CD Magazine, Summer 2024 (Costume Designers Guild)

THE ULTIMATE SHOW OF ACTIVISM

SHIRLEY KURATA & BILLIE EILISH

THE SAMURAI AND THE SAILOR

OUTSTANDING CONTEMPORARY COSTUMES

Amy Roberts, Giles Gale, Sidonie Roberts, Sue Crawshaw

“ THE OUTFITS WERE MADE WITH PRECISION TO MIRROR THE REAL ENSEMBLES.” VANITY FAIR

“ THE LEVEL OF CRAFT IS IMPECCABLE.” OBSERVER

CONSIDERATION2024

OUTSTANDING LIMITED OR ANTHOLOGY SERIES

OUTSTANDING PERIOD COSTUMES

MAURIZIO MILLENOTTI, GIANNI CASALNUOVO

ERNEST CAMILLERI, TERESA D’ARIENZO, FRANCESCO MORABITO

OUTSTANDING ”

John Cena at the Oscars

Bikeriders: Rebel with a Cause

CDGA Winners

Shōgun: The Samurai and the Sailor

The Natural

Last Looks: April Ferry

The Bikeriders. Austin Butler as Benny. Jodie Comer as Kathy.

Photos: Focus Features

Photo: Courtesy of the Ferry Family

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

EXECUTIVE SPECIALIST

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 PHOTOGRAPHER

Chelsea Lauren/Shutterstock for CDGA

Communications & Creative Director

Anna Wyckoff Gary Victor Foss Managing Editor Associate Editor

Bonnie Nipar Allana Johnson Creative Director

Turner Johnson Creative Director

Luke Reichle Contributor

Stacy Ellen Rich Contributor

Reflecting on the past few months, I’m overwhelmed by our accomplishments! During my 43 years as an active IATSE member, I’ve never experienced the all-encompassing solidarity, support, and unity apparent during these negotiations. Pay parity has been our priority, and our pay equity committee’s diligence and determination propelled us to our current tentative agreement with the AMPTP.

This dedicated, tireless force of volunteers never faltered. Together we interacted with members, shared strategies, hired statisticians, created surveys, held panels and town halls, formed think tanks, initiated public awareness campaigns, conferred with labor lawyers, engaged various activist organizations, press and social media influencers, and consulted with IATSE leadership to forge a thorough and comprehensive proposal.

Seeking a larger platform for our Naked Without Us campaign, which showcases the value of costume design to production, our team was ecstatic when Oscar costume designer Katja Cahill, surprised us all! Working with Oscar’s host, Jimmy Kimmel, and “au naturel” presenter John Cena, they succeeded in seconds to “expose” the meaning and value succinctly and directly to a global audience. We are eternally grateful to Katja, Jimmy Kimmel, and John Cena for such galactic “exposure,” making us not only seen but heard and understood! To learn more about this historic Oscar moment, don’t miss Katja’s article in this issue.

I’m proud to serve our membership during negotiations alongside Brigitta Romanov and Doug Boney. Their leadership, understanding, and devotion to our members is unparalleled. Informing, engaging, and activating everyone has been an ongoing and daunting task. Our success as a union relies not only on their leadership but also on everyone’s participation and understanding. They’ve worked tirelessly alongside our IATSE leadership—Mike Miller and Matt Loeb—to achieve unprecedented success for the Guild. Both Matt and Mike continue to be our staunch, determined supporters and are without question deserving of our praise and gratitude.

Lastly, having survived strikes and fiscal uncertainty threatening cancellation, we came together for an intimate 26th CDG Awards evening. Proudly honoring all our nominees, we also honored the legacy of friend and benefactor, the late Eddie Marks of Western Costumes. The Eddie Marks Costume Scholarship was created to assist the education of future costume designers and costumers. In cooperation with his family, Western Costumes, and sister Local 705, we strive to preserve Eddie’s memory and his contributions to our industry. Please consider donating in any amount to help endow this scholarship. For more information, please visit our website, or use the QR code found on this page and in our weekly newsletter.

In solidarity,

Terry Ann Gordon

Terry Ann Gordon tgordon@cdgia.com

CONSIDER A NEW CLASS OF COMEDY

OUTSTANDING COMEDY SERIES

OUTSTANDING CONTEMPORARY COSTUMES

Loulou Bontemps

Charlie Bestwick

India Chetta-Roberts

“ THE CAREFUL STORYTELLING EMBEDDED IN THE COSTUMES

worn by the Horniman family and Susie Glass are particularly compelling. But it’s the bespoke chicken suit that Loulou Bontemps created for the riveting climax of the first episode that proves what happens when designers are given the space to do their jobs.”

Dear Members,

Amid the challenges of the entertainment industry, our members have shown incredible resilience. Despite enduring two complete work stoppages in just over three years, we have stood strong through the pandemic and the industry strikes. The CDG members’ solidarity and determination have been inspiring, reflecting our commitment to not only costumes but each other. Each member’s journey speaks volumes about the power of unity and resilience in overcoming challenges.

During this time, members have stepped up and participated more than ever before. One way members contributed and made a huge impact this last year was by joining the Basic Agreement Negotiations Committee. We had more than 50 members join, volunteering their time and talents to create proposals for our current bargaining.

After months of negotiations preparation and bargaining, I am pleased to announce that the CDG has reached a tentative agreement (TA) with the Alliance of Motion Picture and Television Producers (AMPTP) for the Local 892 agreement. This success marks a significant achievement in our ongoing efforts to secure fair and favorable terms for all our members.

I want to extend my heartfelt gratitude to the entire negotiation committee for their unwavering dedication and tireless efforts throughout this process. Their commitment to representing the best interests of our members has been truly admirable, and it is due to their hard work that we have been able to reach this positive outcome. I would also like to thank each representative of the AMPTP for acknowledging our worth and truly being partners in this process.

The negotiations with the AMPTP have been challenging, but our collective resolve and unity, not only within our local but with the 13 Hollywood locals, have proven to be invaluable. Together we have successfully addressed key issues and secured important gains that will benefit our members across the industry.

As we move forward toward our ultimate goal of getting a TA in the general negotiations slated to be completed by May 17, we are expecting to host a town hall on May 19 to provide you with a comprehensive overview of the negotiations and the terms of the both the local and general negotiations TA. This will be an opportunity for all members to ask questions, share feedback, and gain a deeper understanding of the agreement reached. The town hall will be postponed if the general negotiation has not been finalized.

Once again, I extend my sincerest thanks to each and every one of you for your continued support and involvement in this process. Together we have demonstrated the power of solidarity and collaboration, and I am confident that this contract will pave the way for a brighter future for our Guild.

In solidarity, Brigitta

Brigitta Romanov bromanav@cdgia.com

Photo: Stephanie Romanov

BY ANNA WYCKOFF

After a brief exchange with poker-faced host Jimmy Kimmel, John Cena entered the 2024 Oscars stage. He shuffled to the microphone, appearing to be au naturel, except for a wicked sense of humor and the buff-colored envelope with the words “COSTUME DESIGN” emblazoned on the front, which Cena held like a fig leaf to keep the moment appropriate for national television. In one frame he perfectly embodied the Costume Designers Guild hashtag: #nakedwithoutus. The lights dropped to silhouette and costume designer Katja Cahill and her team whirled around Cena, draping him in a toga, inspired by Bob Mackie’s legendary “Curtain Dress” for Carol Burnett, so he could be suitably dressed to award Best Costume Design winner Holly Waddington.

The moment went viral. Two days later, Meltwater, the media data analyst firm, measured 132 million impressions. Effortless in appearance and execution, the gag was, like many costumes, painstakingly designed and constructed. The quick change had to be choreographed, as it took place on stage in front of a live audience and 19.5 million American television viewers. The stakes were high—fines for a malfunction were rumored to run around $90 million.

Cahill learned about the proposed skit the day before the show. She worked in close collaboration with Academy Awards writers and Standards & Practices to create a moment that was titillating yet tasteful. Most of her team was already gone, exhausted from the final push to show date. With the pressure turned up to max and only two assistant costume designers and seamstresses, Cahill worked the day of the show to deliver a foolproof modesty patch and the grand, Disneyesque toga. She says of Cena, “John was so gracious, I couldn’t ask for a better partner. He totally understood what costume designers go through. He was so professional and a gentleman. To see us celebrated was a gift. We are often overlooked and what we do is so important—maybe ‘the most important,’ as John said. It was a testament that even if you are dealing with a small patch or a 10-foot piece of cloth, there is still a full relationship between the actor and the costume designer.”

A CONVERSATION WITH ERIN BENACH

By Bonnie Nipar

A tender ode to a group of misfits and outsiders, The Bikeriders is a scintillating, sexy ride seen through a veil of cigarette smoke, affirming “the biker” as an unabated cornerstone of America’s contribution to fashion. Inspired by Danny Lyon’s 1968 namesake photobook, it documents his two years following a Chicago motorcycle club. Writer/director Jeff Nichols revved up the cool factor for his charismatic characters by bringing costume designer Erin Benach onboard for a third collaboration.

Benach focused her research on midwestern bikers from 1963 to 1973 to convey the fictional Chicago Vandals with authenticity.

“I also found an evocative period piece in Life magazine with some of the best pictures

of the Hells Angels ever taken.” From the beginning, she knew how each character was going to look. Truck driver Johnny (Tom Hardy) started the motorcycle club after watching Marlon Brando in the classic film TheWildOne, whose costume designer is uncredited. Benach took a cue from “Brando’s brooding style,” keeping him in a ’50s silhouette with cuffed jeans and collared shirts that support his authority as the leader. In contrast, soulful and softspoken Benny (Austin Butler) is casual and easy going in worn T-shirts and jeans. The screen sizzles with this bromance of opposites. Benny’s wife, Kathy, (Jodie Comer) doesn’t look like a biker chick; she’s real and unpretentious in capris and pedal pushers with timeless tops.

The Bikeriders. Norman Reedus as Funny Sonny. Austin Butler as Benny. Jodie Comer as Kathy. Tom Hardy as Johnny.

Photos: Focus Features

“I hope that all the details we recreated are so perfectly folded into our film that it’s impossible to tell which leathers are vintage and which are distressed. I challenge you to spy it out. “

Each character has a reason they are living on the fringe, and Benach carefully created a backstory to inform her choices. Her favorite scene is a meetup in 1966 where club members from neighboring towns get together for an outdoor picnic. There are no background players, as each is brilliantly designed with the same perfection as the principals. Characters without dialogue tell nuanced stories through their clothing. “I had a blast designing these scenes. I made a five-point police hat for Rachel Lee Kolis, who plays Johnny’s wife, Betty. She and her friends were the coolest group.” The film’s ending creates a memorable moment with Lyon’s historical photos rolling with the credits. They are seamless with the costumes of the film.

Benach worked with associate costume designer Lindsey Kear and assistant costume designer Christina Hribar to individualize each

club’s colors—the vests that identify a biker as a member of a particular group. She explains, “We added silly, rude patches; leather, jewelry, chains, and even barbed wire to make the vests look like they were personalized by each member.”

The Bikeriders required an abundance of leather jackets in multiples, necessitating a rigorous hunt. A serendipitous tip led to a vintage vendor’s warehouse outside London. “The guy literally has leather jackets from the ’60s stacked floor to ceiling. It felt like a Willy Wonka moment!” Even with this valuable source, Benach knew multiples and aging were her biggest challenge. “My secret weapon was Troy David, a magician ager/dyer.” She ended up with 10 packed racks of leather jackets. The team also reached out to Levi’s, Wrangler, and Lee, who opened their archives for denim gems.

“I hope that all the details we recreated are so perfectly folded into our film that it’s impossible to tell which leathers are vintage and which are distressed. I challenge you to spy it out.”

Photo: BTS

Courtesy of Erin Benach

Meet Paolo Escalona, the Manager of Western Costume’s Supply Store. Paolo and his team are ready to fulfill all your costume needs. Need to replenish your kit or tackle a costume crisis? Paolo has got you covered. The Supply Store’s comprehensive range of aging and dying materials, laundry and cleaning supplies, hangers, sewing supplies, and more are curated to provide anything and everything a costume department requires. With Paolo’s expertise, your costume needs are in good hands. Trust Western Costume Supply Store for top-notch service and quality products. Come see us today and let’s make your costume dreams a reality!

Lily Gladstone

Olivia Thirlby

Danielle Brooks

Francine Jamison-Tanchuck

Host Wendi McLendon-Covey

Francine Jamison-Tanchuck

Annette Bening SPOTLIGHT

Billie Eilish VANGUARD SPOTLIGHT

Francine Jamison-Tanchuck

Annette Bening

Jason Pastrana

Sophie Canale

Billie Eilish

Holly Waddington

Shawna Trpcic Family & Elissa Alcala

EXCELLENCE IN VARIETY, REALITY-COMPETITION, LIVE TV A Black Lady Sketch Show: Peek-ABoob, Your Titty’s Out

ACD: Wyandon Lubom Michelle

EXCELLENCE IN PERIOD FILM Poor Things ACDs: George Sayer, Timea Luzsi & Sophie Bugeaud

ACD: Charlotte-Rose Armstrong Sophie Canale

EXCELLENCE IN CONTEMPORARY FILM

Saltburn

EXCELLENCE IN SHORT FORM DESIGN

Madonna X Vanity Fair –The Enlightenment (Short Film)

EXCELLENCE IN CONTEMPORARY TV

BEEF: The Birds Don’t Sing, They Screech in Pain ACDs: Austin Wittick & YJ Hwang

ACDs: Claire Tremlett & Basia Kuznar Sharon Long

EXCELLENCE IN PERIOD TV

The Great: Choose Your Weapon

EXCELLENCE IN COSTUME ILLUSTRATION

Rebel Moon –Part One: A Child of Fire

EXCELLENCE IN SCI-FI / FANTASY TV Ahsoka: Part Eight: The Jedi, the Witch, and the Warlord ACD: Elissa Alcala Shawna Trpcic (Posthumous)

EXCELLENCE IN SCI-FI / FANTASY FILM

Barbie ACDs: Vivienne Jones, Emily Bowen & Eva Roelfs

Jacqueline Durran

Helen Huang, YJ Hwang

B. Åkerlund

Michelle Page Collins & Wyandon Lubom

Austin Wittick

Mark Bridges

Lauren Glazier & Trish Summerville

Sophie de Rakoff

Mariah Francois & RJ Cyler

Ivy Thaide & Brigitta Romanov

Kristin Ingram & Jacqueline SaintAnne

Jacqueline West

Michelle R. Cole

Lou Eyrich

Salvador Perez & Anna Wyckoff

Amber Morris, Kellie di Pietro & Lizzie Brandt

Terry Gordon

Gilbert & Shireen Moussally

Doug Boney

COSTUMES

DANA COVARRUBIAS • KATHLEEN GERLACH • ABBY GEOGHEGAN

“ONE OF THE BEST SHOWS OF THE YEAR.”

THEWRAP

The Costume Designers Guild Awards proudly celebrates the first award for Excellence in Costume Illustration. Winner Jason Pastrana for Rebel Moon – Part One: A Child of Fire ; costume designer Stephanie Portnoy.

“Passion careers can be impractical but are highly necessary.“

–Jason Pastrana

BY GARY VICTOR FOSS & ANNA WYCKOFF

The Samurai and the Sailor

At the beginning of the period of samurai culture in Japan that would influence everything from animation to spaghetti westerns, a lone Englishman aboard a derelict Dutch privateer ship landed in Izu and became enmeshed in the intrigue that would usher in the Edo Shogunate. The real-life Tokugawa engaged in a deadly game of wits for a kingdom without a crown in a court without a throne. In 1979

James Clavell published a fictionalized version of that historical period with names changed and a 1980s miniseries adaptation of his novel captured a global audience and garnered the highest Nielsen rating to date for NBC.

The first question costume designer Carlos Rosario fields about FX’s 2024 adaptation always concerns historical accuracy. “I’ve always been a fan of Japanese culture, but I’ve never done anything like it. That’s what our job is as costume designers.” Born in Perpignan, France, Rosario trained at the École Supérieure de la Mode in Paris before serving as an assistant designer at Christian Dior Homme. In 1995 he arrived in Los Angeles and worked for Colleen Atwood and others before embarking on his own. His projects range from The Girl in the Spider’s Web to the upcoming Alien:Romulus.

Because few garments exist from the 1600s, he and his team turned to experts, museums, art, and historical texts to understand the nuances of textiles and clothing in feudal Japan. He also enlisted kimono experts to ensure the intricate language of the garment was honored. In all, around 2,300 costumes were handmade for the show.

Rather than watch the previous miniseries, Rosario forged his own “psychological and spiritual relationships with the characters.” He explains,

“You live and breathe with them for two years… so I wanted to start from scratch.” The action is set during the transition between the turbulent Sengoku period and flamboyant Edo period. Rosario used this window to lean into the raw reality of the people, focusing on the organic qualities of textiles and drawing inspiration from nature. With thousands on-screen during the course of the 10-episode miniseries, color was essential to delineate armies, fealties, and sympathies.

Shōgun . Yuki Kura as Yoshii Nagakado. Hiroyuki Sanada as Yoshii Toranaga. Cosmo Jarvis as John Blackthorne. Anna Sawai as Toda Mariko. Photos: FX Network

Yoshii Toranaga

Lord Yoshii Toranaga is played by Hiroyuki Sanada, who was also a producer, in a restrained yet emotional performance. Turmoil registers in his eyes as he remains outwardly unflappable. His costumes’ splendor and restrained elegance mirror his personality. As the commander of the “brown army,” his palette focuses on earth tones in rich copper and golds, with hints of maroon. Rosario reflects his metallic theme in the steely grays and blue costumes of Ishido Kazunari (Takehiro Hira) the leader of the “gray army” and Toranaga’s chief rival. The samurai armor is a feat. Exquisitely detailed, it consumed most of the five-month prep time. Adding a layer to the complexity was building and rebuilding to accommodate battles. Rosario notes, “That was a little bit heartbreaking. All these beautiful pieces, and then they end up in a field full of mud and blood.”

A conversation with the daughter of director Akira Kurasawa was revelatory. When asked if lords are more subdued when they go to the village, she responded, “Oh, no. That is the moment they want to show their wealth and power.” The thought stayed with Rosario. To assert Toranaga’s authority, Rosario gave him new garments for every scene in the first episode.

Yabushige (Tadanobu Asano) is a rogue, sychophant, plotter, and pawn, trying to navigate a political world that remains opaque even as he plays his hand. Rosario says, “Because he plays by his own rules, I wanted to give him a look that was unique. We gave his jinbaori spiky, greasy feathers which makes him read like a broke rock star in a way that’s a little bit punk. His helmet, based on an original, was made out of horse hair that made it feel like a lion’s mane.”

John Blackthorne

Showing the transformation of Blackthorne, also called Anjin (Cosmo Jarvis), from half-starved sailor to Japanese noble was literally about stripping him down and building him back up. After the removal of his ragged britches and blouse, he wears a simple kosode. Rosario says, “We dyed the fabric 35 times to get the color right. It removes his identity and gave me space to add different Japanese pieces to his costume.” Trapped between factions he is powerless

to control, Blackthorne’s clothing complements his character arc. As he becomes more deeply assimilated into the culture and gains stature, he wears more elaborate costumes and carries his consort’s family sword, or katana, the symbol of samurai status.

Toda Mariko

We are introduced to Mariko (Anna Sawai) whose monochromatic colors symbolize her lack of purpose. With the weight of her family’s shame, she is divided between her Catholic faith and her loyalty to Lord Toranaga. As she assumes the role of translator for Blackthorne, her costumes bloom as she finds empowerment. For her final scene, her white costumes are layered with a multiplicity of meanings. There is a moment that seems uniquely bridal by western standards, but carries another connotation when the harbinger of death in Japanese color symbology infuses it with the innocence of the martyr.

In contrast to Mariko’s restraint is Lady Ochiba (Fumi Nikaido), the mother of the heir. To signify her rank, she wears five layers total. The outer uchikake is silkscreened and hand painted. She glides in and out of scenes like a figure in a painting.

Background characters may have less screen time, but every costume has a backstory. Rosario used scale as an asset to build a seamless and captivating world that captures the 17th century in a way that the modern audience can lose themselves in. But the volume of work was daunting. Rosario says, “I told my crew, if we survive the first two days, it will be OK. When that first day happened and everything came alive, it just became magical.”

Shōgun

. Anna Sawai as Toda Mariko. Moeke Hoshi as Usami Fuji.

Photos: FX Network

BY ANNA WYCKOFF

You could say Gilbert Moussally grew up in costume design. His father was a tailor who worked between Motion Picture, American, and Western Costume Companies. “I would go in because my dad had fittings with actors. He’d say, ‘Go hang outside.’ I would wander through stock and if there was an open rail, I’d hang off of them. They were my monkey bars.”

“This place is Western. It’s home. That’s what it is to a lot of people.“

Following high school, his father insisted he work. It was natural to start in the business. Moussally began at American and joined Local 705. He says, “I learned how to be a costumer under the guidance of many people, most notably Ron and Michele Archer at Motion Picture Costume and Luster Bayless at American Costume. The experiences I gained at both companies were pivotal in shaping the professional I am today and paving the road to Western Costume Company.”

After receiving his bachelor’s degree, Moussally knew he had to step away in order to continue school and gave notice at American. “They approached me that same day I gave my one-month notice and asked me to stay on as manager. I thought about it for a long time. I was burned out from school and I already loved what I was doing. I love clothes. It made sense and I thought, ‘I can make a career out of this.’ I took them up on their offer. Eventually at Motion Picture, I became vice president.” In 2018, Western’s president, Eddie Marks, hired Moussally to lead the uniform department. Shortly after joining Western, he was promoted to vice

president of operations, and upon Marks’ passing in 2023, he rose to president. The two worked closely, Moussally says. “Working alongside Eddie was a privilege. He gave me the blueprint to run Western, and I’m honored to be his successor.”

Over the course of his career, the film and television business has transformed. As the scope of production has expanded, technology has met the challenge. The business has shifted from regional to global with speed as a necessary component. A decade ago, vintage garments were more plentiful, but now are increasingly scarce. Moussally explains, “I’m not looking to change the direction of Western right now. We are always looking to make improvements to the building, but most importantly, I’m always purchasing to update our collection.”

“Most people call it Western,” notes Moussally, “not Western Costume Company. This place is Western. It’s home. That’s what it is to a lot of people. I’ve been doing it 30 years now, and I’ve worked hand in hand with a lot of the designers and supervisors even when they were just starting out. We try to be a one-stop shop, where you can buy supplies or visit the cobbler, millinery, or custom-made. But most importantly, I have known everyone for a long time, before they were designers and supervisors, and everyone needs something a little different. Most important to me, I don’t think anyone’s office door should be closed. It doesn’t make sense to me, unless you’re in a meeting. If I haven’t met you, come say hello.”

Photos: Courtesy of Western Costume Company

“A POWERFUL DRAMA OF SURVIVAL. ELEGANTLY CRAFTED THROUGHOUT.”

DAILY BEAST

McCown’s by Bonnie Nipar

n enthralling insider peek at creating movie magic, Marjorie McCown’s third novel, Star Struck, oozes glitz, glamour, and secrets. Spunky protagonist Joey Jessop is back (after her debut in FinalCut) as key costumer on a 1930s film, and once again finds herself knee-deep in Hollywood murder. Witness to a hit-and-run near the set, Joey can’t shake off the clues that point toward the world-famous lead actress. Like a bulldog, she won’t give up until she solves the mystery.

The tension ignites from the very first page as McCown masterfully captures the unpredictable nature of filmmaking with a costume nightmare. As dark clouds loom, Joey suggests switching to indoor scenes to preserve the rented vintage clothing she’s obliged to return unharmed. This becomes a power struggle with the schedule-driven assistant director. Chaos ensues as he summons two dozen additional background players who have not been fitted with period coats and hats. McCown admits, “Joey is based in large part on my personal 25 years

of experiences in the film industry. Truth: This actually happened!”

Star Struck is a mystery lover’s dream and undoubtedly will become a pop culture favorite. The story is loaded with people and places readers will recognize, as Joey

Marjorie

Star Struck: A Hollywood Murder Mystery

Photos Text Example

Photos: Courtesy of Marjorie McCown

McCown admits, “Joey is based in a large part on my personal 25 years of experiences in the film industry. This actually happened!“

crisscrosses Los Angeles. McCown illuminates the various behind-the-scenes jobs and injects slices of Angeleno history. For instance, a set location at the Ace Hotel is tricked out to look like the Cocoanut Grove in the 1930s, and she expounds on the renovation of each iconic building.

McCown has a bachelor of arts in theater from the University of Virginia and an associate of applied science in fashion design from the Fashion Institute of Technology (FIT) in New York City. She was a member of United Scenic Artists 829 while in New York, and though theater has always been her first love, a move to Los Angeles to work in film has served her well. Her first job was assistant costume designer on the first Addams Family film. With unwavering support from costume designers Ruth Meyers and Albert Wolsky, McCown soon became a powerhouse assistant costume designer on blockbuster features such as The Aviator, Cinderella

Man, Forrest Gump, The Curious Case of BenjaminButton, and X-men:DaysofFuture Past. A reader all her life with a penchant for mysteries, McCown always dreamed of writing novels. She is a member of two writers associations: Mystery Writers of America and Sisters in Crime.

“One of my main inspirations for writing the books,” says McCown, “was to shine a light on our costume community, to make us the heroes of the story, and to show what a complicated job it is that we do. As costume designers, we are storytellers, social anthropologists, and hardworking problem-solvers. I hope our membership will be proud of that portrayal.”

Photos:

Courtesy of Marjorie McCown

“A HISTORICAL TRIP THAT’S WELL WORTH TAKING.”

“THE PERIOD COSTUMES ARE STUNNINGLY REALIZED.”

JOSEPH LA CORTE, JENNIFER LANTZ, CAMIL ROCHON, BETHANA BRIFFETT

Ivy Thaide, Catherine Adair & David Matwijkow

Brigitta

Romanov &

Daniel Salon

Ariyela Wald-Cohain

Costume designers have an enduring legacy creating for the red carpet.

In a powerful display of solidarity, members and allies expressed their support for CDG’s #NakedWithoutUs campaign. It became a personal testament to the transformative power of clothes as a vehicle for individuality and activism.

Doug Boney & Michelle R. Cole

Mandi LIne

Salvador Perez & Terry Gordon

Ariyela Wald-Cohan & Danielle Launzel

Steven Norman Lee & Daniela Gschwendtner

Trayce Gigi Field

Maranda Nichols

Anna Wyckof

Whitney Ann Adams

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Photo By Matt Sayles

Erica D. Schwartz

Barbra Araujo

Julie Vogel

CynthiaAnnSummers

Krista Fox, Kellie di Pietro, Ariana Marciano

XZ Lim, Gilbert Moussally, Shireen Hodaly-Moussally, Garrett Marks

Dana Ludlow, JJ Rodriquez, Kristin Holbak, Christina Munoz, Robair Kasbarian

Western Costume

Heather Allison & Jamie Catino

TinaPogosian,YJHwang,MaddesonKline

Helen Huang

Deborah Nadoolman Landis

Daniel Salon

S he

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Bonnie Nipar & Valerie

Laven-Cooper

Costume Designers. Your favorite characters would be NAKED WITHOUT US

Costume Designer Trayce Gigi Field, Member of Costume Designers Guild, Local 892 IATSE.

Photo: Robert

Sustainability in filmmaking can seem at odds with the pace and pressure of production. Rising to this challenge is the Green Room, founded by costume designer, dual card member, and passionate environmental advocate, Georgina Curtis. Celebrating a grand reopening, the supply archive is hosted at the new 705 building. The resource serves 892 and 705 members, as well as students. Members are encouraged to donate unused supplies, which are made available to other members free of cost. It is a beautiful way to salvage materials that would otherwise be wasted.

Recycling efforts are not limited to supplies. The 705 Green Committee attended the National Association of Broadcasting (NAB) event, and both unions partnered at panels for Curb Your Recycling in Burbank. They celebrated Earth Month in April with several campaigns. One ongoing effort collects fabric scraps and yardage.

The “Waste Less, Create More” project seeks to inspire through sustainable costume. Serving as creative director, producer, and costume designer, Curtis collaborated with director Coxy and photographer Valentina Socci on The Green Dress powered by the Green Room. Transforming plastic destined for the landfill, Curtis created a dress inspired by the translucence of plantariums, which will be on display at the CDG office. Through this effort she challenges others to view costume through a prism of sustainability.

Become a part of the movement. To join the 705 Green Committee, or if you have items you don’t know how to recycle, contact Georgina at greencommittee705@gmail.com. Follow @local705greenroom on Instagram (stock updates in highlights). Contact 892 Green Committee (Julia Chase and Morgan DeGroff) at sustainablecdg@ gmail.com.

Photo: Actor Ryan Keira Armstrong in Georgina Curtis dress by Valentina Socci

LAST LOOKS

BY LUKE REICHLE

In the early 1950s an aspiring dancer went into the Broadway production of Kismet at the Ziegfeld Theatre.

She was billed as one of the Princesses of Abubu. During the run of the show April Gaskins met and fell in love with Stephen Ferry, at that point performing the role of Wazir’s Guard. She stayed with the show until she could no longer hide her pregnancy from producer Billy Rose, despite that fact that she, and her princess cohort, had been performing something called “the belly spin” for eight shows a week.

Ferry took her 17 years as a costume supervisor on Broadway and parlayed it into a job with Ed Wassal on The Dean Martin Show, in charge of dressing the Golddiggers (again, the chorus!). This led to other TV gigs on TheSonnyandCherShow with that triumvirate of glitz, Mackie/Aghayan/Turner; and Sha Na Na with Bill Hargate as well as Midnight Special and Music Country. When she flipped to features, it was for some pretty heavy hitters, among them Theadora Van Runkle, Theoni V. Aldredge, and Edith Head. Her first solo design job was BigTroubleinLittleChina, and she never looked back.

In the weeks since her passing, we’ve been witness to a recounting of her work with tributes from up and down the call sheet.

Photos: Courtesy of the Ferry family

Illustration: Robert Fletcher

Writers, directors, and actors speak of how indebted they are to her for the way she brought their stories and characters to life. Her fellow designers owe a debt for her example of talent, forged by craft and executed with grace. Her friends and family will forever be touched by her capacity for love, kindness, and compassion.

Ferry maintained her sense of wonder with the world. She approached everything with a disarming combination of humility and a wicked sense of humor.

An artist with a keen observer’s eye who could see beneath the surface, come back inspired, and deliver beauty at its most unexpected.

Ferry loved what she did and always felt privileged to be a working costume designer, costume supervisor, and costumer. She gave back as a mentor and long-serving member of the board of the Costume Designers Guild. She gave innumerable people their start in the business, and if she believed in you there was no greater champion. She came up through the ranks and never lost a keen appreciation for her crew and the critical contribution they make.

For someone with the kind of credits she amassed, Ferry was not, as you might say, “credit forward.” She never believed that your worth was tied to the length of your CV. On a personal note, she taught me that your legacy is not defined by your résumé but rather by how you treat others, and that it resides in the quality and content of the memories you leave behind. For those of us whose lives have been touched by April, those memories are shining, and they are legion.

Photos: Courtesy of the Ferry family