The Costume Designer - Fall 2015 Issue

vol. 11, issue 2

FEATURES CDG Awards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Symposium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Legacy of Mary Rose . . . . . . . . . . . . . . . . . . . . . . . . .

Mentorship, The Invisible Foundation . . . . . . . . . . . . . .

Spark @ The Academy . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 20 22 24 30

My Mentors—Eduardo Castro . . . . . . . . . . . . . . . . . . . . . 32

DEPARTMENTS

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Contributors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 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 Ann Foley, Marlene Stewart, and Christopher Lawrence photographed at International Silks and Woolens

by Emily Berl. Makeup by Debbie Zoller and hair by Richard DeAlba.

TOC photo: Milena Canonero’s Oscar-winning costumes for The Grand Budapest Hotel at the FIDM Exhibit.

Getty Images.

Union Label. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

President’s Letter Executive Director Labor Report Report from the Costume Design Governor for the Television Academy

The Costume Department. . . . . . . . . . . . . . . . . . . . . . . . . 14 History of Dress

Book Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 What’s On What’s In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Boldface Names

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Spring 2015 The Costume Designer

3

EDITOR’S NOTE In our modern visual language, red symbolizes passion. But in the medieval lexicon, red was the most precious pigment. It is no wonder that noblemen and religious figures in 15th-century paintings were cloaked in crimson and ermine to illustrate their prestige. In actuality, the color was made from the South American cochineal insect. The pigment was extracted by artisans in medieval guilds that defended the formula with their lives; trade secrets were not passed on, they were coveted and guarded.

In what seems to be another universe, obscure information is a Google search away and there are university curriculums dedicated to disseminating knowledge freely. But some lessons can only be absorbed on the job, or under the tutelage of a master. I find mentorship to be a deeply resonating theme in our Guild, and I am delighted to bring it to your attention in this spring issue. I would go so far as to say that we are shaped by our mentors because they define the edges of what we think is possible. Work is so often just that—work. But occasionally, the transcendent happens. Not unlike a rocket needs boosters to clear the weight of the atmosphere, sometimes a mentor makes the difference between a career launch and remaining earthbound.

After many conversations with our members, I’ve learned that mentorship relationships are often extensions of lives lived magnanimously, rather than deliberate choices or “work.” If we are lucky enough to be a mentor or mentee, we experience a beautiful, self-perpetuating cycle of generosity and gratitude, which is the cornerstone of what our Guild represents.

I feel fortunate to have called Theadora Van Runkle my mentor in art and in life.

Thank you, Thea, for your example and encouragement, which carries me to this day.

costumedesignersguild.com EDITOR IN CHIEF

Anna Wyckoff

ASSOCIATE EDITORS

Bonnie Nipar Christine Cover Ferro PRESIDENT

Salvador Perez

sperez@cdgia.com VICE PRESIDENT

Cate Adair

cadair@cdgia.com SECRETARY

Ivy Thaide

ithaide@cdgia.com TREASURER

Nanrose Buchman

nbuchman@cdgia.com EXECUTIVE BOARD

Mary Vogt

mvogt@cdgia.com

Christopher Lawrence clawrence@cdgia.com

July Weiss

jweiss@cdgia.com

Mona May

mmay@cdgia.com

Anna Wyckoff awyckoff@cdgia.com

Phillip Boutté Jr.

Costume Illustrators Representative pboutte@cdgia.com

Kristine Haag

ACD Representative khaag@cdgia.com LABOR REPRESENTATIVES

Betty Madden Sharon Day

BOARD ALTERNATES

Kristin Burke

kburke@cdgia.com

Thank you International Silks and Woolens Location of our cover photo shoot ISW was established in September 1969 by Nahum Zimmer, Paul Mandel, Salim Israwi, and Nandor Markovic, all of whom have now retired.

Presently, the Israwi brothers: Salim, Souhail, and Safwat run the store.

ISW has always partnered with and been an advocate of the Costume Designers Guild.

Jennifer Soulages

jsoulages@cdgia.com

Lyn Paolo

lpaolo@cdgia.com

Terry Gordon tgordon@cdgia.com BOARD OF TRUSTEES

Jacqueline Saint Anne jsaintanne@cdgia.com

Cliff Chally

chally@cdgia.com

Barbara Inglehart

bingleheart@cdgia.com ALTERNATE TRUSTEE

Dorothy Amos

damos@cdgia.com EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@cdgia.com

MEMBER SERVICES ADMINISTRATOR

Suzanne Huntington

shuntington@cdgia.com RECEPTIONIST/SECRETARY

Cecilia Granados

cgranados@cdgia.com PUBLISHER

IngleDodd Media ADVERTISING

310.207.4410

4

The Costume Designer Spring 2015

cdg@IngleDodd.com www.IngleDoddMedia.com

OUTSTANDING COSTUMES

FOR A PERIOD/FANTASY SERIES, LIMITED SERIES OR MOVIE Costume Designer

TERRY DRESBACH, CDG

STA R Z F YC . c o m

Visit starz.com for airdates/times. STARZ and related channels and services marks are the property of Starz Entertainment, LLC. Outlander Š 2014 Sony Pictures Television, Ltd. All Rights Reserved. PBR4459-15-M.

CONTRIBUTORS

MARCY FROEHLICH

EDUARDO CASTRO

DIANA EDEN

(History of Dress, Text)

(My Mentors)

(Legacy Mary Rose)

Marcy Froehlich 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. Froehlich has long had an interest in historical costume and research, so she is delighted to contribute to the magazine in this way.

Eduardo Castro is a CDG Career Achievement recipient. He received a master’s degree in Costume Design from Carnegie Mellon University’s School of Drama. A seven-time Emmy nominee, Castro has designed over 30 television series including Miami Vice and Ugly Betty. Additionally, he has created several television movies and worked on many films. He delights in drawing his own illustrations of his designs.

Diana Eden spent 30 years in Hollywood Costume Designing 14 prime-time TV series, 16 pilots, TV movies, and feature films. Additionally, she has designed dozens of stage productions. Eden has also served two terms as Secretary and one term as Vice President of the CDG, as well as serving on a number of committees, including presently co-chairing the Legacy Group.

JACQUELINE SAINT ANNE

(Co-contributor to Boldface Names)

Eden received an Emmy nomination for A League of Their Own and two more Emmy nominations for NBC’s Passions. She is co-author of the book Retro Chic.

Since her move to Las Vegas in 2008, Eden has designed several films and stage productions and taught at UNLV.

CHRISTINE COVER FERRO (Associate Editor, Spark @ The Academy, Co-contributor to Boldface Names) Christine Cover Ferro 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 enjoys exploring the different facets of Costume Design and bringing them to light in the magazine.

STACY ELLEN RICH (The Reading List) Born in Panama and raised in the United States and Europe, Emmy Award-winning Costume Designer and President Emeritus of the CDG, Jacqueline Saint Anne has been a frequent contributor since the inception of our magazine. She became a Board member soon after joining the Guild in 1982 and she continues to serve the CDG as a Trustee. In her post-television career, Saint Anne regularly designs eight operas per season from October to May as well as television commercials and films. She is the mother of two and the mentor of many.

6

Stacy Ellen Rich joined the CDG in 2005 and she is thrilled to be involved with the magazine. Her design career began with study in Florence, Italy, 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 City and the Tate Modern in London.

It is her pleasure to assist in compiling the fantastic array of accolades earned by our Guild members.

The Costume Designer Spring 2015

ROBIN RICHESSON (History of Dress, Illustrator)

BONNIE NIPAR (Associate Editor, What’s On, What’s In) Bonnie Nipar 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 four recurring columns.

“It’s a treat to honor the latest accomplishments of our peers.”

After joining the Guild in 1992, Richesson currently works as a costume illustrator, a storyboard artist, and 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.”

OUTSTANDING COSTUMES

FOR A PERIOD/FANTASY SERIES, LIMITED SERIES OR MOVIE Costume Designer TIM ASLAM

STA R Z F YC . c o m

Visit starz.com for airdates/times. STARZ and related channels and services marks are the property of Starz Entertainment, LLC. Black Sails Š 2015 Starz Entertainment, LLC . All rights reserved. PBR4459-15-M.

UNION LABEL PRESIDENT’S LETTER This issue of The Costume Designer magazine highlights mentors. Where would we be in our careers if we didn’t have the chance to learn from those who paved the way before us? In my career, I have worked for some very talented Costume Designers including Rosanna Norton, Joseph Porro, and Elsa Zamparelli who taught me so much about Costume Design.

Once I joined the CDG as an assistant costume designer, my first job was assisting Marlene Stewart on the feature film, The Phantom. I only had one chance to work with Marlene, but lessons I learned from her on that project have stayed with me throughout my career. Producers and directors are always impressed by my presentations, which is one of the tools I learned from Marlene. Every time I take a meeting, I think of Marlene and the wisdom she taught me.

You can spend many years studying the art of Costume Design in school, but the real lessons come from working with talented professionals who show you how they do it in the real world. So many of our great Costume Designers like Eduardo Castro and Judianna Makovsky worked with amazing mentors, like Milena Canonero, who gave them the tools to have great Costume Design careers of their own.

I would like our new members to have the chance to learn from the more experienced Costume Designers who have a wealth of knowledge to pass on. We have an active Legacy Group of retired members who are a valuable asset to us all. Give them a call, invite them for a coffee, and ask for advice, you will learn so much from them.

The CDG recently went to contract negotiations with the producers. I had the opportunity to attend with the Negotiating Committee, and it was an eye-opening experience. I encourage all members to join the Negotiating Committee to experience how it works. It will give you a whole new respect for what IATSE has been able to achieve.

I finally made time to create my Costume Design website. My agent has been asking me to do this for years, as producers expect it, instead of lugging around your portfolio. The images from the earlier part of my career were not available in digital format so I had to scan my portfolio, and the large format scanner in our CDG office was amazing. It made the job so easy. I hope all members make use of the computer stations in the office. Visit my website at www.salvadorperezdesign.com. Hopefully, it will inspire you to build your own.

Our Education Committee Chair, Ivy Thaide, has been busy with many classes. I attended the Adobe Illustrator class. In just a couple of hours on a weekend, I learned some valuable tools to help with my presentations. Take advantage of these free classes available to all CDG members to learn the latest technology. It will be a valuable asset in your career.

I am hopeful that with the California Film & Television Tax Credit starting in July of this year, Hollywood will be busy once again and our members will be working here at home. We have suffered many years from so much production leaving California following tax credits, now we get to enjoy the benefits of film tax credits here in our home state of California!

In solidarity, Salvador Perez sperez@cdgia.com

Designers “takeCostume the ordinary and make it extraordinary. ” –Salvador Perez

Spring 2015 The Costume Designer

9

UNION LABEL EXECUTIVE DIRECTOR Spring brings new beginnings in nature and also here at the Guild. After a busy holiday season and a successful awards season, we all took a quick breath and dove into the spring projects. We are hard at work to bring more seminars, workshops, and social events to our membership. The Education Committee has planned many exciting seminars and classes, so be sure to open the weekly GEMS email for the latest schedules. Our new Executive Board was sworn in at the April Executive Board Meeting and they were ready to get to work for the membership. I send a big thank-you to all who participated in this election as a candidate or a voter, and a special thank-you to our Election Committee Chairs, Jennifer Collopy and Mikael Sharafyan.

In the second week of April, the IATSE and the AMPTP hammered out a new three-year contract to begin on August 1, 2015. Details will be coming shortly about the new terms, and I know the membership will be pleased with the results.

President Loeb was impressive in his abilities to stave off losses while moving forward in a direction that will benefit IATSE members.

We have lots of exciting things happening in the next few months. We just held the Legacy Brunch where we honored President Emeritus Mary Rose. In just a few weeks, we will hold our annual mixer with our sister Local 705, Motion Picture Costumers union. Be sure not to miss it.

In July, your elected delegates will head off to Honolulu, Hawaii, for our District 2 meeting.

District 2 consists of California, Nevada, Arizona, and Hawaii. This is the first time in more than 10 years the convention has been held in Hawaii.

Remember to always keep your contact information updated with the Guild office so we can be sure to let you know about upcoming events. An active involved member is always a treasure!

™

In solidarity, Rachael Stanley rstanley@cdgia.com Spring 2015 The Costume Designer

11

UNION LABEL

As your Costume Design Governor for the Television Academy, I am pleased to announce we’ve implemented several major and exciting changes to both our Emmy categorizations and Active membership requirements.

In terms of Emmy nominations, one of our greatest successes has been separating Contemporary costume submissions from Period/Fantasy/Sci Fi. This new direction means Contemporary costumes will no longer compete with Period/Fantasy/Sci Fi for Emmy consideration. Contemporary costumes are defined as those styles from the past 25 years, i.e.: this year the Contemporary category would encompass all costumes depicting any of the years between 2015–1990.

Contemporary costume submissions will compete in their respective programming categories, either: series, mini-series, or MOW. Separately, Period/Fantasy/Sci Fi would have the same three opportunities. This means, based on the number of votes, there could be a possible number of six Emmys awarded for costumes.

But only if YOU VOTE! The Juried Award category will remain unchanged.

Changes to our Active membership requirements allow eligible assistant costume designers, key costumers, set costumers, heads of workroom/workroom supervisor, and owner/head of independent costume manufacturing facilities to become Active members. For membership consideration, applicants must have 25 hours of TV programming which have aired within four consecutive years on any platform from network, cable, digital, and streaming, among others.

None of this works if you, our Academy Peer group, doesn’t participate and vote. We need each and every member to vote, and that means voting twice … first for the nominations and second for the final vote.

For all Emmy submission information, please visit the Academy website at televisionacademy.com.

Crucial deadlines are as follows: June 15 Nomination voting begins June 26 Nomination voting ends July 16 Nominations are announced live August 3 Nomination viewing site opens August 17 Final round of voting begins August 28 Final round of voting ends September 12 Creative Arts Awards and Ball Join us May 30, as we host a brunch for you, at the Beverly Hills Montage Hotel’s Scarpetta Restaurant. Come meet and greet your fellow members, find out about the changes, ask questions, and get ready to vote. Let’s start the awards season together. Watch for a formal invitation in your email from the Television Academy and be sure to RSVP! Sincerely, Terry Gordon tgordon@cdgia.com

CALENDAR May 25 Memorial Day office closed June 1 Executive Board Meeting June 20 General Membership Meeting July 3 Holiday office closed July 6 Executive Board Meeting July 9–12 CDG at Comic-Con July 10–12 District 2 in Hawaii July 26–31 General Executive Board August 3 Executive Board Meeting

12

The Costume Designer Spring 2015

UNION LABEL LABOR REPORT An Argument for Minimum Wage Increase Service jobs swell and incomes stagnate as minimum wage earners are unable to make ends meet without government assistance. While Democrats blame the inherent unfairness in the economy, Republicans cite high taxation and onerous regulations. Both are correct, but minimum wage should not be a political football, people’s lives are at stake.

The essential question is how do full-time workers earn enough to support their basic needs and thrive without turning to government assistance? We can pay a liveable wage, giving workers the dignity of providing for themselves, or we can tax ourselves in order to give these same workers the assistance they need to cover their bases.

Are we willing as taxpayers, to give higher taxes to fund assistance to underpaid workers so we can cover the difference created by undervalued prices for the goods we purchase? Our social values are a direct reflection of how and what we are willing to pay. Minimum wage, by definition, should support workers, so they can feel the direct benefits of working and not be reliant upon social assistance programs. Also, if a worker can do better not working, then why work at all?

We can decide to pay a true value price that is fair in the existing marketplace or gamble on the hope that we can escape higher prices. We can choose to be ethically fair-minded and allow others to share in the success of hard work and fair play. Perhaps a living wage will not change your bottom line, but it can alter the playing field in the marketplace to fairly reflect the cost of goods and services.

California spends $3.7 billion, New York spends $3.3 billion, Texas spends $2 billion on public assistance programs to among others: fastfood workers, child-care and home-care workers, and part-time college faculty workers. Let’s set political teams aside. Minimum wage is about the quality of life in our communities.  In solidarity, Betty P. Madden bmadden@cdgia.com Spring 2015 The Costume Designer

13

THE COSTUME DEPARTMENT

HISTORY OF DRESS Kente Cloth The Formal Wear of West Africa

Kente, kente, kente cloth Strips of woven hue.

Silk and cotton on the loom Patterns bold and true.

Royal, sacred, made for kings, Symbols of great wealth.

Geometric, bright, and proud, Wear it in good health.

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

14

The Costume Designer Spring 2015

Y O U R

C O N S I D E R A T I O N

©2015 AMC Network Entertainment LLC. All rights reserved.

F O R

OUTSTANDING COSTUMES

FOR A PERIOD/FANTASY SERIES, LIMITED SERIES, OR MOVIE JANIE BRYANT Costume Designer TIFFANY WHITE STANTON Co-Costume Designer CHRISTINA M. ANTHONY Costume Supervisor

CDG Awards Photo: Kevin Winter/Getty Images

17th Annual Costume Designers Guild Gala

Albert Wolsky

Excellence in Contemporary Film

Birdman, Albert Wolsky Excellence in Period Film

The Grand Budapest Hotel, Milena Canonero Excellence in Fantasy Film

Aggie Rodgers accepting her Career Achievement Award from Harrison Ford

Into the Woods, Colleen Atwood Outstanding Contemporary Television Series

True Detective, Jenny Eagan Outstanding Period/Fantasy Television Series

Game of Thrones, Michele Clapton Outstanding Made for Television Movie or Mini-Series

American Horror Story: Freak Show Lou Eyrich Excellence in Commercial Design

Army: Defy Expectations, Villagers Christopher Lawrence Aggie Guerard Rodgers Distinguished Collaborator Award

Richard Linklater

Edith Head Award for the Advancement and Education of the Art of Costume Design

Dr. Deborah Nadoolman Landis LACOSTE Spotlight Award

Naomi Watts 16

The Costume Designer Spring 2015

Photo: Christopher Polk/Getty Images

Career Achievement Award

Naomi Watts with LACOSTE Spotlight Award

Photo: Stefanie Keenan/Getty Images

Colleen Atwood

Photo: Kevin Winter/Getty Images

Michelle Monaghan and Milena Canonero

Patricia Arquette and January Jones

Photo: Alberto E. Rodriguez/Getty Images

LACOSTE S.A. Director Beryl LacosteHamilton and President Salvador Perez

Christopher Lawrence Spring 2015 The Costume Designer

17

Photo: Kevin Winter/Getty Images

“

This Edith Head Award is particularly meaningful for me. Edith said,‘If a designer can make the audience feel that the actress is the character, then it’s a good job of costuming. My job is to help the girl who wears the dress become the person she’s playing on the screen.’ Edith Head was one of the founders of the Costume Designers Guild in 1952. When you are negotiating for your next project, be brave, take a moment, and consider,

Photo: Alberto E. Rodriguez/Getty Images

Dr. Deborah Nadoolman Landis and John Landis

Mindy Kaling and Kiernan Shipka

”

What would Edith do?

Richard Linklater Photo: Kevin Winter/ Getty Images

–Dr. Deborah Nadoolman Landis

Naomi Watts

18

The Costume Designer Spring 2015

Y O U R

C O N S I D E R A T I O N

©2015 AMC Network Entertainment LLC. All rights reserved.

F O R

OUTSTANDING COSTUMES

FOR A PERIOD/FANTASY SERIES, LIMITED SERIES, OR MOVIE CAROL CASE Costume Designer ADEJOKÉ TAIWO Assistant Costume Designer KIMBERLY CATTON Assistant Costume Designer MICHELLE CARR Costume Supervisor

SYMPOSIUM

Panel from left to right: Moderator Trish Summerville, Christopher Lawrence Ray Donovan, Ruth Carter Selma, Aggie Rodgers Career Achievement recipient, Albert Wolsky Birdman, Ane Crabtree Masters of Sex, Jenny Eagan True Detective, Mark Bridges Inherent Vice, Kari Perkins Boyhood, and Mary Zophres Interstellar.

Clockwise from top left: Ane Crabtree and Amy Perris; Oakley Cree Stevenson and Rebecca Raleigh; Jenny Eagan and Mark Bridges; guest and Ellen Falguiere; Kari Perkins and guest; Vice President Cate Adair and husband David Landau; Ruth Carter (center) and guests; Susan Nininger and guest; Trish Summerville and Albert Wolsky; Sarah Cowperthwaite, John Dunn, and Mary Zophres.

20

The Costume Designer Spring 2015

All photos courtesy of Getty Images

F O R

Y O U R

E M M Y®

C O N S I D E R A T I O N

“Costume designer Mandi Line has crafted the girls’ looks since the show’s inception, and promises more of the same bold, fashion-forward outfits that we’ve come to know and love…”

– The Hollywood Reporter

The Legacy of

Mary Rose

BY DIANA EDEN

Her style is her unabashed exuberance for life and education about Costume Design.

That spirit spills over to her mentorship of young people.

–JR Hawbaker The Legacy Group of the Costume Designers Guild honored President Emeritus Mary Rose at the 5th Annual Legacy Brunch on May 3. Rose, a two-term president, has been an ambassador for the Costume Designers Guild both here and abroad.

Rose takes great pride in the role she has played promoting television Costume Design. The annual exhibit at FIDM showcases the best of television design and the opening is counted among the most important events of the awards season.

Previously serving as one of the governors of the Television Academy, Rose has also been a pioneer in helping the next generation of designers learn the art and craft of Costume Design on the sets of professional television shows, under the stewardship of the Academy’s Foundation. Initially, the summer internship program was received with skepticism, but Rose would not be discouraged and made many calls to designers to see if they would be willing to participate. The program, which is in its 20th year, is a huge success. Rose still runs it and stays in touch with many of the former interns, many of whom have gone on to successful careers in the business.

One such intern, now an assistant costume designer, JR Hawbaker, says of Rose, “That distinct Mary Rose style is more than any shade of hair color or memorable ensemble. Her style is her unabashed exuberance for life and education about Costume Design. That spirit spills over to her mentorship of young people.”

For the full article, please go to www.costumedesignersguild.com The Legacy Group is co-chaired by Sharon Day and Diana Eden and is comprised of Peter Flaherty, Betty Madden, and Dodie Shepard.

The CDG wishes to thank the sponsors of the Legacy Brunch

22

The Costume Designer Spring 2015

F

O

R

Y

O

U

R

E

M

M

Y®

C

O

N

S

I

D

“…signature styles of well accessorized and affordable looks on 2 Broke Girls continue to inspire trends for the everyday fashionista…”

– Entertainment Tonight Online

E

R

A

T

I

O

N

Mentorship THE INVISIBLE FOUNDATION

BY ANNA WYCKOFF

Even before Marie Antoinette, clothing has always been viewed as a snippy business—heads will roll as they say. Then, there is the proximity. Somehow, Hollywood conjures a feeling of dog eat dog, or perhaps everyone has just watched All About Eve one too many times? This association isn’t limited to the stars on the screen but includes the ones behind the camera as well. Costume Design seems caught in the crosshairs of two potentially negative perceptions. Certainly, drama just makes for better ratings—thank you reality television. But what you don’t hear about is the lasting relationships that are forged in the crucible of a production, and their life-changing impact. Mentorship is not a hot topic, but it has always been an integral foundation of Costume Design.

There have been many famous mentor relationships within our Guild: Lou Eyrich worked for Carol Ramsey, Ret Turner guided Executive Director Rachael Stanley, April Ferry was championed

by Robert Fletcher, Eduardo Castro and Judianna Makovsky assisted Milena Canonero. These relationships were powerful.

Makovsky says, “Milena’s mentorship, encouragement, and friendship most certainly provided opportunities for me in film that I never could have imagined, starting as I had in theatre and opera.

I am forever grateful for her generosity and nurturing.”

To better understand the mentor dynamic, we examine the relationship of Marlene Stewart and two of her protégées, Christopher Lawrence and Ann Foley, who have gone on to highly successful design careers of their own.

Marlene Stewart and background photos of International Silks and Woolens: Emily Berl

Val Kilmer as Jim Morrison in The Doors. Photo: Getty Images

The Maven

Marlene Stewart In her first incarnation, Marlene Stewart was a highly successful fashion designer. Following a master’s degree in history from UC Berkeley, attending FIT in New York, and a stint in Europe, she finished her education at FIDM in Los Angeles. Stewart sold cocktail dresses, day dresses, and some sportswear to major department stores like Saks Fifth Avenue, Neiman Marcus, and Bergdorf Goodman. She was featured in W magazine, Women’s Wear Daily, Mademoiselle, and Glamour.

While changing backers, Stewart received a fortuitous phone call asking if she wanted to interview to design a music video. The artist was Madonna and the rest is history. At a time when the music video was an art form, Stewart learned the basics of moviemaking while surrounded by giants of the field— from the directors of photography, choreographers, hair and makeup artists, to the directors. The many filmic elements were heightened because of the abbreviated format. It is no surprise that the world of music video catapulted Stewart into Costume Design, which led her to feature films where her skills and background were indispensible.

Stewart’s love of history surfaced as she began to make movies. She remarks that her aptitude as a historian allowed her to deeply investigate a character and story on many different levels. Her inclination toward travel and being surrounded by fine artists also led her to absorb the people, cultures, and environments she was immersed in. Her accomplishments in the garment industry gave her a deep understanding of the technical aspects of building clothing and researching textiles. “It was my privilege to learn from very experienced technical people when I had my own business. I think you have an awareness of structure and fabrics and what goes into creating a line or a silhouette, because you have that information embedded in your sensibility; to turn to that for different characters is not a great leap.”

The CDG Career Achievement recipient is known for such seminal movies such as Terminator 2, Ali, JFK, The Doors, Oblivion, and the Night at the Museum series, among many others. She is presently working on the next iteration of the Divergent/Insurgent films. Stewart also enjoys participating in the Academy Spark program which exposes young students to Costume Design and other film arts.

Spring 2015 The Costume Designer

25

The Natural

Christopher Lawrence

Christopher Lawrence photo: Emily Berl. Ray Donovan photo: Suzanne Tenner/SHOWTIME

When Christopher Lawrence was a boy, his father made neckties for fun. Following his dad through fabric stores made a lasting impression on him. First, it sparked his interest. Secondly, it made him think anything was possible. The latter led Lawrence to sew himself a jacket in third grade. While he doesn’t quite remember what it looked like, he notes it got quite a bit of use. As a child, Lawrence’s family moved more than most. An interesting byproduct of multiple relocations was that he became a master of subtle shifts in style in order to blend with his peers and negotiate the difficult world of adolescence.

After studying communication at Pasadena City College, Lawrence became the manager of the Camp Beverly Hills store. The vintage military surplus hit retail gold in the eighties as purveyors of their namesake pastel T-shirts and associated merchandise.

Celebrities and Costume Designers roamed the aisles daily. But Lawrence had his sights set elsewhere.

While he shopped for stars like Candice Bergen in the store and on the side, he asked every Costume Designer that walked through the doors if they needed an assistant.

Interestingly, it was through a friend that he learned Robert Turturice needed help. Lawrence began as a personal assistant, but as soon as Turturice realized Lawrence knew his way around a fabric shop, he began hiring him on films. Eventually, Lawrence had to give up the security of his day job, but he was thrilled to be doing what he loved. “Working with Robert was an amazing education because he built most of his costumes. Being in those rooms not

only taught me the fine art of fitting, but also the ohso-important art of communication. Whether it was working with the cutter/fitter and illustrator or guiding the actor through the Costume Design, Robert’s deep respect for the process—actor, director, story— is an invaluable gift he passed on to me.”

Lawrence began to work on A-list projects and used his carefully honed powers of observation to watch the process of directors and Costume Designers working at the highest level. From each designer he learned something different. Julie Weiss made an impression upon him by saying, “One shouldn’t return to the same set of crayons.” From Albert Wolsky he learned confidence, because Wolsky came from an era before racks and racks of clothes were presented to stars. He created a design and stuck to it.

Lawrence’s breakthrough job was as an associate Costume Designer on the Michael Mann film The Insider designed by Anna B. Sheppard. Lawrence continued onto a series of films including Crank and Hannah Montana: The Movie. In Hannah Montana, Lawrence custom made all the clothing because Disney wanted a unique look, and needed to own the designs for merchandising. The sweet, winsome femininity of the clothes made headlines for their appeal and modesty.

Recently, Lawrence has created the costumes for the television series Ray Donovan and has been recognized for the sleek, understated elegance of Liev Schreiber’s looks. Additionally, Lawrence has continued designing commercials for which he has won two CDG Awards. He finds the medium to be an experimental and rewarding forum where one day he can be dressing futuristic skydivers, Vikings, or a scene in the Middle East.

Liev Schreiber and Paula Malcomson in Ray Donovan.

26

The Costume Designer Spring 2015

Photo: ©Kelsey McNeal/ABC

Ann Foley. Photo: Emily Berl

Illustration: Phillip Boutté Jr.

The Superhero Savant

Ann Foley

“Diligence is the mother of good luck,” said Benjamin Franklin. Ann Foley would agree. The Savannah native received her degree in fashion merchandizing from Georgia Southern University. During her senior year, the film 1969 came to her hometown, and her boyfriend, a production assistant, brought her to the set. Julie Weiss was the Costume Designer and Foley was astonished by the period costumes. On the heels of graduation she followed her heart and dropped fashion for Costume Design. With $500 she moved to Los Angeles. Fortunately, the one phone number she had in her pocket was for acclaimed Costume Designer and recent Career Achievement Honoree, Aggie Rodgers.

Rodgers recommended Foley to her previous assistant, Hope Hanafin, who was working on After Dark, My Sweet, one of her first films as a Costume Designer. Foley began her career as a PA for Hanafin and spent several years in independent film. There, she met Deena Appel and graduated from set costumer to key costumer. One of her first assistant jobs was for Marilyn Vance. The end of Foley’s assistant career reads like a best-of-the-best list: she volleyed from Hansel & Gretel: Witch Hunters for Stewart, to Star Trek with Michael Kaplan, to the Emmy-winning Behind the Candelabra, designed by Ellen Mirojnick.

“They each have their own way of working and their own journey, so to speak. It’s been fascinating for me getting to be part of that journey with them and has made me a better designer in the long run.”

Agents of S.H.I.E.L.D. stars J. August Richards as Deathlok

Foley offered to be Betsy Heimann’s assistant designer on the pilot of Agents of S.H.I.E.L.D., despite the fact that she had just designed two features, because she was a fan of Marvel films. When it went to series, Heimann had a film commitment and recommended Foley. To create the striking look of the show, Foley works closely with Maurissa Tancharoen, who is one of the co-creators and executive producers. Her challenge in the first season was to create six strong, distinctive characters. The second season took an edgier turn toward noir to reflect the film Captain America: Winter Soldier. Foley views this as a dark evolution.

She delights in the fact the show requires most costumes be built in-house. Additionally, she also works with Mary Ellen Fields at Bill Hargate Costumes and Legacy Effects. The schedule is challenging. In typical episodic fashion, she is required to shoot one episode while prepping the next. The task is even more complex because the Marvel Creative Committee is part of the dialogue and approval process.

One of the unique aspects of the show is that the costumes cover such a broad range of personalities.

There are the fantastical sleek garments one expects, as well as an extraordinary take on ordinary garments, which give the characters vitality, uniqueness, and accessibility. Foley says, “I’ve been so lucky and truly blessed in my assistant career to have worked with some amazing designers like Marilyn Vance, Michael Kaplan, Ellen Mirojnick, and Betsy Heimann. They’ve all taught me so much about Costume Design, and their guidance has really served me and helped me take on a project like Agents of S.H.I.E.L.D.”

Spring 2015 The Costume Designer

27

The Relationships Stewart finds it difficult to compare the way she works with any other Costume Designer, because she’s never worked for anyone else and has learned her craft through personal experience. While she’s never had a mentor, early in her career Stewart recalls the openness of designers like Wayne Finkelman and many others who were generous with their suggestions and advice. “I always like to have someone to talk to about the process,” she explains. “When working with assistants, or someone like Ann [Foley] or Christopher [Lawrence], it’s a wonderful opportunity when you can have someone that you trust. You can kind of relax a little bit—as much as anybody can relax on a movie. It’s like you can pick your family and you don’t hold back or hide anything.”

Lawrence is grateful to have worked with many designers he considers mentors including Marlene Stewart. He feels that part of being a mentee is learning from everyone you come in contact with and being respectful, aesthetically and politically, of the designer you are working with. He explains, “Marlene’s absolute trust in our partnership allowed me to walk in the Costume Designer’s shoes and experience the job firsthand, without the pressure of actually being the designer. I was fortunate to be Marlene’s eyes and voice on films that she would have a “design and go” deal on and in meetings she was unable to attend, a daunting but rewarding responsibility.”

Foley feels that each assistant has a different relationship with their designer. “I don’t think Marlene looks at it as mentoring,” she says. “We’re just such close friends.

Not one of the designers that I have worked with is consciously trying to be a mentor when they are guiding their crew. They are just trying to get the job done.”

“I think trust is the important thing.” Stewart explains, “It’s about building relationships and giving each other support—those are life skills you want to cultivate at the end of the day. Out of this trust comes the ability to communicate, learn together, and problem solve.” Her desire to keep things in perspective is rooted in her personal beliefs. “The goal is to have as rich of a life experience as you can, and it’s tough because you’re in a pressure cooker and things can get feisty.”

Like the ancient guilds, our members who work together share a knowledge which cannot be absorbed in a classroom. Some lessons are purely experiential. It is no surprise that one of the best ways to learn excellence is to watch someone extraordinary at work. Mentorship is not so much a goal or intention as a state of mind, a willingness to share on the part of the mentor, and an openness to learn on the part of the mentee.

This relationship is the crucial, unspoken foundation of our Guild. And while it will never make headlines, it gives us depth and substance. It is by supporting each other that we become more than our occupation; we become a community.

28

The Costume Designer Spring 2015

QUITE POSSIBLY, THE MOST DURABLE, MOST COMFORTABLE BOOTS EVER MADE. They are rugged, with their own natural beauty and distinctive look and feel.

Built tougher than they need to be, they reflect the place they’re from.

There is no place on Earth like Tasmania, and no boots on Earth like the ones that were born there.

They are more than just boots.

They are Blundstones.

BY CHRISTINE COVER FERRO

S

ince late 2013, the Academy of Motion Picture Arts and Sciences has partnered with Spark, a national nonprofit program that provides apprenticeships to middle school students in underserved communities. Research shows that this is a crucial age to reach students at risk of dropping out of high school and that the program is very successful, with 90% of alums entering high school on-track, compared to an average of 70% of their peers.

There have been 58 apprenticeships completed at the

Academy thus far in which students have written screenplays and short stories, produced all sorts of projects, and, yes, even designed costumes. The Academy also gives them access to workshops, screenings and Q&As with filmmakers, behind-the-scenes tours of the making of the Oscar envelope, as well as the Academy Film Archive.

Participation in Spark @ The Academy is open to current members of the Academy. For more information, please contact Bettina Fisher at bfisher@oscars.org or visit www.sparkprogram.org

Universal Studios Costume Department 818.777.2722 / 818.777.7OPS (7677)

filmmakersdestination.com

30

The Costume Designer Spring 2015

Find Us

DOWNLOAD FROM APPLE APP STORE AND GOOGLE PLAY STORE

Universal Studios_Costume Ad_The Costume Designer Mag_3.15

Our focus is on

Motion Picture & Television Fund and UCLA — working together for better health MPTF focuses solely on the unique needs of the entertainment community.

Recently, the health centers became part of UCLA Health, and you can rest assured you’ll still find them in the same convenient locations close to where you work and on the studio lot with the Health Wheels mobile clinic.

So whether you’ve always counted on MPTF healthcare or haven’t yet experienced it, there’s never been a better time to explore the healthcare options available to you — now with the expertise of UCLA Health.

1-800-876-8320

uclahealth.org/mptf

Los Angeles, Hollywood, Mid-City Bob Hope Health Center 335 N. La Brea Avenue Los Angeles, CA 90036 (323) 634-3850 Los Angeles, West Los Angeles Westside Health Center 1950 Sawtelle Boulevard #130 Los Angeles, CA 90025 (310) 996-9355 Santa Clarita Santa Clarita Health Center 25751 McBean Parkway #210 Valencia, CA 91355 (661) 284-3100 Toluca Lake Toluca Lake Health Center 4323 Riverside Drive Burbank, CA 91505 (818) 556-2700 Woodland Hills Jack H. Skirball Health Center MPTF Wasserman Campus 23388 Mulholland Drive Woodland Hills, CA 91364 (818) 876-1050

My Mentors

BY EDUARDO CASTRO

I

have been very lucky to be mentored by a few great designers, including Theadora Van Runkle and Ann Roth. However, it was Wayne Finkelman and Milena Canonero who provided me with the most important guidance that has led to becoming a successful designer.

Wayne Finkelman hired me to assist him on Protocol after his main assistant quit. I was sorting shoes and pulling stock when I overheard he was about to hire an assistant from New York. When I just went up to him and said, “I can do it,” he gave me the chance on the spot. I had to prove to him I could do it and it paid off.

Wayne was a true genius who was very generous. He taught me so much about fabrics and layering techniques he learned when he assisted Danilo Donati on Satyricon, such as cheesecloth over silk brocades, overdying and then shredding. A technique I later used when I designed Kama Sutra and Once Upon a Time. His costume sketches were so inspiring, as were his hair and makeup drawings. He was the first designer with whom I did major research when we were working on the sequel to Chinatown. He taught me to use the most exquisite fabrics on suits and ladies gowns. I also learned to line custom-made shoes with the most beautiful, most supple leather that made all the difference in the final product.

Milena Canonero opened my eyes in many ways and taught me one very important lesson, that there is no such thing as “non-descript,” and she is right. Everything is descriptive and has meaning. Milena’s forte is her impeccable eye and her intelligence. When I worked with her on Miami Vice, she

32

The Costume Designer Spring 2015

gathered up the best of what Europe had to offer. I was very young and had not been exposed to the kind of glamorous clothes we were working with, but I learned all about high fashion very fast.

On Bulworth, Milena approached a very swanky party in Beverly Hills, not by shopping at high-end stores such as Neiman’s or Saks. Rather, she decided to go the vintage route, mixing dupioni shawls with dresses from stock and utilizing vintage jewelry.

On Solaris, she taught me to break the rules by making George Clooney’s spacesuit out of silk from the Silk Trading Co., instead of a new high-tech fabric. We shopped for extras for another party scene, again not at high-end stores, but we found suits at “The Alley” in downtown Los Angeles that were a bit “pimpish,” but worked beautifully and actually looked artistic in the end.

Milena taught me to appreciate luxurious and expensive fabrics, but also not to be afraid to use something cheap if it had the right texture. Most importantly, Milena is a perfectionist when it comes to duplicating period pieces. Her costumes for Affair of the Necklace were light as air and the underpinnings were constructed to easily come on and off. She said, “People wore these clothes daily.” She taught me to carefully study genuine pieces and really look at their construction.

Both Wayne and Milena were incredibly generous in the same way: they appreciated my ideas and nurtured my development as a designer, and for that I am very grateful.

Find the fabric you’re looking for.

Š 2015 Gladson Ltd., an HMS International Company

C h r i s M a n l e y 3 1 0 - 2 7 0 - 5 0 93 | 1 - 8 0 0 - 2 2 7 - 1 72 4 | s a l e s @ g l a d s o n l t d . co m | w w w. g l a d s o n l t d . co m

The Reading List The Naked Truth:

An Irreverent Chronicle of Delirious Escapades

By Jacqueline Saint Anne Jean-Pierre Dorléac offers us a front-row seat in The Naked Truth that details the facts of Costume Design on all entertainment levels. In it, he describes an extensive career (1973–1985) during which he became an acclaimed theater, film, television, and couture designer. He was Oscar nominated for Somewhere in Time and an 11-time Emmy nominee, winning for Battlestar Galactica and The Lot. Dorléac arrived in Hollywood in 1973 with an education from the University of Paris in Historic Apparel. With a stage career already in place, he was witness to and part of the survival struggle for film glamour.

It’s a delicious read about long-standing friendships of great depth with Edith Head, Jean Simmons, Roddy McDowall, June Lockhart, and more, that makes you sigh, wishing you’d known them. It’s a prickly read about the treacherous realities of egos run amok and short-lived relationships with stars and producers that leaves you relieved they weren’t yours. But mostly it’s a designer’s read about persistence, networking, and love of the beauty of the art.

From his opening stories of outrageously bawdy party behavior, to intimate moments of confidences shared, Dorléac names names and calls spades on a part of Hollywood you haven’t experienced. In a time not like today, he chronicles a designer’s entry to the film business—more sad than sweet; more tribulation than triumph—but he tells you how he did it, as improbable as it may sometimes have been.

Want all the facts? Get “Naked.”

Buck Rogers in the 25th Century costumes (Jean-Pierre Dorléac center)

WE PROUDLY CONGRATULATE OUR CDG AWARD NOMINEES AND WINNERS MELISSA BRUNING

Excellence in Contemporary Film WILD

CHRISTOPHER LAWRENCE

Excellence in Contemporary Television Series RAY DONOVAN

BOB BUCK

Excellence in Fantasy Film THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

CHRISTOPHER LAWRENCE †

Excellence in Commercial Costume Design ARMY ‘DEFY EXPECTATIONS, VILLAGERS’ † WINNER 34

The Costume Designer Spring 2015

BEVERLY HILLS

NASHVILLE

NEW YORK

WHAT’S ON

Aquarius

Texas Rising Costume Designers

MICHELE MICHEL KARRI HUTCHINSON Assistant Designer

CARLOS BROWN

Costume Designer

Transparent The Lizzie Borden Chronicles Costume Designer

JOSEPH PORRO

AMY STOFSKY

Costume Designer

MARIE SCHLEY

Wayward Pines American Odyssey Costume Designers

JO KATSARAS CAROLINE DUNCAN

Assistant Designer

ZURETA SCHULZ

36

The Costume Designer Spring 2015

Costume Designer

MARY VOGT

Assistant Designer

TONI RUTTER Illustrator

KEITH LAU

Photos: Texas Rising/History; The Lizzie Borden Chronicles/Lifetime; Transparent/Amazon; American Odyssey/ABC; Wayward Pines/FOX; Aquarius/NBC

Compiled by: Bonnie Nipar

Photos: Avengers: Age of Ultron/Disney/Marvel; Jurassic World/Universal; The Man from U.N.C.L.E./Warner Bros.; Dope/Open Road; Self/less/Focus Features; Tomorrowland/Disney

WHAT’S IN

Avengers: Age of Ultron

Tomorrowland

Costume Designer

ALEXANDRA BYRNE

Jurassic World

Assistant Designers

Costume Designer

LAURA SMITH RICHARD SALE Illustrators

JACK DUDMAN DARRELL WARNER

DANIEL ORLANDI

Assistant Designer

MARIA TORTU

Illustrator

CHRISTIAN CORDELLA

Costume Designer

The Man From U.N.C.L.E.

JEFFREY KURLAND

Self/less

Costume Designer

JOANNA JOHNSTON

Assistant Designers

JANE GOODAY VIVIENNE JONES Illustrator

WARREN HOLDER

Dope Costume Designer

PATRIK MILANI

Costume Designer

SHAY CUNLIFFE

Assistant Designer

AMY RITCHINGS

Assistant Designers

LEIGHTON BOWERS KARIN NOSELLA Illustrators

PHILLIP BOUTTÉ JR. KEITH CHRISTENSEN

Spring 2015 The Costume Designer

37

IN FOCUS BOLDFACE NAMES

Work on Pretty Little Liars’ sixth season is underway with CD Mandi Line at the helm and CD Ivy Thaide as her new ACD.

BFN - WORK CD April Ferry headed to Belfast, Northern Ireland, in April to design the sixth season of Game of Thrones for HBO, with ACD Donna Berwick assisting her. Ferry is equal parts scared and excited for the challenge ahead.

CD Mirren Gordon-Crozier is designing the feature Low Riders, starring Gabriel Chavarria, Tony Revolori, Nicola Peltz, and Eva Longoria. The film was written by Elgin James, Justin Tipping, and Josh Beirne-Golden, with Imagine/Blumhouse producing and Ricardo de Montreuil attached to direct. In the vein of 8 Mile and Saturday Night Fever, Low Riders is an aspirational youth culture movie set in the world of street art and low-rider car culture. Shooting will begin May 28 in Los Angeles.

CD Alexis Scott is happy to be shooting at home in LA’s Echo Park once again for producer David Lancaster. The film Message from the King, stars Chadwick Boseman (Get on Up), Luke Evans (Fast & Furious 7, Dracula Untold),Teresa Palmer, and Alfred Molina.

CD Hannah Jacobs is thrilled to have reclassified to the CD category and is designing the second season of HBO’s Togetherness, with the Duplass brothers.

CD Ane Crabtree, with ACD Amy Parris assisting, has joined Jonathan Nolan and Lisa Joy on the series Westworld, a collaboration between HBO, Bad Robot, Warner Bros., and Kilter Films. The show will star Anthony Hopkins, Jeffrey Wright, Ivy Thaide and Mandi Line Evan Rachel Wood, Thandie Newton, Miranda Otto, James Marsden, and Rodrigo Santoro, with Ed Harris reprising the “Man in Black” role from the 1973 film. Crabtree will also lend her knowledge of ’60s fashion, specifically, Jackie Kennedy’s signature style and how it informed and influenced her choices in Masters of Sex and Pan Am, to a 10-hour docu-series, The Kennedys, produced by Asylum Entertainment.

CD Elizabeth Meredith is currently designing the third season of Restaurant Startup for NBC.

Mindy Le Brock re-

CD

cently wrapped up several collaborations with director Tom Kuntz. She’s continued on the DirecTV Rob Lowe spots, with CD

Jessica Albertson co-designing, along with a new DirecTV spot starring model Hannah Davis, and the French Lotto music video Out of Office.

CDs Julie Weiss (center) and Maria Tortu, and ACD Christine Cover Ferro (back row) pictured with their fabulous Local 705 crew and PA CD Julie Weiss, with CD Maria Tortu and ACD Christine Cover Ferro assisting, designed The 87th Annual Academy

Awards. They were responsible for dressing the dancers, choir, and musicians in the opening and musical numbers, roughly 200 costumes all told.The show was held at the Dolby Theatre in Hollywood and prepped at Bill Hargate Costumes.

CD Lorraine Carson is in Vancouver on the Disney feature Further Adventures in Babysitting, starring Sofia Carson, Sabrina Carpenter, Gillian Vigman, and Max Lloyd-Jones, with John Schultz directing.The cat-and-mouse-chase movie shares the same fun spirit of the 1988 original.

CD Denise Wingate was in Toronto, ON, designing the pilot for Cheerleader Death Squad, directed by Mark Waters and produced

by Marc Cherry for CBS/CW.

Child, based on the eponymous 1990 feature, starring Matthew Lillard, Erinn Hayes, and Jack Gore.

CD Debra McGuire is keeping busy, having designed two pilots at home: The Grinder, starring Rob Lowe and Fred Savage, and Cooper Barrett’s Guide to Surviving Life. She is heading to Hawaii in May to film Mike and Dave Need Wedding Dates, all projects are produced by FOX.

Also working with NBC, CD Marissa Borsetto designed the pilot People Are Talking.Written by DJ Nash and directed by Pamela Fryman, it stars Bresha Webb and Tone Bell.

CD Christine Bieselin Clark and ACD Alexandra Casey are tackling the series Into the Badlands for AMC, shooting in New Orleans.

CD Judy Gellman-Friedman designed the NBC pilot Problem

Spring 2015 The Costume Designer

39

IN FOCUS BOLDFACE NAMES CD Barbara Chennault has recently completed production on the HBO situation comedy pilot Brothers in Atlanta, starring Fallon and Chocolate News writing duo Bashir Salahuddin and Diallo Riddle.The Atlanta-based comedy, directed by Tim Story, centers around struggling disc jockey Riddle and backup singer Salahuddin, who seek chance and opportunity in the southern entertainment mecca.The ensemble is rounded out with SNL alum Maya Rudolph and the versatile Jaden Smith.

CD Kate Healey has designed two pilots so far this year: the TBS comedy Wrecked on location in Puerto Rico, and just finished up Rush Hour, here in Los Angeles for CBS. CD Sanja M. Hays, with ACD Irena Stepic-Rendulic and ILLs Phillip Boutté Jr., Alan Villanueva, and Christian Cordella are hard at work prepping Star Trek 3 in Los Angeles. Principal photography is set to start in June in Vancouver, BC. CD Diane Crooke is on location in Baton Rouge, LA, designing the new TV series Hush for MTV. After designing the costumes for the characters in a new Xbox game and a series of live-action episodes that will be integrated into the gameplay, CD Frank Helmer has left Atlanta for Pittsburgh where he will be shooting season four of Banshee for HBO/Cinemax.

CD Keri Smith designed the pilot Dr. Ken for Sony/ABC, based on Ken Jeong’s life as a doctor before becoming a comedian. The project filmed at Sony Studios.

CD Julia Schklair-Schultz was in Atlanta shooting the David Nutter-directed pilot Cordon, written by Julie Plec, for CW.

CD Ellen Falguiere just finished shooting a commercial for the Wyndham Rewards campaign for Wyndham Hotels. The new spot stars Kristofer Hivju, from Game of Thrones, as the Wyndham “Wizard.” The project shot on location in one of the hotel’s resorts in Panama City, FL, with Mike Maguire from MJZ Production Company directing. The costumes were custom built in both Europe and at Western Costume.

CD Jenni Gullett just finished the pilot Tales from the Darkside, with Brad Buecker directing.The revival of the cult classic was written by Joe Hill and shot in Vancouver, BC.

IN FOCUS BOLDFACE NAMES Also in Dallas, CD Shawna Trpcic designed FOX pilot Frankenstein, produced by Rand Ravich and starring Tim DeKay and Rob Kazinsky, set to air in the spring 2016 lineup.

Extraction director Steven C. Miller, DP Brandon Cox, 1st AD Jonathan Southard CD Bonnie Stauch just returned from Alabama, where she designed the action feature Extraction, starring Bruce Willis and Kellan Lutz.This is the second feature where she has enjoyed working with Mr. Willis. She also re-created the Bridgestone tire lab coats for their new commercial campaign, with ACD Svea Macek assisting.

CD Sarah Trost is in Charleston, SC, designing Vice Principals, a new comedy series for HBO, starring Danny McBride and Walt Goggins.

ACD Lois DeArmond joined the costume department of the feature Bolden! as assistant costume designer in Los Angeles. UK-based Colleen Morris is the Costume Designer for the picture, which is filming in Wilmington, NC, Atlanta, GA, and New Orleans, and CD Ellen Ryba is the key costumer. Bolden! is a bio-pic about the life of Buddy Bolden, cornet player and originator of improvisational jazz.

CD Monique Long had her 15th anniversary costuming the Academy of Country Music Awards 50th Anniversary Show , held in Dallas on April 19.

Monique Long CD Danny Glicker recently designed the HBO pilot The Devil You Know, directed by Gus Van Sant and created by Jenji Kohan, in Boston, MA. A provocative period drama, The Devil You Know explores the circumstances around one of the most compelling chapters in American history: the infamous Salem witch trials in 17th-century New England, where intolerance and repression set neighbor against neighbor and led a town to mass hysteria.

Kari Perkins’ Ballet Costumes 42

CD Kari Perkins is in Dallas designing a ballet for the Texas Ballet Theater in May. The piece is a world premiere of British choreographer Jonathan Watkins’ new work.

The Costume Designer Spring 2015

CD Deborah Nadoolman Landis was approached by Liberty London to create a print for The Pictures and Conversations Collection, which celebrates the 150th anniversary of Alice’s Adventures in Wonderland. Landis took her inspiration from family tablecloths hand-embroidered by her grandmother and ultimately given to her by her mother Laura, after whom the print is named.

CD Carol Ramsey is designing Central Intelligence, with Dwayne Johnson and Kevin Hart teaming up for their latest nonstop action comedy. The plot features mild-mannered accountant Hart, who is unwittingly drawn into an intrigue of international banking driven by rogue CIA agent Johnson. Ramsey is joined by ACDs Senna Shanti and Christine Jordan. Shooting will take place May through July in Boston.

CD Kathleen Felix-Hager designed the NBC pilot Heartbreakers, starring Melissa George and produced by Amy Brenneman and Brad Silberling, in Vancouver, BC.The project is based on the memoir Heart Matters: A Memoir of a Female Heart Surgeon by Kathy Magliato, MD, and is directed by Robbie McNeill.

CD Audrey Fisher will be in Vancouver until August designing the costumes for Amazon/Scott Free’s alternate reality series The Man in the High Castle. Audrey has a great crew and also feels very lucky to have had talented Local 892 colleagues ACD Leslie Sungail, CDs Allison Leach and Elizabeth Martucci onboard for LA prep and beyond.

CD Jacqueline Saint Anne returned to the commercial world to work with art director Nick Goodman for the Internet security provider Sec-1.

Just three days after completing the third season of The Mindy Project and looking forward to a summer break, CD Salvador Perez jetted off to Chicago to Costume Design the FOX pilot Love Is a Four-Letter Word, working with his longtime friend and director, George Tillman Jr.

BFN - ENTREPRENEURS ACD Sica Schmitz founded Bead & Reel, an online boutique that believes that fashion and ethics aren’t mutually exclusive, offering vegan, sustainable, charitable, fair-wage fashions for the conscientious woman, or Costume Designer.

Bead & Reel

CD Negar Ali Kline is partnering with Carefree daily liners as a brand ambassador, sharing style secrets that carry her celebrity clients through awards season, and that women everywhere can incorporate into their everyday style routines.

BFN - PRESS CD Salvador Perez was chosen to be a style expert in the April issue of InStyle magazine whilst on the heels of his new collaboration with Express Runway for Pitch Perfect 2.

Perez styled a collection from the Express summer line inspired by the looks from the film.Two lucky winners received tickets to the LA premiere of the movie and were dressed by Perez from the Express Line.

The New York Times profiled CD Janie Bryant in their fashion and style section. The article covered Bryant’s brand partnerships, sources of inspiration, and what lies ahead post-Mad Men. CBS Online interviewed CD Monique Long during her stay in Dallas while prepping for the Academy of Country Music Awards.

The interview is available at cbs.com With Project Wildsong, CD Diana Orr collaborated on a series of photographs. By working with filmmakers, photographers, educational programs, and conservation efforts, Project Wildsong exposes people to the world outside their door in a more hands-on way, championing creativity through collaboration.

CAMO SURPLUS CAMO SURPLUS would like to thank the costume designers who have allowed us to provide them with Military Uniforms, Zombie Wear and Post-Apocalyptic Fashions. If you have yet to call us for your production needs, know that since 1965 CAMO SURPLUS has provided the military clothing, equipment and consulting skills needed to complete various films, stage, video and television productions. CAMO SURPLUS has assisted costume designers on such notable productions as, The Expendables 1, 2 & 3, Hunger Games 3 & 4, Rambo 2 & 3, Water World, Red Dawn (1984), and more. CAMO SURPLUS can facilitate small or large productions, so call us with your needs--or better yet--come on down!

(323) 263-8564 www. camosurplus.com

camosurplus@aol.com th

2835 E. 26 St. Vernon, CA 90058 Project Wildsong

IN FOCUS BOLDFACE NAMES

BFN - EXHIBITIONS/FESTIVALS

Stacy Ellen Rich’s costumes at the Schindler House CD Stacy Ellen Rich exhibited costumes at the Schindler House/ MAK Center for Art and Architecture with the consortium Opera Povera, for which she is resident designer. The exhibition ran from April 4 to 11 and featured live works in addition to the installations.

On the red carpet, CD Janie Bryant attended the Black & Red Ball in celebration of the final episodes of Mad Men’s “The End of an Era.” The event was held at the Dorothy Chandler Pavilion. Janie Bryant wore a custom-designed, one-of-a-kind, Black Halo dress she created with Laurel Berman, the founder of Black Halo.

Janie Bryant

44

The Costume Designer Spring 2015

On April 25, 2015, CD Ann Foley was one of the esteemed judges at the C2E2 Crown Championships of Cosplay, part of the Chicago Comic & Entertainment Expo which took place from April 24 to 26 at the McCormick Place in Chicago.

For the month of May, CD Julia SchklairSchultz will be exhibiting her paintings at O&M Leather in Eagle Rock, CA. On May 6, the Los Angeles Film Festival and the LA Film Fest Art Program kicked off at the Underground Museum. CD Sophie de Rakoff and photographer Mark Laita’s new Transformation X project will be exhibited alongside works by Ed Ruscha and Shepard Fairey, to name a few. Transformation X is a photographic project addressing the transformational power of Costume Design. The photos will remain on exhibit at the Underground Museum for two weeks after the gala.

Transformation X project Compiled and written by: Christine Cover Ferro christine.coverferro@gmail.com and Stacy Ellen Rich lastace@mac.com Spring 2015 The Costume Designer

45

SCRAPBOOK

12 Years a Slave. Photo: Fox Searchlight Pictures

Patricia Norris 1931–2015

P

atricia Norris was a double threat as both a costume and production designer. She was a California native who studied art at Marymount, then continued to archeology and paleontology at Stanford University. After a marriage ended, Norris had to support five children: Michael, Patrick, Christopher, Kelly, and Kathy. She began ironing clothes, then applied to MGM’s stock room. Next, she became a set costumer and eventually, a Costume Designer and production designer.

Self-taught and hands-on, Norris always fell back on her love of history to create an authentic look.

46

The Costume Designer Spring 2015

Norris did not ascribe to either of the two most prominent trains of thought—what she called Hollywood television overdressing or the cheery conventions of the typical sitcom closet. Instead, she strove to make characters distinctive and their clothing memorable yet unobtrusive. Audiences were mesmerized.

While she was nominated for six Academy Awards, she never took home the Oscar. She remarked, “I’m up against one too many sequins.” Norris captivated audiences with films like 12 Years a Slave, Victor Victoria, The Elephant Man, and Days of Heaven. Her son Patrick Norris is a director.

To play the part, they have to dress the part!

-Jewelry and Other Accessories -Vintage thru Modern -Fitting Room

-Wide array of Contemporary Wear -Men’s and Women’s Couture -Costumes and Uniforms

30,000 SQ FT - OVER 330,000 ITEMS - INDIVIDUALLY SCANNED AND CATEGORIZED - NOW ACCEPTING CREDIT CARDS 545 Circle 7 Drive, Glendale CA 91201 | 818.553.4800 | Mon-Fri 8am - 6pm www.abcstudioscostumes.com

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

The Official Magazine of the Costume Designers Guild

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

F

O

R

Y

O

U

R

E

M

M

Y®

C

O

N

S

I

D

E

R

A

T

“Gotham…arrives as its own entity: a fully realized universe with enough intriguing figures and a stylized visual approach that is immediately captivating.”

– The Hollywood Reporter

I

O

N