we can continue to move forward and foster a positive working environment for all. As we move into the next phase, I encourage members to stay informed and engaged. The ratification vote was overwhelmingly approved by the local. Thank you to all the members who voted. Your participation in the process will always be essential. Ratification votes are an opportunity for each of us to have our voices heard and to shape the future of our guild.
I understand that not all members are satisfied with the outcomes of these negotiations. Unfortunately, the negotiation process cannot meet every expectation entirely. Please know that I am deeply committed to working on your behalf to continue advocating for your wages and security. I welcome constructive feedback and look forward to more members becoming involved, as their participation is crucial in addressing further issues that were not resolved in this negotiation.
With that said, this agreement represents not only a significant step forward for our members, but also a testament to what we can achieve when we come together as a community. I am confident that with this foundation we can continue to build a stronger, more vibrant industry that recognizes and values the contributions of costume designers, assistant costume designers, and costume illustrators. Together we can work toward a brighter future for our guild.
Thank you, dear members, for your continued support and involvement.
In solidarity,
Brigitta Romanov
Brigitta Romanov bromanav@cdgia.com
Photo: Stephanie Romanov
of Bob Mackie
Cher
Annie Shapiro
Edith Head
Diana Vreeland
By GARY VICTOR FOSS
At once elegant, daring, and searingly witty, Bob Mackie’s work is written into the very vocabulary of costume design. Now his storied career is brought to the big screen in the documentary BobMackie:NakedIllusion.The film, directed by Matthew Miele, received a star-studded early screening at the Paley Center. Flanked by Carol Burnett and Cher, Mackie strolled the red carpet with the same aplomb he invested into gowns that audiences find unforgettable. A spirited Q&A with Mackie, Cher, RuPaul Charles, and Carol Burnett followed the film.
“Bob means the world to me, and I am equally thrilled to celebrate his genius in support of The Paley Center for Media, a place that also holds a special place in my heart.“ Carol Burnett
The documentary spotlights some of Mackie’s most famous contributions to stage and screen, including collaborations with Carol Burnett, Cher, Mitzi Gaynor, Bernadette Peters, Rupaul Charles, Pink, and Miley Cyrus. Stars heap well-earned praise upon his work.
As a kid, I dreamed of being a costume designer, and my family thought I was crazy. I’ve never been as happy as designing those wonderful projects every week. How lucky am I to have worked with all these amazing artists. Bob Mackie
Photos: Courtesy of The Paley Center for Media and Bob Mackie Cher
Pink
Miley
Cyrus
Madonna
According to Cher, “Of all the men in my life, Bob Mackie has been one of the most important, hands down.” Carol Burnett says, “Bob means the world to me, and I am equally thrilled to celebrate his genius in support of The Paley Center for Media, a place that also holds a special place in my heart.” Possibly the most effusive praise comes from RuPaul Charles, who enthused:
“No one has brought more glamour, beauty, and excitement to the stage and screen. We’re all born naked and the rest is Bob Mackie.“
Photos: Courtesy of The Paley Center for Media and Bob Mackie
Carol Burnett
Ray Aghayan
Cher and Pink
Meet Ariana and Krista, the Supervisors of Western Costume’s Fabric Store. Ariana and Krista are passionate about helping you find the perfect materials for your next project. Searching for men’s suiting from the 1940s and 50s, or maybe a metallic brocade from the 60s? They have it all! From vintage poly-knits to contemporary fabrics, their stunning selection ensures you’ll find exactly what
you need. Plus, their shelves are packed with ribbons, lace, eyelets, metallic trimmings, curled feathers, silk flowers, beaded appliqués, and crystals. With Ariana and Krista’s expert guidance, your fabric needs are in exceptional hands. Visit Western Costume Fabric Store today and let’s create something extraordinary!
BY BONNIE NIPAR
In an unsettling anthem to female empowerment, actor, singer, and fashion arbiter Zoë Kravitz is spreading her wings in her directorial debut, Blink Twice. Cowritten by Kravitz and E.T. Feigenbaum, this dark psychological thriller is about the treatment of women by the rich and powerful. Best friends Frida (Naomi Ackie) and Jess (Alia Shawkat) are waitresses who decide to “party crash” tech billionaire Slater King’s (Channing Tatum) charity event gala. Dressed in chic bright red and royal blue cocktail dresses, they catch King’s attention and he invites them to join him and friends on his private island for a few days. Frida teasingly asks partygoer Rich (Kyle MacLachlan) to “blink twice if I’m in danger.”
Costume designer Colleen Atwood and assistant costume designer Kiersten Hargroder prepped what they could at Western Costume Company. Since Atwood had prior commitments, only Hargroder would be on board at the luxury spa resort an hour outside Mérida, Mexico. Their original plan was to have a local vendor make the women one-size-fits-all caftans that King provides for guests, but Kravitz, known for her keen sense of style, had clear ideas of what she wanted. Three days before
shooting started, she requested the women be in similar all-white dresses and bathing suits. “The feeling was that all these women were interchangeable, so they almost had a uniform,” explains Hargroder.
It is a simple feat to change gears if shooting in Los Angeles, but not so much in a remote location. Stunt-loaded scenes required 70 dresses for multiples. When a quick hunt for fabric in Mexico City was unsuccessful, Hargroder called International Silks &
Woolens in Los Angeles. “ISW to the rescue! They were able to arrange for the fabric and worked with our production customs agent to import.” Going through customs in any country with large amounts of fabric is always tricky. Because Mexico has embargos on silk from China and India due to noncompliance of silk production regulations, Hargroder decided to use local high-quality polyester for the stunt duplicates. “We used Western Costume to make the hats and uniforms for the resort staff, and Rory was a savior at
Hargate’s, making my prototype dress for the film. It was an incredible challenge to deliver the amount of dresses we needed in this location.” Everything was custom-fit, including the swimsuits, which incorporated a few different cuts to flatter different body types. The switch to white against the bold red spa and lush green jungle was a dynamic choice. “We wanted the resort to be a standalone character.” It successfully conjures a sinister backdrop for the ultimate revenge tale.
Blink
Twice : Channing Tatum as Slater King. Naomi Ackie as Frida. Liz Caribel as Camilla Trew Mullen as Heather. Levon Hawke as Lucas.
Photos: Amazon MGM Studios
Illustration: Keith Christensen
“It’s a very tight palette,” Hargroder notes. “Even at the gala, where there is an abundance of color, there is a restraint shown in minimal jewelry and adornment. It’s as much about what’s not on-screen as what is.”
For the men’s formal wear, there are a few subtle nods to personality. At the resort, they mostly wear similar looks in the same achromatic theme that speaks the language of wealth. “The idea is that they just leave clothing at this resort and it’s interchangeable. Slater has a decidedly sloppy silhouette, representing his low-effort approach to life. Even though he is wearing Armani and The Row, it’s meant to evoke a feeling that he doesn’t have to try. He’s so wealthy that he no longer cares.”
The cast and crew stayed at the resort, except a few, like Hargroder who needed to stay in Mérida for shopping
reasons. The actors’ hotel rooms doubled as their dressing rooms. Since there was no wardrobe trailer, one was designated for costumes. All crew members were locals, except Hargroder and Adam NewportBerra, the talented director of photography. After years of executing diligent continuity, Hargroder admits the challenging script and the way it was shot could have been “ripe for mistakes.” But when the film was edited to show flashes of chaos, her continuity worries became assuaged. The result is a story that is as harrowing as it is riveting.
“I’m so thrilled with how it has turned out. As the job transformed, I was able to move into the design position with the incredible support of Colleen and Zoë. She worked so hard on this project. It’s really fun to see it come together for her.”
A common thread throughout exerting control
BY FAWNIA SOO HOO
Yorgos Lanthimos’ Kinds of Kindness is a triptych within one film, but it reveals a common thread throughout: exerting control. In costume designing the anthology, Jennifer Johnson also had to determine boundaries.“The challenge was absolutely delineating the actors playing three different characters, in three different stories,” says the 2018 CDGA winner for I,Tonya
Johnson devised a set of rules, including assigning each character distinctive color palettes and/or patterns, not to be repeated in other narratives. “To delineate, and make the intention for each person clear, was quite a shift psychologically,” says Johnson. “But also intellectually, so the rules were very important.”
Kinds of Kindness : Willem Dafoe as Omi. Jesse Plemons as Andrew. Hong Chau as Aka.
Photos: Searchlight Pictures
She also employed fashion as a tool in defining the characters and their motivations. In the first sequence, real estate magnate Raymond (Willem Dafoe) preens in a meticulously tailored Mr. Porter suit, accessorized with a bold vintage ’70s silk tie. “It was very important to signify wealth and taste,” says Johnson, who took inspiration from Fiat founder and Italian style icon Gianni Agnelli.
The eccentric boss commands every aspect of underling Robert’s (Jesse Plemons) life, from what he reads to when/if he has sex to how he dresses— down to his Allen Edmonds monk strap shoes and Cartier watch. Adhering to precisely detailed index card instructions, Robert dutifully dons a Loro Piana double-breasted navy suit and a silk ribbed turtleneck sweater, in a very specific shade of pink, by Tom Ford.
“It’s Raymond’s punk meddling. He’s trying to see how far he can push this control to provoke Robert’s discomfort,” says Johnson, about the shimmering, “peacocking” knit, which also contrasts with Robert’s athletic-wear-clad swim instructor wife, Sarah (Hong Chau.) “Raymond’s like a cat playing with a mouse. It’s fun to watch Robert squirm.”
Similarly, Raymond engineers optician Rita’s (Emma Stone) alluringly deliberate outfits, like an ombré micromini dress, strappy Nine West stilettos, and chunky gold jewelry, to further manipulate Robert. “She feels like a plaything or a marionette doll of his and wears things that are completely inappropriate for her line of work,” says Johnson, referring to “an extremely short dress with a little pussy bow that is literally tied right at the end of her crotch.”
A lack of fashion sense also helps telegraph dubious behavior and ambitions, especially in the final third. On a covert mission for their
oceanside cult, Emily (Emma Stone) knocks on doors in a rusty brown Calvin Klein sublabel pantsuit from Dillards, while Andrew (Jesse Plemons) sports a blandly tan oversize shacket and trouser set. Johnson hints at their “suspicious” activities through the duo’s X Files-referential disguises, accessorized by Velcro-secured sport sandals. “The suits are deliberately bad,” says Johnson. “They’re doing their detective work and searching for this new cult leader, but they couldn’t be bothered to get proper shoes.”
Meanwhile, at the compound, reigning prophet Omi (William Dafoe) lords over his flock in another type of suit. To express his close relationship with the water, and his polyamorous and pansexual leanings, Johnson clothed Omi as minimally as possible. “He just has to have a fluorescent bikini,” she says, recalling Dafoe immediately gravitating toward the neon orange briefs during a fitting. “He said, ‘Ooh, what is that? I want to try it on.’ When we did the camera test, we didn’t tell Yorgos. Dafoe walked out in it and it was just a must.”
Addressing his followers, Omi dons a soft peach L.L. Bean vintage anorak—possibly procured from his partner Aka (Hong Chau) or another female cult member— with his brash Speedo. “There is something unsettling about it,” says Johnson, about the almostmenacingly confident way Omi wears the discordant look.
Kinds of Kindness : Willem Dafoe as Omi. Jesse Plemons as Andrew. Emma Stone as Emily.
Photos: Searchlight Pictures
Johnson compares the shoot to a “fast-moving train,” so her guidelines also included procedures to help the cast immerse themselves into their continuously new personas quickly. “I like to give the actor socks or underwear in a special color or something in their pocket,” says Johnson, who thoughtfully placed Omi-appropriate crystals in Dafoe’s.“It gives them some little thing to hold onto that feels like they’re suddenly that person,” she continues. “Like they’ve gone into some dreamscape of moviemaking, which is part of the magic of what we do as costume designers.”
“Like they’ve gone into some dreamscape of moviemaking“.
By
ZACHARY LEVI
Photo
ANDREW ECCLES
From early photography through the black-and-white beginnings of film and television, monochromatic images were burned into the mind’s eye of audiences. As historical media aged and faded, viewers came to expect muted hues in any period more remote than a few decades. But people are drawn to color, and brightly dyed textiles have always been used to convey wealth, power, culture, and individuality. In the television series Manhunt for Apple TV+, costume designer Katie Irish brings vitality back to the Victorians.
By staying true to the period, you reimagined the audience’s idea of the time. What inspired you to do this and how did you go about it?
I felt like I was falling into a trap, looking at all of these beautiful pictures and daguerreotypes because they’re all in black-and-white or sepia tones. But if you look at the actual garments, they’re vibrant. The Victorians loved color, so we wanted to lean into that because we hadn’t seen it portrayed that way. I put a slide in my interview deck that showcased the colors available. Our showrunner went wild for it.
Manhunt : Lovie Simone as Mary Simms. Julian Green as Sanders’ Valet. Photos: Apple TV +
Manhunt : Hamish Linklater as Abraham Lincoln Lovie Simone as Mary Simms. Photos: Apple TV +
EMMY ® AWARD NOMINATIONS
CONTEMPORARY COSTUMES FOR A SERIES
DANA COVARRUBIAS • KATHLEEN GERLACH • ABBY GEOGHEGAN
“ONE OF THE BEST SHOWS OF THE YEAR.”
THEWRAP
Manhunt : Tobias Menzies as Edwin Stanton. Anthony Boyle as John Wilkes Booth. William Mark McCullough as Boston Corbett. Lili Taylor as Mary Todd Lincoln. Photos: Apple TV +
How did you make Abraham Lincoln an icon yet also personable?
Anytime you see the stovepipe hat and chinstrap beard, you think, “Oh, that’s Lincoln.” But our job as costume designers is to help the audience understand and empathize with the characters, which means they have to be threedimensional. The goat slippers were the way in because they are idiosyncratic and made me want to dive deeper into who he is.
You imbue details with meaning throughout. Give us an example.
The Victorians loved secret messages. The fact that you can send a gorgeous bouquet that really means “I hate you” brings me great joy. I took their acrostic jewelry and Victorian flower language specifically to bring more depth to the characters. We had the fabric for Mary Todd Lincoln’s dress for Ford’s Theatre custom made and embroidered with pink roses and olive leaves. The roses symbolize hope and everlasting beauty, and olive leaves were a symbol of peace. They were going to the theater five days after the surrender at Appomattox.
Is there an element you spent a lot of time researching that you want to draw attention to?
The men’s waistcoats were a love of mine. Often, especially in period pieces, women’s wear gets the attention because it’s gorgeous. Menswear gets, I won’t say ignored, but I don’t feel it always gets the same appreciation. During this time, men’s waistcoats were a chance to show off. Why have
a floral waistcoat when you could have floral, stripes, and paisley all on the same one? Finding and creating fabrics to make these waistcoats that felt correct for the time period and correct for the character was a passion project. My tailor, Harry, got to the point where he was cranking out one a day for me. I loved exploring that facet of menswear and of self-expression and character expression.
Can you just give us a thought about John Wilkes Booth?
It’s very well documented what he wore that night. Also, he was going to be in the same outfit for 90% of the series, and it was all black. Many of his scenes are at night, so those choices really had to count because we were going to be staring at them for a very long time. We found the correct fabrics to get different textures and sheens, so he wouldn’t become a black mass in the darkness. We needed a big volume of fabric because we made 20 sets of that outfit.
How do you feel about the show now that you’ve tackled it in an inventive new way?
I am incredibly proud of the work that my team and I did. My first ACD was Emma Connelly, my made-to-order ACD was Sarah Jean Tosetti, my background ACD was Jen Caprio, and my rentals ACD was Moria Clinton. There are still times I look back in awe that Monica Beletsky actually hired me because I had nothing in my portfolio that looked like this. The faith she had in me, the scale of the project—there were over 4,500 background looks—I appreciate that trust.
Manhunt : Tobias Menzies as Edwin Stanton. Anne Dudek as Ellen Stanton.
Photos: Apple TV +
Adrian, Theoni V. Aldredge, Travis Banton, Erte, Dorothy Jeakins, Orry Kelly, Jean Louis, and Bob Mackie
By ANNA WYCKOFF
A hot debate among cognoscenti is once a costume is considered iconic, whether or not should it be worn. Kim Kardashian tossed a grenade into the conversation when she willed herself into Jean Louis’ unforgettable “Happy Birthday, Mr. President” gown originally worn by Marilyn Monroe, for a recent Met Gala. Among the drawbacks is the damage that can occur. On the other hand, a second life can be given to costumes and costume designers that have exited the public imagination. Legend Albert Wolsky and the late May Routh agreed that costumes can be admired on a mannequin, but come to life on a body with movement.
Collector Greg Schreiner has always been an advocate for the designers in his archive. He occasionally puts a handful of pieces from his extensive collection in
the spotlight, so long as they are handled, in his words, “Lovingly. At any sign of vulnerability, the garment is pulled and never worn again.” The Art Deco Society of Los Angeles held a fashion show called Hollywood Deco at the 1929 Bullocks Wilshire building to raise funds to restore the façade of the architectural landmark. Famed fashion designer Irene once had a couture salon in the building, and Marlene Dietrich would come for lunch in the restaurant in trousers, scandalizing and thrilling shoppers.
Schreiner shared a few masterful examples from the late ’20s through the ’40s. It was time travel on a raised runway in the Louis XVI room, surrounded by little chairs and spellbound society members also dressed in
period attire. They watched under perched hats in chic suits, clutching alligator bags with gloved hands, or adjusting mustaches and monocles. Models swayed down the catwalk in costumes previously worn by Cary Grant, Ginger Rogers, Jean Harlow, Rita Hayworth, Jeanette MacDonald, and Julie Andrews in garments by such luminaries as Adrian, Jean Louis, Theoni V. Aldredge, Dorothy Jeakins, Orry-Kelly, Travis Banton, Erté, and Bob Mackie among others.
Schreiner says, “The main goal of the event was to honor film designers that used the Art Deco era as their inspiration. Two sold-out showings in the glorious former Bullocks Wilshire proved that people love the design. It is always a thrill to enlighten audiences about the artistry of costume designers.”
Wherever one stands in the discussion—to wear or not to wear—it is impossible not to be inspired.
Photos: Art Deco Society of Los Angeles
Photos: Fabian Fioto
By Brigitta Romanov: Executive Director CDG 892 and Adam Nestra-West: Business Representative 705
In the fast-paced world of production, it is standard to look for the most convenient options to make costumes come to life. We rely on workrooms or sources that are familiar to us. When we are creating costumes, so many options and avenues are available to bring our vision into reality. Signatory shops are often overlooked because often we are unfamiliar with what they have to offer. But it is important to our union and members that we become familiar with these shops.
It is crucial for members of Local 892 and Local 705 to support and utilize union labor to do the work. We should prioritize the use of union signatory costume houses and workrooms. As leaders and heads of departments, we should also prioritize hiring union members directly on productions. This is one way to strengthen our locals and protect the hardfought benefits and wages that we all enjoy.
Using a nonunion dry cleaner for alterations or tech dying are violations of the Local 705 contract. Using nonunion shops to custommake costumes can result in a grievance being filed against the production, which can result in a reprimand to the department head by the production.
We recognize that a nonunion shop may be subcontracted to do some work under parameters within the agreement, but it is extremely important to use union labor to support fellow IATSE members and additionally to support our health and pension plans.
Looking for uniforms to rent? Union signatory costume houses such as Western and CRC have excellent uniform options. Need an item custom-made? Local 705 custom-made costumers specialize in the impossible. There are also three union specialty houses now, which employ union workers with the skills that rival the best in the industry. We ask that you take the time to investigate whether a union signatory costume house might have what you need or that a union custom-made shop can create a costume for you. If unfamiliar with a union signatory costume house, send them something small to gauge their work so that in the future you can have them build your costumes with confidence.
Remember, hiring members directly and engaging union signatories benefits the production, the union, and you. It helps ensure a strong health and pension plan. Take the time to understand the importance of union labor and learn which shops can provide what you need without weakening union benefits for our crafts. By supporting and protecting these covered classifications, you are promoting a strong future for all of us in our community.
AMERICAN COSTUME CORP.
12980 Raymer St. North Hollywood, CA 91605 818-764-2239
united-american.com mail@unitedamerican.com
Rentals, Workroom, Prep Space & Supplies
BILL HARGATE COSTUMES
1052 N. Cahuenga Blvd. Los Angeles, CA 90038 323-876-4432
hargatecostumes@sbcglobal.net Workroom & Prep Space
CALIFORNIA UNION-MADE PATTERNS
8239 Lankershim Blvd. Unit G North Hollywood, CA 91605 310-309-7221 californiapatterns.studio hello@californiapatterns.studio Workroom
COSTUME RENTALS CORPORATION (CRC) 11149 Vanowen St. North Hollywood, CA 91605 818-753-3700 costumerentalscorp.com info@costumerentalscorp.com
11003 Penrose St. Unit 8 Sun Valley, CA 91352 747-223-2777
stitchcostumellc@gmail.com Workroom
STYLE ADIX
1555 Simi Town Center Way #540
Simi Valley, CA 93065
805-387-2601
styleadix.com
Support@Styleadix.com
Workroom, Alterations & Custom Apparel
THINGERGY INC.
2429 N. Ontario St. Burbank, CA 91504
818-641-5094
thingergyinc.com
info@thingergyinc.com
Specialty Manufacturing & Workroom
WESTERN COSTUME COMPANY
11041 Vanowen St. North Hollywood, CA 91605
818-760-0900
westerncostume.com
Rentals, Workroom, Prep Space & Supplies
VIEW THE CUSTOM MADE MEMBERS LIST
Photos: Courtesy Sakis Lalas
Jack Nicholson
Illustrations: Pauline Annon and Anthea Sylbert
WarrenBeatty
BY ANNA WYCKOFF
LAST LOOKS
Evelyn Mulwray (Faye Dunaway) is unforgettable in Chinatown, in an armature of stern ’30s suits—elegant hauteur hiding unspeakable secrets. In Rosemary’s Baby, the titular character (Mia Farrow) is clad in naive, pastel-hued dresses until the moment she realizes the truth about her child. Both films had a searing impact on fashion and share a costume designer—the singular Anthea Sylbert, who passed away in June of this year. Sylbert brought the same truth to character to her many movies, including CarnalKnowledge,Shampoo,Julia, and KingKong.
Director of the upcoming documentary AntheaSylbert:MyLifein3Acts, Sakis Lalas says, “What made Anthea unique was her meticulous attention to details often invisible to the public eye. She would embroider the character’s initials inside the costumes or place small objects, like coins or keys, in the pockets of jackets and trousers. However, her most remarkable trait was the strength with which she defended her ideas, never intimidated by prominent directors and actors.”
Illustrations:
Faye Dunaway and Anthea Sylbert
Photo: Getty Images
Mia Farrow
Anthea not only became one of the first women to hold an executive position in the history of cinema, but also served as a bridge between the producers and the creative side, including the costume designers.
Not only was Sylbert Oscarnominated twice, in 2005 she was honored with the Costume Designers Guild Career Achievement Award. She crossed from the creative into producing with the same aplomb. Her pioneering spirit established her as one of the first women to serve as an executive for Warner Bros, United Artists, and then for SylbertHawn Film productions, cofounded with actress Goldie Hawn. Lalas believes Sylbert “served as a bridge between the producers and the creative side, including costume designers. I believe this was the most impactful way she contributed to film.”
Illustrations:
“A POWERFUL DRAMA OF SURVIVAL. ELEGANTLY CRAFTED THROUGHOUT.”
