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vol. 9, issue 2

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FEATURES Recycle, Repurpose, Reuse . . . . . . . . . . . . . . . . . . . . . . . . 17 CDG Awards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Art of Motion Picture Costume Design: FIDM. . . . . . . . 20 Blockbuster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Behind the Seams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Symposium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com COVER CD Michael Kaplan photographed with his costumes for Star Trek Into Darkness on location at Film Illusions, Inc. Photo by Robert Reiff Hair/Grooming by Connie Kalos Styling by Anna Wyckoff. Features credits: The CDG Awards photo by Christopher Polk/Getty Images. Flying SpaceSuit illustration by Keith Christensen for CD Michael Kaplan on Star Trek Into Darkness. FIDM Exhibit photo by Anna Wyckoff. Sévérine from Skyfall CD Jany Temime.

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

The Costume Department. . . . . . . . . . . . . . . . . . . . . . . . . 12 History of Dress

A Day in the Life. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Tech Tidbit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Boldface Names

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Spring 2013 The Costume Designer

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EDITOR’S NOTE From baseball to blue jeans to blockbuster films, some distinctly American products are beloved worldwide. Nothing quite encapsulates our bigger-is-better spirit quite like the blockbuster’s calculated excess, amplified adventure, and larger-than-life visuals. The cult of the hero is nothing less than the great American mythology, and the blockbuster delivers this narrative to the public with gusto. Charged with excitement, this is entertainment as an experience, spectacle, and event—audiences don’t just watch, they are submerged. If you ever secretly suspected that designing costumes for a blockbuster is an easy task, our feature article will stomp out your suspicion. The genre is astonishing in both scope and scale. We speak with several Costume Designers who tackle these epic projects, fearlessly bringing the characters and stories to life. For spring, we are excited to debut several columns, including “A Day in the Life,” which spends 24 hours with a Costume Designer, Assistant Costume Designer, or Illustrator. This issue tags along with the irrepressible, irresistible CD Mandi Line of Pretty Little Liars fame. “Tech Tidbit” is another recurring feature that highlights cutting-edge technology as it pertains to Costume Design, with the goal of keeping you informed of the latest available tools and techniques. It has been a long journey from the very first CDG Awards, and this year’s gala was an extraordinary evening in celebration of the passion and mastery Costume Designers bring to the screen. We also commemorate our 15th annual CDG Awards and the conversation it has ignited about Costume Design. Anna Wyckoff awyckoff@cdgia.com

costumedesignersguild.com EDITOR-AT-LARGE

Anna Wyckoff

ASSOCIATE EDITORS

Bonnie Nipar Christine Cover Ferro PRESIDENT

Mary Rose

mrose@cdgia.com VICE PRESIDENT

Salvador Perez

sperez@cdgia.com SECRETARY

Terry Gordon

tgordon@cdgia.com TREASURER

Marilyn Matthews

mmatthews@cdgia.com EXECUTIVE BOARD

Mark Bridges

mbridges@cdgia.com

Cliff Chally

cchally@cdgia.com

Julie Weiss

jweiss@cdgia.com

April Ferry

aferry@cdgia.com

Brigitta Romanov (ACD) bromanov@cdgia.com

Felipe Sanchez (ILL) fsanchez@cdgia.com

LABOR REPRESENTATIVES

Betty Madden Sharon Day

BOARD ALTERNATES

Ellen Falguiere

efalguiere@cdgia.com

Susan Nininger

snininger@cdgia.com

Ken Van Duyne

kvanduyne@cdgia.com

Mona May

mmay@cdgia.com BOARD OF TRUSTEES

Peter Flaherty

pflaherty@cdgia.com

Jacqueline Saint Anne jsaintanne@cdgia.com

Karyn Wagner

kwagner@cdgia.com ALTERNATE TRUSTEE

Wendy Chuck

wchuck@cdgia.com EXECUTIVE DIRECTOR

Rachael  M. Stanley rstanley@cdgia.com

Member services ADMINISTRATor

Suzanne Huntington

shuntington@cdgia.com RECEPTIONIST/SECRETARY

Cheryl Marshall

cmarshall@cdgia.com PUBLISHER

IngleDodd Media ADVERTISING DIRECTOR

Dan Dodd 310.207.4410 x236

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The Costume Designer Spring 2013

Advertising@IngleDodd.com


CONTRIBUTORS

Marcy Froehlich

Christine Cover Ferro

Bonnie Nipar

(History of Dress, Text) Joined the Guild in 1992, fresh from New York and Broadway. Her designs have run the gamut from theater and opera to film and TV, from Waiting for Godot to the Miss America Pageant. She also co-authored (with Barbara Inglehart and Pamela Shaw) Shopping LA: The Insiders’ Sourcebook for Film & Fashion. Froehlich has long had an interest in historical costume and research, so she is delighted to contribute to the magazine in this way.

(Associate Editor, Tech Tidbit, Behind the Seams) Christine joined the Guild in 2012 after nine years of theatre and indie work in Los Angeles. Previous stops included costume work in her adopted hometown of Miami, as well as Boston and the Twin Cities. She studied theatre design at Brandeis University and Macalester College. As a lover of storytelling in all forms, she’s looking forward to exploring the different facets of Costume Design and bringing them to light in the magazine.

(Associate Editor, Recycle, Repurpose, Reuse) Joined the Guild in 1997 and works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of The Costume Designer, Nipar happily took over several recurring columns. “It’s a treat to honor the latest accomplishments of our peers.”

Suzanne Huntington

Stacy Ellen Rich

Robin Richesson

(Co-contributor to Boldface Names) Stacy Ellen Rich joined the CDG in 2005. Her design career began with study in Florence and flourished within the sphere of Chicago Theater, which catapulted her into the world of film. The journey has seen her through many amazing experiences in medias as varied as film, performance art and music video. Additionally, Rich’s designs have been on view in the Whitney Museum of American Art in New York and the Tate Modern in London. It is her pleasure to assist in compiling the fantastic array of accolades earned by our Guild members.

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

(Co-contributor to Boldface Names) Came to the Guild in 2005 with a professional and university-educated background in fine arts and entertainment. Huntington is at home in the guild’s creative environment and enjoys staying busy with members’ contract questions, new member orientations, shepherding special projects and the year’s film/TV projects onto the awards ballots, and administrating the CDG website, among other duties. “It’s a pleasure to stay in touch with the members and make a contribution to The Costume Designer.”

Odin’s Helmet, The Avengers, CD Alexandra Byrne

A Special Thanks to Film Illusions for allowing us to photograph CD Michael Kaplan in their fabulous workshop. Credits include: Man of Steel, Star Trek Into Darkness, The Avengers, Thor, G.I. Joe: The Rise of Cobra Russ Shinkle • Film Illusions, Inc. (818) 767-4100 • www.filmillusions.com

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The Costume Designer Spring 2013


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union label

A surprisingly busy and eventful month of May began for me with this email on the third: “Hi guys—Here’s a shot of our illustrious members at the May Day demonstrations this week! My husband Doug was there shooting and saw them. Thought you might like to have it.” -Carol Ramsey When I opened Carol’s attachment, this is what I saw: Our very own Betty Madden, proudly holding one end of a large Costume Designers Guild banner in front of the parade, was an inspiring sight to see. I cannot stress enough how members like Betty Madden represent us all as we go about our day, the thought of walking for the rights of the workers under the hot sun far from our minds. Betty, we thank you for your passion; I sincerely thank you. The next Sunday was Mother’s Day. Taking a moment from the flurry of flowers and phone calls from my offspring, I found a powerful story in the L.A. Times on the political origins of Mother’s Day. In 1858, Anna Jarvis organized women’s clubs that would provide care for soldiers of both sides during the Civil War. In 1872, Julia Ward Howe, author of The Battle Hymn of the Republic, called for a Mother’s Day for Peace, a day of social and political activism in her “Mother’s Day Proclamation.” 1908 would see their work come to fruition with the observance of Mother’s Day in 45 states. If either were alive today, they might have been Labor movement leaders. Lastly, I call for volunteers to assist me with the 7th Annual Outstanding Art of Television Costume Design exhibition at FIDM. The “pay” is lunch, mileage, camaraderie and lots of fun, not to mention a chance to learn many things. Call me.

­­

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

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Dear Members and Colleagues,

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union label executive director Dear Members, In the spring, there are two inevitabilities in our business—the blockbuster movie season and the start of work for the fall TV season. This year, we have something to add to that, the upcoming summer election. Every 18 months, the CDG has an election for half of its Board, but in the summer election we also elect Delegates and Trustees. Many members do not know what these positions involve or what kind of a time commitment they require. Here is a brief description: The Delegate is a special role for members who will attend conventions on behalf of the general membership. There is no prerequisite to run, but you just need to be a member in good standing. There is a District 2 Convention in the spring and every four years, there is a quadrennial convention for all the locals of the United States and Canada. Convention locations change, this year, both District 2 and the Quadrennial will be held in Boston. The Local and the IATSE cover all expenses. Being a delegate is a rare opportunity for members to participate on a limited basis. I hope more members will consider putting their names forward to run as delegates. The Trustee is a position held by three members in good standing, with one alternate. They audit the books twice a year to be sure that they are in compliance. This position is also a limited time commitment and can help members understand the importance of being fiscally responsible. If you have an interest in helping to govern the direction of the Guild, then I recommend that you run for the Executive Board. In the summer, the election positions open are President, Vice President, Two Members at Large, Two Alternate Members and the Assistant Costume Designer Representative. The Executive Board meets once monthly on the first Monday of the month at 7 p.m. Being a Board member is a very rewarding experience that builds leadership, budgeting, and decision-making skills. In order to run for the Board, a member must have been a member in good standing for at least two years and have worked a minimum of 120 days in the industry in the last 36 months. The Assistant Costume Designer Representative must be an ACD but any member can run for the other positions. I hope that this year we will see our highest participation both in members running for office and in members voting. It is a privilege to be able to vote in any election and I hope our members will take the time to have their voices heard this coming August. In Solidarity, Rachael Stanley rstanley@cdgia.com

2013 CALENDAR May 30

Regency Legacy Luncheon, 12:30 PM

June 3

Executive Board Meeting, 7 PM

June 29

 eneral Membership Meeting G Nominations for election, 10:30 AM

July 19–20 CDG Comic-Con Panels, San Diego July 27

 IDM/ATAS Outstanding Art of F Television Costume Design Exhibition

July 30  FIDM/ATAS exhibit opens to public through October 19

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The Costume Designer Spring 2013


LABOR REPORT Is blood dripping from our hemlines? The Bangladeshi Rana Plaza garment factory workers’ death toll is at 1,127 after two weeks of digging in the burnt rubble. Garment workers refused to enter when they saw 8” cracks in the building’s walls on April 23, 2013. Threatened with losing their 20- cent-an-hour jobs, they were told to go to work. On April 24, the building collapsed. An estimated 6,000 people worked in Rana Plaza factory and it is not known how many workers were in the factory when it crumbled. The collapse resulted from an illegally constructed addition of three stories to an existing five-story building. It’s not just Walmart, but a trend to increase profits and lower consumer prices. It is neglect promoted by greed. It is slavery and genocide when people are locked inside a building that provides no safety or health services to workers exploited for low wages. What moral responsibility do we have? Here are the names of the abusers: Benetton, Walmart, J.C. Penney, Gap, Tommy Hilfiger, Joe Fresh, H&M, Mango, Sears, The Children’s Place, and the Dress Barn. Act today: Facebook, Tweet, Twitter, YouTube, FitBit, PlaceMe, or show up any Friday from 5 to 7 p.m. in Chinatown at 701 W. Cesar Chavez Ave., Los Angeles, to remember those lives lost. Support garment workers by signing petitions online (USAS) United Students Against Sweatshops. Add your comment stating why you will stop purchasing from retailers profiting from labor abuses in Bangladesh garment factories. Our sisters and brothers, the garment factory workers, are asking owners and their venders to cooperate with Labor Standards Enforcement investigations and pressure retailers to sign the Bangladeshi Comprehensive Fire & Building Safety Agreement. Your voice needs to be heard. Betty Madden CDG Organizer/Labor Rep bmadden@cdgia.com

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THE COSTUME DEPARTMENT

History Of Dress 1880–1890 Bathing

Suit: Swimwear gained popularity as sports become more acceptable for women and the advent of the train made the beach more accessible. Early examples were constructed from black flannel or wool knit with white trim and consisted of a dress, bloomers, stockings, and a cap. Deerstalker Cap:

Frequently associated with the fictional detective Sherlock Holmes, this tweed cap was often worn for hunting. With brims in front and behind, its distinctive side panels were worn tied under the chin or on the top of the hat.

Featherbone: A boning tape patented in 1884, made from feather stems, it was used as a substitute for whalebone or steel bones as the rigid element in a corset. Fedora: A felt hat with a short to medium brim, creased at the top of the crown and pinched at the front. It was first a woman’s hat, before being adapted by men. The name originates from actress Sarah Bernhardt’s character, Princess Fedora.

Jersey: A high necked, close-fitting hip-length sweater inspired by traditional fishermens’ wear and worn over a corset by women. The knitted fabric was imported from the British Island of Jersey, off the coast of France.

Little Lord Fauntleroy: A boy’s black velvet suit adopted from the children’s story. Comprised of a tunic with knickers with a white lace collar and cuffs, it was sometimes worn with a red sash and ringlet curls.

Passementerie: An elaborate trim made of braid or cord. The term originates from “passement,” an early French word for lace. Reefer: A man’s hip-length coat with a collar and square bottom. Usually double breasted and made of pilot cloth—a coarse thick twill—it was inspired by the “pea coat” or “P-coat” worn by sailors.

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

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The Costume Designer Spring 2013


OUTSTANDING CONTEMPORARY TELEVISION SERIES GIRLSSM Jennifer Rogien TREME® Alonzo Wilson, Ann Walters

PROUDLY CONGRATULATES OUR 2013 COSTUME DESIGNERS GUILD AWARDS NOMINEES

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©2013 Home Box Office, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Office, Inc.


A DAY IN THE LIFE

Mandi Line Pretty Little Liars

I wake up at 5 a.m. and spin at 6 a.m. four days a week, because that’s my therapy. Anywhere from 6 to 8 a.m., I get to work. We either establish what is going on set—because I never let a new outfit on my principal girls go on camera without seeing it first—even though I’ve looked at everything in fittings. Or we assess the day, whether it’s fittings, concept meetings, or fabric swatching. I’ve got five people in my office, so next we get through the tasks at hand. Because I shop for the main chunk, I’ll take one or two big days and just shop everything I think we need for the episodes and fit them. The little pieces that are missing to complete the outfit from a bright pink belt to a girly purple bra—my key Mandi statements I like to put on everybody—that’s usually what happens after the fittings. I don’t even know what lunch is. Right now, I’m literally sitting at my desk snacking. I cook all my meals, so I’ve got my vegan pizza and my lentils… After lunch, my Assistant Designer and I get a jump on the next episode. We look at the script and think what do they

ABC Family’s Pretty Little Liars stars Shay Mitchell as Emily Fields, Ashley Benson as Hanna Marin, Troian Bellisario as Spencer Hastings and Lucy Hale as Aria Montgomery. Photo: Andrew Eccles have in their closets? What are we going to have to go out and get? And of course, there are random meetings, all the time! Like I need to meet with the DP to see if the hats that we’re getting custom-made are going to shadow their faces, and that sort of thing. I think that I owe my career to being hands-on and accessible. I always tell people when they ask me what’s important in being a designer, I say, “You’ve got to be able to work with the actors.” I think it’s okay that people do a lot of shows, but I think sometimes, when you lose the intimate relationship with your actors, you have less of the ability to make them wear things—because I put my girls in crazy *#&^% just for school! Occasionally, I have to leave for a meeting, like this week, I had to go to New York, and Lucy will text me and say, “Hey, I don’t have this in my room,” then she’ll say, “Wait a minute, are you even here?!” The rest of my day also includes interviews and discussions. I have a manager and a clothing line, so there are a few things in my day besides Pretty Little Liars. As a Costume Designer, you’re always looking ahead, I am constantly doing interviews for The Hollywood Reporter, In Style, or Teen Vogue. My team may shop a little later, but I try to be done by 6 p.m. because when I go home, I answer all the things on New York time that I didn’t get to during Los Angeles time. But sometimes that doesn’t happen. Two days last week, we were working until 10 p.m. And there are always photo shoots—campaigns for ABC Family, and sometimes I’ll take on a commercial. When I go home, I cook. I’m crazy on Instagram, Facebook, and Twitter. Right now, I’m also doing a 90-day workout challenge, I’m on day 37, and I post my workout and then people answer back with what their workouts are, or what they’ve done to change their life. Ultimately, I want to have a fitness line. So I end my day with cooking and a glass of wine, and then I always try to get my Following in, and a Housewives. I’m a social butterfly, on the phone talking to my friends, I always have to know what’s going on … so I do not go to sleep until about 1 a.m., but I get up every morning at 5 a.m.


TECH TIDBIT

Armoring the Digital Age: Quantum Creation FX By Christine Cover Ferro

M

uch of the technology of special effects sprang fully formed from its creators’ brow, and many of the techniques used to transform Ricou Browning and Ben Chapman into The Creature from the Black Lagoon continue to work perfectly well today. The finer points of the process, however, have incorporated cutting-edge technology into their evolution. On a recent visit to Quantum Creation FX, Christian Beckman walked us through some of the new methods that they’ve incoporated into their fabrication process. 3D scans have replaced bodycasts in the larger effects houses. A two-minute session captures all the data a designer could want on an actor’s body shape, and a fitting mannequin can be created within a week. The process of hand-sculpting originals still remains very much in use, 3-D modeling is making inroads, particularly for linear pieces, items with a machined look, geometric designs, or intricate textures, as well as armor bits. Prototypes are created digitally in Z-Brush or Maya and then rendered on a 3-D printer. The “print” becomes the positive sculpt for the molds. One of the key advantages to digital designs is how much less time modifications take. Instead of having to re-sculpt a prototype, tweaks can be made in the modeling software. Scaling up and down to adapt the same design to different actor sizes is an equally simple process. Some of this technology was used to create the suits for the virtual world in TRON: Legacy, CD Michael Wilkinson. This technology proves particularly effective in creating helmets. In the initial design stages, modeling the helmet over a digital scan of the actor’s head gives a better idea than ever before of how the finished product will look. The process also allows for greater precision at a faster pace than hand-sculpting, and much of the fine-tuning can now happen digitally. Clear cast resin visors can be rendered with perfectly even thickness from the start, tolerances can be factored in, and exact symmetry can be achieved via programming. New advances are also changing how traditional materials are used. The most recent urethane formulations are as flexible and lightweight as latex foam and silicone, while preserving much of urethane’s traditional durability. Quantum Creation FX has seen great results, especially with armor pieces, as they hold up much better to the wear and tear of stunt scenes.

Top: Legs created for the character Sam Flynn in Tron: Legacy were digitally sculpted and milled out of foam. The surfaces were then body-shopped and molded. Above: The final Sam Flynn costume. Left: A reference guide created at Quantum for light component and placement on the Black Guard. There was a guide created for each character. Spring 2013 The Costume Designer

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Recycle, Repurpose, Reuse

Suggestions for a Greener Costume Department By Bonnie Nipar

Imagine the waste created daily by a typical Costume department. Many members who diligently recycle at home feel that in order to be efficient at work, they can’t waste time recycling. When one person can make a difference of 2 lbs. of paper products per day, the gains from recycling are significant and real. Here is a list of easily implemented suggestions. Remember, small efforts have large effect over time.

1. It would be ideal to have a meeting with your crew early during a production to create a passion for recycling in your department, but also know it’s never too late to start. 2. Post a friendly reminder to recycle near the office door. 3. Order office supplies thoughtfully. 4. Take advantage of the “Reuse” rooms available at most of the larger studios, where you can find gently used office supplies. Also, studio Costume departments often supply racks, steamers, and hangers. 5. Designate boxes to collect discarded scripts, paper, cardboard, and plastics. Label them and add drawings or pictures to make them visually appealing. 6. Attach petty cash receipts to the back of scripts and use both sides of manila tags. 7. Recycle brads back to the production office. 8. Reuse safety pins, including those from dry cleaners. 9. Encourage crew members to bring personal coffee cups, non-toxic water bottles, or water bottles which have a filter and can be filled with tap water. 10. Request compostable plates, cups, and utensils made of corn or sugarcane from Craft Services. 11. Return ink cartridges for money back at the office supply store. 12. Eliminate plastic bags as much as possible. Use cloth bags for shopping and returns at smaller boutiques. 13. Employ a green dry cleaner. Ask them to bag delicates and whites only. Have a recycling box for wire hangers. 14. Dispose of toxic elements wisely: dyes, shoe polish, cleaning solvents, products in aerosol cans, fluorescent bulbs, camera batteries, mercury batteries, any electronic device including printers and scanners, and phones can be deposited at a S.A.F.E. Center with locations around the L.A. area (http://www.lacitysan.org). 15. Many studios have Hazmat services on lot. If not, request that your production team recycle on stage, in offices, and within each department.

Spring 2013 The Costume Designer

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CDG Awards From the glittering star wattage to the glinting statuettes, the 15th Annual Costume Designers Guild Awards was a convivial evening of enchantment and elegance in celebration of the art of Costume Design. Presenting Sponsor LACOSTE returned to support the event on February 19, 2013, at the Beverly Hilton Hotel in Beverly Hills, California.

Presenter Steve Martin.

Presenter Maya Rudolph, Distinguished Collaborator Award winner Lorne Michaels, and presenters Steve Martin, Amy Poehler, and CD Tom Broecker.

Presenter Ginnifer Goodwin, honoree for Career Achievement in Television Eduardo Castro, and actor Josh Dallas.


Photo credits clockwise: Christopher Polk / Jasson Merritt / Christopher Polk / Frazer Harrison / Stefanie Keenan / Christopher Polk / Christopher Polk / Christopher Polk, all Getty Images.

Excellence in Period Costume winner, CD Jacqueline Durran and presenter Shirley MacLaine.

2013 Costume Designers Guild Awards Winners: Winner for Outstanding Made for Television Movie or Mini-Series, CD Lou Eyrich (left)and presenter Famke Janssen backstage.

Excellence in Contemporary Film

Skyfall, Jany Temime Excellence in Period Film

Anna Karenina, Jacqueline Durran Excellence in Fantasy Film

Mirror Mirror, Eiko Ishioka Outstanding Contemporary Television Series

Smash, Molly Maginnis Outstanding Period/Fantasy Television Series

Downton Abbey, Caroline McCall Outstanding Made for Television Movie or Mini-Series Anne Hathaway receiving her award.

American Horror Story: Asylum Season 2, Lou Eyrich Excellence in Commercial Costume Design

Captain Morgan Black Judianna Makovsky LACOSTE Spotlight Award

Anne Hathaway Career Achievement in Film

Judianna Makovsky LACOSTE Spotlight Award winner Anne Hathaway and presenter Russell Crowe backstage.

Career Achievement in Television

Eduardo Castro Distinguished Collaborator Award

Lorne Michaels Spring 2013 The Costume Designer

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N

FIDM

ow in its 21st year, the Art of Motion Picture Costume Design was exhibited from February 9 to April 27, 2013, at the FIDM Museum in Los Angeles, California. All of the Academy Award nominees for Best Costume Design were included: Les Misérables CD Paco Delgado, Lincoln CD Joanna Johnston, Mirror Mirror CD Eiko Ishioka, Snow White and the Huntsman CD Colleen Atwood, and Anna Karenina CD Jacqueline Durran, who won the Oscar®.

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The Costume Designer Spring 2013

Also showcased were costumes from American Reunion CD Mona May, Argo CD Jacqueline West, The Avengers CD Alexandra Byrne, Django Unchained CD Sharen Davis, End of Watch CD Mary Claire Hannan, Hitchcock CD Julie Weiss, The Hunger Games CD Judianna Makovsky, John Carter CD Mayes C. Rubeo, The Master CD Mark Bridges, ParaNorman CD Deborah Cook, A Royal Affair CD Manon Rasmussen, Skyfall CD Jany Temime, Sparkle CD Ruth E. Carter, and following tradition, CD Mark Bridges’ costumes from The Artist, last year’s Academy Award winner.

Clockwise: Snow White and the Huntsman, Lincoln, Mirror Mirror, The Artist, Snow White and the Huntsman, Django Unchained. Background image from The Hunger Games. Photos by Anna Wyckoff

Art of Motion Picture Costume Design


BLOCKBU After the roar of awards season fades, studios turn their unflinching eye for revenue to the next task at hand—the summer blockbuster, a sweeping season which has exhaled into spring. There are many genres of blockbuster films, from costly projects carefully cultivated to attract a billion eyeballs and sell scads of ancillary merchandise, to sleeper hits that take the box office by storm. In a 1974 Time magazine article, producer Robert Evans enthused, “The making of a blockbuster is the newest art form of the 20th century.” But mass appeal has proven to be a double-edged sword, and 40 years later, only on a few occasions has commercial success translated into artistic respect. Considered by some to be the fast food of the film world, these movies, palatable to huge numbers, seep into the public subconscious, taking root. While difficult to quantify, their impact on audiences is undeniable and vast. But rarely do Costume Designers reap the full breadth of their costumes’ success, as most are excluded from royalties on products, to which their Costume Design is intrinsic. CD Michael Wilkinson, co-designer of the upcoming Man of Steel [with CD James Acheson] and a veteran of such commercial phenoms as the Twilight series, Tron, and Watchmen says of the process, “It’s an undeniable thrill and an honor to know that the characters you create will become part of the psyche of modern

pop culture. This pushes you to do your very best work.” But despite its far-reaching influence, the idea that Costume Design for the blockbuster is easy is a concept that is difficult to dispel. CD Sanja Hays describes the relationship between viewers and these films as an evolving conversation accelerated by the Internet. Citing her experiences on The Mummy: Tomb of the Dragon Emperor, Star Trek: Insurrection, Total Recall, and the Fast and Furious franchise, The Amazing Spider-Man 2, which she has designed into its starring Andrew Garfield. sixth iteration, Hays says, “I think CD Deborah Scott. that these films affect the public, and then develop as society changes. Many people, from producers to our colleagues, dismiss these kinds of movies, and yes, we know it influences culture, but what is not known is that they’re not easy to do.”

Sam (Shia LaBeouf), Epps (Tyrese Gibson), and Optimus Prime in Transformers: Dark Side of the Moon. CD Deborah Scott. The Stovepipe Hat

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The Costume Designer Spring 2013

Courtesy of Columbia Pictures

By Anna Wyckoff


USTER Photo: Courtesy of Paramount Pictures

The Guts

The direct dialogue between audience and film is amplified online, where costumes are dissected, discussed, and judged by a voracious public, often before they are even released. So important is the tide of public opinion that some studios have strategized by releasing a few images of key costumes to head off the inevitable leaks. Scott says, “Thanks to the Internet, you know instantaneously what the public’s response is. While everything is designed for public consumption, you’re still trying to do your job as a Costume Designer and tune out all the noise, because ‘What are people going to think of it?’ is not a basis to create anything.” Part of the problem lies in the fact that, as Kaplan puts it, “Costume Design is a series of decisions, but the Costume Designer’s skill is to make those choices so well that the end result is deceptively simple.” CD Louise Mingenbach, whose credits include the Hangover franchise and several X-Men films, as well as G.I. Joe: Retaliation, describes it another way: “…When done well, good Costume Design looks obtainable.” Modern audiences are discriminating and savvy and any whiff of inauthenticity is immediately recognized and criticized, but sometimes the correct choice is so perfect, it is not perceived. This fact imbues so much importance to the thousands of minute choices a Costume Designer makes. When Kaplan memorably clad Jennifer Beals in a shorn sweatshirt in

Superman (Henry Cavill} in Man of Steel. CD Michael Wilkinson and CD James Acheson.

Photo: Clay Enos. Warner Bros.©

CD Deborah Scott, who has designed films as widely popular and diverse as Avatar, Transformers, Titanic, and E.T., agrees. Describing her recent work on The Amazing SpiderMan 2, Scott says, “Just because it’s entertainment, something like Spider-Man should still be respected and taken seriously. Whether it’s a horror, comedy, action, or drama, you use the same tools to achieve the same goals. I think that our art form is the same across all those categories.” CD Michael Kaplan has had a long relationship with the sweeping influence of Costume Design, having designed such revered films as Blade Runner, Flashdance, Fight Club, and the recent Star Treks. Soon he will turn his eye to the latest installment in the iconic Star Wars series. Kaplan explains, “I approach what is called the blockbuster in the same way that I approach a period film or any other type of movie, and that’s to read the script and then try to bring the characters to life with as much originality and as little excess as possible. I don’t work any differently on a blockbuster, except I might have a much larger crew.”

Flashdance, or Brad Pitt in a fusty women’s bathrobe in Fight Club, he was merely making the right decision for the time. When Mingenbach designed an army vest for G.I. Joe and had it built, molded, sculpted, and cast, it was so right it seemed like it already existed in the world. Clothing is a language, and modern society is well versed in the nuanced meanings of different silhouettes and details. If the Costume Designer doesn’t strike the chord of truth, the character will not come alive because the clothes get in the way. It may take hundreds of T-shirts and/or one custom design to create the right level of insouciance coupled with the correct fit for a lead actor to look cool, yet ordinary. Hays explains, “Audiences are so much more aware of the subtleties of our culture. When I fit Vin Diesel for the Fast and Furious, we started with five racks of clothes, and he ended up with three outfits. You look at one pair of jeans and say these are too Euro, or that’s what they would wear in Canada, or this is the guys in West Hollywood. If you put on something wrong, the audience knows. With blockbusters,” she adds, “you’re often dealing with stars, and you dress them as the character, but you also need to let the star shine. Of course, with the films that are based on comics there is a different process, then you completely transform the actor into the character.” The perfect costume’s accessibility is its fatal flaw. Mingenbach elaborates, “When it looks cool, it looks obtainable. And because it looks obtainable, it seems like it is out there, somewhere, they think it’s not hard. When you’re designing something that is, ‘real life now,’ it can seem so simple that studio execs think that you only need a month of prep, and you can shop at ‘The Grove.’” Wilkinson observes, “With the blockbuster you have to keep your sense of humor and check your ego at the door.” He continues, “You quickly discover that you are designing on a team, since there are


Photo: Goles Keyle. Universal Pictures Left to right: Han (Sung Kang), Dom (Vin Diesel), Riley (Gina Carano), Shaw (Luke Evans), and Hobbs (Dwayne Johnson) in Fast & Furious 6. CD Sanja Hays. many opinions and voices that are raised from all directions from publicity departments, studio executives, copyright owners of the characters that you are designing. In a nutshell, people who want to make sure that your costumes are sexy—inoffensive—eyecatching—respectful—provocative—original—classic enough to sell lots of movie tickets.” Then there is the scale. Unlike an indie film with a dozen lead actors and a handful of extras, with the blockbuster there are often thousands of costumes to create. Scott says, “It’s something that you have to learn by experience. You have to have a very organized approach, it’s like being in the Army—almost. It’s not just designing the costumes, but producing them, then managing how they are going to work on numerous stunt people, in numerous action situations, with tons of background. It’s a huge organizational job that we do as well, not to mention managing the money that it costs to accomplish all these things.”

covering new techniques and materials in costume construction. When the suit was finally in front of us, we finessed the details— enlarging the ‘S’ shield by 1/16th inch, looking at 12 different samples of the gold color behind the ‘S,’ decreasing the side torso trim by 1/32nd inch. The process included many presentations to studio producers, merchandizing people, DC [Comics] executives and members of the press. But everyone was incredibly supportive, and we were energized by the trust that was shown in our vision.”  Jaye (Adrianne Palicki) in G.I. Joe: Retaliation. CD Louise Mingenbach

Taking an archetypal character, to which the costume is pivotal, and reimagining it in a way that honors its history and the fan base, is a huge responsibility. It requires a combination of intuition, expertise, and bravado. Understanding the latest technology is a crucial component of the process, because in order to make a character relevant and fresh, something otherworldly has to be translated. But when the Costume Designer conjures that magic balance, it is a thrilling achievement. “Man of Steel was a dream project. It was an absolute honor to be able to contribute to the legacy of Superman, I was humbled at the prospect,” declares Willkinson. “Working again with my esteemed and trusty collaborator, director Zack Snyder, it was incredibly important to both of us to get it right. Literally hundreds of drawings of the suit were generated, some under the eye of legendary CD James Acheson. Months were spent prototyping and dis24

The Costume Designer Spring 2013

Jaimie Trueblood/Paramount Pictures

The Glory


Photo: Zade Rosenthal ©2013 Paramount Pictures. All Rights Reserved.

For Total Recall, Hays prepped by steeping herself in the aesthetic of the audience, submerging herself in video games and popular culture. When the director asked for the futuristic police officers to be dressed in white, she embraced it fully, knowing well the parameters of what fans would find cool. “Of course, it presented a challenge because white can look really lame and very artificial,” says Hays. She married a police look with a futuristic twist and the result was realistic within the world of the film, yet allowed a complete range of movement to accommodate the required martial arts fights. It became one of her favorite costumes. On The Amazing Spider-Man 2, the decision was made by the filmmakers and the studio to revert back to the original artwork using cutting-edge construction. “In everyone’s minds, Spider-Man looks the same from movie to movie, and it’s very simplistic, but the costume is very different from film to film, and each version has gotten different reactions,” observes Scott. During her research she marveled over CD James Acheson’s costumes from the first Spider-Man. “It is gorgeous,” she gushes, “they basically had a version of a spandex suit, it was mostly printed and the web line was actually hand-cut and laid on. The costumes were so labor-intensive for how simple that they appear, they blew my mind.” For her design, Scott employed the latest computer graphics tools to mathematically lay out a pattern which was later applied to a silk screen, allowing rubberized ink to be placed precisely. The web design is intricate and identical from suit to suit, resulting in a set of 45 perfectly matched multiple costumes. In a converse situation, Mingenbach was, in her words, “freed from the tyranny of spandex” in X-Men: Days of Future Past. “Director Bryan Singer felt no obligation to perpetuate the ‘onesie’ for his superheroes, he thought it was silly,” chuckles Mingenbach. Singer wanted the suits to look protective, real, and familiar. Mingenbach acquiesced and merely gave visual nods to their superpowers. “We used fabrics that would read as impenetrable and therefore protective. Also, we incorporated printed fabrics and meshes that gave texture and bulk, creating visual interest and depth. It was a haute couture/protective look!” “I just had an instinctive feeling when I did Star Trek, as to what fit into that world,” says Kaplan. “I wanted to hold on to the elements that people remember, but bring them into the future. For the volcano suit, I used copper, because there’s a before and after. We see this beautiful shiny suit, and then he enters the volcano and it’s all burned up, distressed, and patinaed, because with heat, copper becomes all different beautiful colors, like turquoise. I also wanted something that was very reflective so you would see all the fire inside the volcano, even when camera is just on the performer.” Big, bold, and brash, the concept of the blockbuster is one that is uniquely American. While their creation can be a crucible, the return for the Costume Designer is immense because perhaps no film costume is as beloved of audiences. Scott observes, “People really love it and it means something to them. So, in your own small way, you’ve given some gift of pleasure to people. It’s a kind of happy coincidence, a lucky, wonderful byproduct.” Because of this worldwide appeal, the blockbuster costume has a powerful legacy, which as Costume Designers we should be the first to recognize.

Spock (Zachary Quinto) in Star Trek Into Darkness. CD Michael Kaplan

Clockwise from top left: Sanja Hays, Deborah Scott, Michael Wilkinson, Louise Mingenbach, and Michael Kaplan. Spring 2013 The Costume Designer

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Behind the Seams

Costume Designers Take a Turn in the Spotlight by Christine Cover Ferro

Photos by Haoyuan Ren Photography

M

ay 1, 2013, marked the premiere of Behind the Seams: An Insider’s Look at Costume Design on the ReelzChannel. The special, which ran through midMay, was produced by the jline:group and takes evolutionary leap from 2012’s Behind the Seams: The 14th Annual Costume Designers Guild Awards Special, which also aired on Reelz. While highlights from the awards ceremony were included, this year’s program is primarily a documentary on the Costume Design process. At the Guild Awards, jline:group’s team took the opportunity to conduct interviews with many of the nominees and the actors on their projects. Additionally, set visits to Boardwalk Empire, The Good Wife, Once Upon a Time, Revenge and Saturday Night Live give the audience a glimpse into a Costume Designer’s day. They covered many technical aspects of the job: from fitting period suits, to dealing with blood packs, to chain mail rehabilitation and recycling, to heel height calculations. The special also delves into the Costume Designer’s role in character development, with extensive supporting testimony from their casts. Both Nashville’s Connie Britton and Argo’s Tate Donovan discuss how their costumes significantly impact their performance, saying that stepping into the clothes proved instrumental in “getting” their characters. The project developed out of the decade-long partnership between CDG and the jline:group, who produce the annual

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The Costume Designer Spring 2013

jline’s Deme Stavrakas, JL Pomeroy, and Sarah Cowperthwaite CDG Awards Ceremony. “Each year, my team and I feel like we are so lucky to learn new ‘secrets’ about the intricacies involved in the extraordinary work of Costume Designers. We wanted to find a way to share our insider’s look with a wider audience than just those who attend the CDGA gala,” said executive producer JL Pomeroy. Screenings of the show were held in both New York and Los Angeles. Several of the interviewees were in attendance to the delight of Pomeroy and her team. “So far, our greatest reward has been receiving consistent feedback from Costume Designers that they feel the film really encapsulates their contribution to film and television. For Sarah, Deme, and I, that is the ultimate win. We hope to continue educating audiences about the integral role Costume Designers play in creating character … one stitch at a time.” The production team included JL Pomeroy as executive producer, Sarah Cowperthwaite as supervising producer and Deme Stavrakas as associate producer, all from the jline:group, with support from Alex Lippin of The Lippin Group.


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Symposium 2013

Think of it as a conversation with 17 of the most tantalizing Costume Designers in the world. Are you pinching yourself yet? We were. From the revelation of CD Mark Bridges trying to find a silent garbage bag for Silver Linings Playbook, to CD Paco Delgado being inspired by Delacroix’s “Raft of the Medusa” for

Les Misérables, to Kasia Walicka Maimone having a scant 31/2 weeks of prep on Moonlight Kingdom, to Jacqueline West prefitting 1,500 actors for Argo, to CD Joanna Johnston of Lincoln admitting that sometimes Costume Designers dive in without seeing the water level. Moderated by CD Chrisi Karvonides, secrets were revealed.

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CD Kasia Walicka Maimone - Moonlight Kingdom • CD George Little -  Zero Dark Thirty • CD Mark Bridges - Silver Linings Playbook and The Master CD Jacqueline Durran - Anna Karenina • CD Ruth Myers - Hemingway & Gellhorn CD Joanna Johnston - Lincoln • CD Eduardo Castro - Once Upon a Time CD Jacqueline West - Argo • CD Karri Hutchinson - Hatfields & McCoys CDs Ann Maskrey and Bob Buck - The Hobbit CD Judianna Makovsky - The Hunger Games • CD Paco Delgado Les Misérables • CD Ann Walters - Treme • CD Tom Broecker - SNL and 30 Rock CD Lou Eyrich - American Horror Story

Photo: Getty Images

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The Costume Designer Spring 2013

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IN FOCUS BOLDFACE NAMES

BFN - Work

CD Kelly Conway has kept herself busy designing the Jack in the Box commercial campaigns, using Ill Alan Villanueva for the most recent segment. April was busy for ACD Monique Long, who designed a fourspot Metro PCS commercial, starring four UFC world champions, including Gold medalist Ronda Rousey, celebrated her 13th year as costume supervisor for the 48th Annual Academy of Country Music Awards at the MGM in Vegas; and wrapped with the Tim McGraw Superstar Summer Night Special from Las Vegas as supervisor. “Not your typical Western but a lot of fun” is what CD Michael T. Boyd reports of his latest NBC pilot, The Sixth Gun, based on the graphic novel series of same name, set in the 1880s with a supernatural edge: zombie monks and six pistols with evil powers. Boyd was glad to have his Into the West crew working with him again.

Illustrator Robin Richesson’s sketches for CW pilot Reign CDGers always welcome the flow of work that abounds during pilot season, and this spring had Ill Robin Richesson sketching 16thcentury illustrations with a contemporary twist for CD Meredith Markworth-Pollack’s CW pilot Reign. Set in the 1500s and shot in Ireland, the period drama chronicles 15-year-old Mary Queen of Scots’ arrival and rise to power in France, and was just green-lit to go to series, taking Markworth-Pollack to Toronto for the season. CD Robin Burkle Kennedy just wrapped the Untitled Greg Garcia Comedy pilot for CBS with much gratitude to her Local 705 crew. The cast features Will Arnett, Beau Bridges, and Michael Rapaport. CD Liz Bass is at the wheel of a Web film for Vuguru, Welcome to the Doghouse, after wrapping a flurry of pilots: Jacked Up for CBS, starring Patrick Warburton and Tyne Daly, TV Land’s Kristie’s New Show, and ABC’s Divorce: A Love Story, with Adam Goldberg, Regina King, and Andrea Anders. CD Laura Jean Shannon reunited with director Jon Favreau (Elf & Iron Man previously) to design the NBC/Universal pilot About a Boy, written by Jason Katims of Friday Night Lights and Parenthood fame, starring Minnie Driver, David Walton, Al Madrigal, and Leslie Bibb. CD Danielle Launzel just finished an ABC pilot, Middle Age Rage, with ACD Jill Chizever by her side, but not for too much longer; Chizever is five months’ pregnant and will be truly missed by Launzel during her leave. CD Olivia Miles has the finish line in sight on her latest project, Full Circle, for DIRECTV’s second original content series, written by Neil LaBute, shooting locally and wrapping in June. CD Dina Cerchione just completed a prime-time dating game show for the CW, Perfect Score, hosted by Arielle Kebbel. CD Marissa Borsetto juggled a trio of projects—Wizards of Waverly Place: Alex vs. Alex for Disney, ABC TV movie Trophy Wife, starring Malin Akerman, Bradley Whitford, and Marcia Gay Harden, and closing with the multi-cultural family comedy, Welcome to the Family for NBC. 30

The Costume Designer Spring 2013

CD Joyce Kim Lee is thrilled to see her pilot, Haunted Hathaways, picked up and will design the rollout of 20 episodes of supernatural comedy for Nickelodeon. CD Michael T. Boyd’s sketches for The Sixth Gun

CD Joyce Kim Lee’s costumes for Haunted Hathaways Ills Felipe Sanchez and Oksana Nedavniaya teamed up to produce illustrations for CD Kym Barrett’s continuing work for the 2014 Winter Olympics Opening Ceremony in Sochi, Russia. CD Lisa Davis is currently designing costumes for the new reality series Felt, based on true couple’s therapy sessions with an added twist: actors are all puppets created by Davis.


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CD Kimberly Adams just wrapped Halt & Catch Fire, the AMC pilot shot in Atlanta, dramatizing the personal computer boom of the 1980s.

COSTUME DEPARTMENT

Amazon has taken its first stab into original content from a major studio (Sony TV) with Zombieland, the streaming TV pilot designed by CD Peggy Stamper. CD Frank Helmer is also in town through the summer designing season five of Drop Dead Diva for Lifetime/ Sony. CD Susanna Puisto predicts her latest CBS pilot for director Catherine Hardwicke will have temperatures rising: Reckless, shot in Charleston, SC, stars Anna Wood and Cam Gigandet in a steamy, legal drama chronicling a Yankee lawyer and a Southern attorney caught on opposite sides of a police sex scandal. CD Jenny Eagan is in New Orleans designing the HBO Untitled Detective Project, with Matthew McConaughey, Woody Harrelson, and Michelle Monaghan, for Jane Eyre director Cary Fukunaga.

ComingSoon!

CD Marilyn Vance finds herself in Baton Rouge designing A&E’s mini-series Bonnie and Clyde: Dead and Alive, starring Emile Hirsch and Holliday Grainger, airing on A&E, Lifetime, and History communally this fall. After designing the pilot last summer, CD Marie France is now in Detroit joined by CD Derek Sullivan as supervisor, and set to design the AMC series Low Winter Sun, based on the British miniseries of the same name, starring Mark Strong and Lennie James.The story kicks off with the murder of a Detroit cop by a fellow detective. After a grueling previous season, CD Ernesto Martinez is excited to be in Wilmington, NC, for season four of Eastbound & Down, vowing to keep the shenanigans of Kenny Powers under wraps for now. CD Lizz Wolf is on location in New Orleans currently designing her feature Heat, with Jason Statham, Stanley Tucci, and Hope Davis for director Simon West, after completing a pilot for The Saint, also with West. CD Kristin Burke brought to rest Insidious: Chapter 2—a good, fun kind of scary sequel to the profitable first feature with all the key creative players back: Rose Byrne, Patrick Wilson, Barbara Hershey, and director James Wan. CD George Little, along with CD Dan Lester assisting, have been in Los Angeles and New Mexico on the sci-fi thriller Transcendence for Alcon Entertainment, starring Johnny Depp, Paul Bettany, Kate Mara, Rebecca Hall, Cillian Murphy, Morgan Freeman, and Cole Hauser. CD Mark Bridges is ramping up to design his seventh feature for director Paul Thomas Anderson in the Thomas Pynchon adaptation, Inherent Vice, set in 1970s Southern California. The story follows a stoner detective (Joaquin Phoenix) trying to solve the case

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BOLDFACE NAMES of a kidnapped girl he used to date. ACD Kristen Kopp joins Bridges, with Owen Wilson and Benicio Del Toro starring. CD Aggie Rodgers is happy to be working in her neighborhood of San Francisco with a great crew, designing some of her most expressive work in recent years for her latest feature, Quitters, shooting this June. Ill Lois DeArmond has had double-duty illustrating a few Western features which are shooting in Santa Fe, first, The Homesman for CD Lahly Poore, starring Hilary Swank, James Spader, Meryl Streep, Tim Blake Nelson, with Tommy Lee Jones starring, directing, and producing, then A Million Ways to Die in the West for CD Cindy Evans on Seth MacFarlane’s film, starring Charlize Theron, Amanda Seyfried, Liam Neeson, Neil Patrick Harris, and Giovanni Ribisi. Like Tommy Lee Jones, MacFarlane parents the project from conception to birth.

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CD Michael Wilkinson and ACD J.R. Hawbaker are planted in Boston on the new David O. Russell drama, the true-storied feature about a couple of con artists in the 1970s forced to work with a federal agent to bust dirty mobsters and politicians, starring Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence.

Manufacturing Motion Capture & Green Screen Suits

CDGers calling the south home for a few months or more: CD Denise Wingate has recently begun her latest feature, Solace, in Atlanta, with Anthony Hopkins and Colin Farrell as a retired doctor with psychic abilities enlisted by a FBI agent to help track a killer with similar abilities.

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In April, CD Jenni Gullett completed the Vancouver-shot Almost Human, a sci-fi pilot for the ever-busy producers J.J. Abrams and Joel Wyman (Fringe) in a story based in the not-so-distant-future where LAPD humans and androids team up and fight crime.

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CD Wendy Chuck is working through June in Wilmington, NC, on Tammy, a New Line/WB comedy feature, starring Melissa McCarthy, Susan Sarandon, Dan CD Jenni Gullett’s costume for Almost Human Aykroyd, Allison Janney, and Kathy Bates in a tale of a woman hitting the road with her hard-drinking grandmother.

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IN FOCUS BOLDFACE NAMES

BFN - ENTREPRENEURS CD Michele Michel recently created an online commerce website aptly named, DesignedbyHollywood.com. Launched on April 1, Designed by Hollywood is a marketplace for entertainment professionals to showcase and sell the products they create.

CD Carlo Poggioli’s workroom for Divergent CD Carlo Poggioli and local ACD Giovanni Lipari are working in Chicago on Divergent, the futuristic feature by director Neil Burger, starring Shailene Woodley, Kate Winslet, and Mekhi Phifer. Poggioli couldn’t be happier with the local crew and gives kudos to supervisors Valerie Zielonka and Elaine Ramirez. ACD Monique Long as key, joined CD Salvador Perez on location in Vegas for a few months shooting the feature Think Like a Man 2. CD April Ferry recently headed back north to Vancouver to design the last huge and final crazy scene for RoboCop. Ill Gina Flanagan had great fun on her recent illustrating project for CD Sharen Davis’ latest feature, Nautilus, aka Godzilla, shooting now in Vancouver.

In summer 2013, CD Arefeh Mansouri will open the luxury boutique, Arefeh, at 150 Worth in Palm Beach.The boutique will offer fashionably chic, ready-to-wear evening wear, evening wear, and couture bridal designs for women. www.arefeh.com Opal Moon Designs by CD Kerrie Kordowski has been selected to be featured as the avant garde designer for the 4th OC Fashion WeekSM, “In the Pursuit of Fashion.” Opal Moon is also traveling to San Francisco to be a part of the How Weird Street Faire and Tribal Fest, a tribal and alternative style belly dance event.

BFN - Festivals CD Jacqueline Saint Anne was a guest speaker at Working Wardrobes in Costa Mesa on April 3. Working Wardrobes empowers men, women, young adults, and veterans to overcome difficult challenges, confidently enter the workforce, and achieve self-sufficiency.

Ills Phillip Boutte Jr. and Keith Christensen are working with CD Jeffrey Kurland and ACD Leighton Bowers on Disney’s upcoming live-action feature Tomorrowland, filming in Vancouver, directed by Brad Bird. The plot of the sci-fi feature remains under wraps, but George Clooney and Hugh Laurie star as adversaries.

Juliette Binoche and Clive Owen

Across the border, our Canadian member, CD Tish Monaghan, is busy at work in Vancouver on Words and Pictures , a romcom feature set in an isolated New England prep school that centers on a charismatic English teacher and an intensely private art instructor, played by Clive Owen and Juliette Binoche, and the complications that arise from their unlikely liaison.

CD Jacqueline Saint Anne at Working Wardrobes in Costa Mesa.

CD Kristin Burke has been asked to do a TED talk for TEDx Pacific Palisades on June 29. Burke will be talking about clothing, identity, and how we use the language of dress to create costumes.Tickets are available at http://www. tedxpacificpalisades.com /tickets/

CD Kristin Burke

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IN FOCUS BOLDFACE NAMES CDs Colleen Atwood , Mark Bridges, Ellen Mirojnick, and Mary Zophres will take part in a panel, The Iconic Moment, at the Los Angeles Film Festival June 20, hosted by the Academy of Motion Pictures Arts & Sciences. In March, ACD Kim Ngo traveled to Phnom Penh, Cambodia, to teach a dressmaking workshop called Seamless Possibilities.The 88 Bikes Foundation and AFESIP partnered up to host this extraordinary five-day workshop for 38 girls. Ngo taught the basics of apparel design and tried to convey how to be inspired by the world around you to make a garment that represents the beauty inside you.

ACD Kim Ngo teaching a dressmaking workshop in Cambodia. Photo by Dan Austin The Cameron Art Museum is showcasing the costumes of Wilmington, NC, native CD Alonzo Wilson. Organized by the Ogden Museum of Southern Art: New Orleans, the exhibition is entitled Well Suited, and will include costumes from HBO’s award-winning series Treme. With an emphasis on the exquisitely crafted Mardi Gras Indian suits from the series, the show will also feature design sketches, film stills, and behind-the-scenes photography. Well Suited runs from May 18 to November 3, 2013.

CD Alonzo Wilson discussing his work for Treme. Photo by Paul Schiraldi 36

The Costume Designer Spring 2013


CD Dawn Ritz is a featured designer at the 2013 Phoenix,AZ, Comic-Con.The event took place over the Memorial Day holiday weekend.

CD Dawn Ritz

The Comic-Con committee is gearing up for CDG’s presence at Comic-Con San Diego to be better than ever! Check http://costumedesignersguild.com /articles-videos/news-events/comic-con for updates on panel discussions and other fun events.

BFN - Honors

The Fresh Beat Band. Photo: Randee St. Nicholas/Nickelodeon. ©2011 Viacom, International, Inc. All Rights Reserved. CD Joyce Kim Lee has received her third Emmy nomination in Out­standing Costume Design/Styling for her work on Nickelodeon’s show The Fresh Beat Band. The awards ceremony takes place on June 14, 2013.

CostumeRentals offers year-round access to the Guthrie Theater and the Children’s Theatre Company’s combined inventory of extraordinary costume pieces. Whether you’re looking to costume an entire production, find an ensemble for a particular character or simply provide the quintessential accessory, CostumeRentals has a unique array of period costumes, flamboyant frocks, hilarious hats and mysterious masks.

The Costume Designers Guild congratulates CD Jacqueline Durran for winning the 2013 Academy Award for Best Costume Design for the film Anna Karenina. Compiled and written by: Suzanne Huntington shuntington@cdgia.com Stacy Ellen Rich lastace@mac.com CD Jacqueline Durran Photo by Darren Decker / ©A.M.P.A.S.

www.costumerentals.org • 612.375.8722 855 east Hennepin, minneapolis, mn 55414 Spring 2013 The Costume Designer

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SCRAPBOOK

The cast of China Beach circa 1989. Photo: Getty Images

Remembering Paula Lynn Kaatz Paula became a member of (IATSE Local 892 CDG) in the 1980s and was a member of (Local 705 Motion Picture Costumers) for nearly forty years (1974–2013). Paula was all about costumes, and the people providing costuming services to the motion picture industry. She was nominated six times as a costume supervisor, winning two Emmy Awards, (ABC Pilot) China Beach 1988 and (CBS Mini-Series/Special) Pancho Barnes 1989. She was a Local 705 Executive Board member, served on the Education Committee, and was the Field Representative for 705. In 2012, Paula worked on the 75 Years of Hollywood Costume Event held on October 13, 2012.

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The Costume Designer Spring 2013

We remember Paula for her dry sense of humor and passion for storytelling. Walking a picket line with her was always entertaining. She appreciated the lifestyle afforded her as an IATSE union member and worked to organize non-union productions, giving opportunities to others to have health and pension benefits. At phone banking events for political campaigns over the years, her smile and welcome were always present. We will remember our sister Paula Lynn Kaatz. (January 19, 1946–May 3, 2013)

IATSE Friend, Betty Madden


The Official Magazine of the Costume Designers Guild

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

Non-Profit Org. U.S. Postage Paid Santa Ana, CA Permit No. 450

The Costume Designer - Spring 2013  

The official trade magazine of the Costume Designers Guild, IATSE Local 892 (Spring 2013)

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