The Costume Designer - Summer 2013

vol. 9, issue 3

28

FEATURES 2013 Emmy® Nominees for Costume Design . . . . . . . . . 17 An Interview with Marilyn Vance . . . . . . . . . . . . . . . . . . 24 Comic-Con. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Television Costume Design Exhibit at FIDM . . . . . . . . . 28

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 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 Marilyn Vance photographed by Jason Clark, makeup by Debbie Zoller, hair Connie Kallos, and styling by Anna Wyckoff.

A special thank you to Hanif Surani of TV, Photo, Film Locations for use of his loft overlooking downtown Los Angeles.

TOC Photo: Vegas at the FIDM Exhibit, CD Kathleen Detoro. Photo: Anna Wyckoff.

President’s Letter Executive Director Labor Report

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

In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Boldface Names On Location: San Francisco

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Summer 2013 The Costume Designer

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EDITOR’S NOTE

Itemizing and naming are two distinctly human pastimes. We as a species seem to find a curious comfort in labels. In thinking about this predilection, what are we going to do about television? It is nearly unrecognizable—the production value, the scope, and all done lickety-split. Then there are those pesky shows that aren’t even on the tube, and the fact one can watch anywhere.

As assumptions are confronted, broken down, and reinvented, new opportunities emerge. Despite the growing pains, as we all come together to make this new thing that television is becoming, it is a thrilling time.

First of all, we congratulate and celebrate our Emmy nominees!

They were kind enough to describe in detail the rigors of their relationship with color, which is perhaps the most crucial element in a Costume Design, as you dear readers know firsthand. It is a pleasure to watch their minds at work.

Also in this issue, CD Sanja Hays defies our definition of the resume, CD Marilyn Vance tells us about her flirtation with the small screen, which may become a love affair—stay tuned, and CD Danny Glicker takes us on a marvelous spin through his San Francisco.

With change comes prospects and promise, as we evolve together, revel in the possibility.

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

Anna Wyckoff awyckoff@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

“

Color is a gift, it doesn’t cost any more to use beautiful color. In my world, I couldn’t live without it. Color can impact an audience, change their mood, and create an amazing amount of excitement.

”

—Bob Mackie

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 Summer 2013

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CONTRIBUTORS

What film or TV show stands out in your memory for its use of color to tell the story?

Marcy Froehlich

Christine Cover Ferro

Bonnie Nipar

(History of Dress, Text) The first films that come to mind are The Wizard of Oz, Schindler’s List, and Pleasantville for the use of black, white, and color. But more recently, I saw Thor, and enjoyed the use of red and green in accents throughout the movie in subtle and not so subtle ways.

(Associate Editor, Emmy Interviews) I think Game of Thrones has consistently done some great things with color. The palettes consistently reflect and complement all the different locations, providing visual clues that help the viewers keep things straight when traveling between the Seven Kingdoms and Essos. On a smaller scale, the color choices have underscored the changing fortunes of the characters quite nicely, particularly Sansa Stark’s arc.

(Associate Editor, Emmy Interviews) Hands down, the most visually stunning use of color is in the provocative film The Cook, The Thief, His Wife, and Her Lover.

Each room is a different shade, the dining room being the most dramatic, in a red that grows more intensely red as the story progresses. The scene where Helen Mirren’s gown changes color as she walks from one room to another is absolutely brilliant!

Suzanne Huntington

ALEXANDRA Lippin

Robin Richesson

(Co-contributor to Boldface Names) Pushing Daisies’ CD Bob Blackman is my all-time favorite, hands down. The bright, saturated color clearly spoke to the eccentricities of the characters. Chuck’s character had such a bright, romantic, yet quirky air about her (loved the yellows and the beekeeper number!), though she was clinically ‘dead.’ Don’t get me started on those vintage dresses … I could raid every dress in Chuck’s closet!

(Comic-Con) The Closer was one of my favorite TV shows as each season had a theme and color story. It was even rumored that the characters in the show would wear colors that either complemented or contrasted with what Brenda (Kyra Sedgwick) was wearing. Those wearing complimentary colors were on her side while those wearing contrasting colors were either of the opposition or guilty.

break things down in colors. It’s “ Isubliminal—I paint subliminal messages in my work. ”

—Marilyn Vance

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The Costume Designer Summer 2013

(History of Dress, Illustrator) As an illustrator working with many designers, I see how important color is to all of them. One very subtle and effective example would be the color shifts of the costumes at story points in Unbreakable (CD Joanna Johnston). Another film where the color really made an impression on me when I saw it was CD Sandy Powell’s collaboration in Far From Heaven.

Stacy Ellen Rich (Co-contributor to Boldface Names) Any Kubrick film! He strategically implemented color to feel the story.

Presents...

What Dreams Are Made Of: A Century of Movie Magic at Auction as Curated by TCM November 25, New York Consignments now invited

+1 323 436 5467 entertainment.us@bonhams.com An Edith Head Studios costume sketch for Audrey Hepburn in Roman Holiday A portion of the proceeds to benefit:

International Auctioneers and Appraisers -bonhams.com/entertainment Š2013 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Bond No. 57BSBGL0808

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1

7/18/13

10:45 AM

union label PRESIDENT’S LETTER Dear Colleagues and Friends, I hope many of you were that at the 7th Annual Outstanding Television Costume Exhibition opening gala and nomination reception.

As guest curator, I consciously compiled my list of television shows with very strong choices for the Exhibition. This could very well be the most ambitious of all those I have done. It was indeed true to the name of exhibition; every show that was chosen was indeed outstanding, to say the least, and I was very excited.

As I recently brought up in both the Executive Board and General Membership Meetings, there are considerable changes happening in television, with Netflix producing its own programming, such as House of Cards, which is headed for the Emmy Awards with nine nominations. Ultimately, my intention was to go in the direction that is happening with TV shows. I felt it was my responsibility to acknowledge the kind of changes in our business and reflect them in the Exhibition.

For those who weren’t there, here is the list of the 15 excellent shows on display: 2 Broke Girls (CBS), The Americans (FX), Behind the Candelabra (HBO), Downton Abbey (PBS), Game of Thrones (HBO), Girls (HBO), House of Cards (Netflix), Mr. Selfridge (PBS), Nashville (ABC), Parks and Recreation (NBC), Rectify (Sundance), Ring of Fire (Lifetime), Scandal (ABC), Smash (CBS), Vegas (CBS).

Due to the constraints of column space, I encourage you to look up these shows and get to know more about their designers.

When I was interviewed by the editor of the online newsletter for FIDM the day before the Exhibition was opened, she asked me for a quote that could accompany her article. I came up with my true feelings about those excellent costumes that are shown. Every word I said was true to the work of the Costume Designers in this Exhibition. I hope you’ll agree with me: “Costumes are vital to the telling of the incredible stories on television today, the rich variety of programming has created wonderful opportunities and challenges for Costume Designers. The costumes in this Exhibition are wonderful examples of the quality of work being done in television. They are all award-worthy.”

Mary Rose mrose@cdgia.com

­­

We appreciate the ongoing support of our corporate sponsors Diamond Level

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Summer 2013 The Costume Designer

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union label executive director I recently attended the 67th Quadrennial Convention of the IATSE in Boston and am happy to report that President Loeb and all 13 Vice Presidents and three Trustees were unanimously voted back into office. I congratulate them all.

The Convention theme, “The Pillars of Success� focused on Leadership, Skills & Safety, Activism, and Communication. I am pleased that our Local has already been involved in promoting the essence of these pillars. Our labor representatives, Betty Madden and Sharon Day, are on the line for every job helping to organize new union members. We are active in educating our members and training them with better skills for job performance while emphasizing safety on the job. Our communication with our members surpasses the norm, and our website is the envy of other Locals. Weekly GEMS keep members informed about Guild-related activities, and our online bulletin board gives members easy access to location rentals as well as many other important items.

Recently, we sent some of our members to the Young Workers Conference to help them begin to learn the skills needed for future leadership. I had the privilege to attend a special seminar on leadership during the Convention and came away with a renewed commitment and additional tools to help me better serve the membership of this Local.

Service is a great responsibility and a great reward. I am grateful to have the opportunity to serve the members of this Local and look forward to new frontiers.

In Solidarity, Rachael Stanley rstanley@cdgia.com

2013 CALENDAR August 5

Executive Board meeting

August 21

Election Ballot posted online

September 2 Labor Day - CDG office closed September 9 Executive Board meeting September 18 Election closes at midnight September 20 Election results online

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LABOR REPORT

Will Bangladesh Go Union?

There’s been a resurgence in American-made apparel, especially in places like Los Angeles, but the majority of our clothing still comes from countries like Bangladesh. After the April collapse of a factory there, killing more than 1,000 garment workers, international attention has turned to the dangerous conditions in many of its factories.

Two positive pieces of news this week point toward improvements in working conditions.

The Bangladeshi government passed a law making it illegal for factory owners to bar unions. While it doesn’t apply to special export zones where many of the factories that export to the United States and Europe are located, it is still a move in the right direction for workers’ rights.

Some 70 retailers, including one of the world’s largest, H&M, are about to begin thorough safety inspections of their factories in Bangladesh and have signed an accord accepting legal responsibility for factory conditions.

Only a few American companies have signed on. Abercrombie & Fitch, Sean John, PVH (the parent company of Calvin Klein and Tommy Hilfiger,) Walmart, and The Gap have all declined to sign, saying they are working on an alternative plan. Big surprise. Stay tuned.

Betty Madden CDG Organizer/Labor Rep bmadden@cdgia.com

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THE COSTUME DEPARTMENT

History Of Dress 1890s Bishop Sleeve: A

Sailor blouse: A blouse

sleeve shape based on the Anglican Bishop’s robe which was full at the wrist and gathered into a cuff. During this period, it was also usually full at the shoulder.

with a sailor collar that was popular for women as well as children.

Shirtwaist: A blouse of washable material that was worn tucked into the skirt.

Featuring a center front opening and a high collar, it was sometimes attached to a fitted lining.

Bloomers: These full-cut trousers gathered into the waist and knee, or ankle, were inspired by Middle Eastern dress. Named for Amelia Bloomer, a women’s rights activist, they were developed in the 1850s and first worn by renegade women who eschewed the dress constrictions of the time. Eventually, they became popular for sports, particularly bicycling, in the 1890s.

Chatelaine bag: A purse hung from the waist by a hook, that served as a pocket for dresses that were worn tight to the body.

Crew Cut: The haircut of the Yale rowing crew originating in the 1890s, tapered at the side, somewhat flat on top with the hair at the front of the head being longer than that at the back. It was adopted by their football team in 1895.

Tuxedo: A man’s dinner jacket that was the less formal choice when compared to a tailcoat, made of wool or velvet with lapels of silk, satin, or velvet. It was always worn with a vest during this period instead of a cummerbund.

Called a Monte Carlo or a “Smoking” in Europe, it derived its name from the Tuxedo Park Club, an exclusive country club in New York.

Oxfords: Originating at Oxford University as a boot with side laces in the early 1800s, toward the end of the century it developed into a shoe with lacing over a central tongue.

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The Costume Designer Summer 2013

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

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Summer 2013 The Costume Designer

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TECH TIDBIT

The Resume Is Dead

A Conversation with Sanja Hays After attending the Digital Hollywood Conference, CD Sanja Hays wanted to engage our membership in the dialogue:

W

Anna Wyckoff

hen someone asks for my resume today, I am puzzled, because with the presence of the IMDb, you can instantly view every film I have designed, everyone I have worked with, and check my references. A physical resume has become obsolete. It is no longer just a piece of paper, but actually refers to your entire digital imprint—from any interview you have ever given, to every article ever published about you.

As a result, you are your own best advocate. It is important to have a good website, which doesn’t need to be limited to your portfolio. It can include articles or a blog that reinforce your personality, what is unique about you, and what you would like to present to your audience. The larger the presence you have on the Internet, the better. It is important to develop your niche, take hold of your hybrid talent, and present it to the public.

Before an interview, research is critical. There is no excuse for being uninformed about the person you are meeting. It is important to learn about their past work, as well their current project so you can have an intelligent conversation. Directors expect you to be

familiar with their films. Also necessary is watching any movies that could be connected to the job you are interviewing for.

Personally, I am always surprised when I am sent resumes and letters that misspell my name and obviously don’t consider the type of projects I have designed. At this point, chain letters are sloppy.

You need to pay attention as the stakes are becoming higher and higher. Rather than be passive, you need to take an active role in how you are going to approach looking for work either as a Costume Designer, Assistant Designer, or Illustrator. When you send emails, you need to express what is different about you, and how the recipient would benefit from giving you the job because

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of your specific skills, qualifications, and what makes you unique.

Some people are bloggers, while others have content on YouTube.

It’s your difference that makes you valuable.

There is no replacement for the personal touch. Sometimes you can even try to circumvent the agents, recruiters, and directly approach a company, producer, or director. It doesn’t work every time, but that is how I received my position on Mission to Mars.

I have always been interested in space and my agent suggested I send a letter directly to [director] Brian De Palma. I approached him saying how passionate I am about space exploration, and got an interview and eventually the job. I encourage you to use hightech methods, but also do not lose your personal touch.

More and more, interviews are conducted on Skype. In my experience, the lighting, background, and what you’re going to say has to be carefully considered. While they can be a little impersonal, you have to make it work for you since many more movies are being shot out of town, the Skype interview is becoming more and more common.

It is vital to be connected and up to date at this day and age.

The smartphone is an essential tool in this landscape. When jobs are posted, they can be filled within the hour since automatic notifications by phone change the timeframe of the job hunt. You can also post updates by phone while you are in the field, however, a constant presence on any website is detrimental, and trust me, employers notice. If you want to voice your opinion, tweeting is the best option. But again, limit you tweets to a few a day, since constant tweeting makes it seem as though you are not working.

Also, I have to caution our younger members regarding the type of personal information and images they post. You have to be conscientious, as more and more companies are looking at Facebook and other social media as they research future hires. Make sure that your posts are what you want others to see. Remember, everything becomes part of your persona and it’s not private, it’s public and it is there forever.

Everything is changing. However, in our profession, the challenge is to match our traditional skills with the new digital media. We need to embrace it and discover how to benefit from it.

Everything from Photoshop, to tweeting, to blogging, is now a part of our job. Because the future is digital and it is here. greenlightjobs.com freelance.com productionhub.com indeed.com/q-Freelance-Entertainment-jobs.html filmandtvpro.com mandy.com

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COLOR Pregnant with implication, suggestion, AND provocation, no single element commands our attention like color.

In Costume Design, color is its own language, a subtle subtext underscoring the action. Whether it toys with our subconscious or sears into our memory, color is a path to understanding both character and story in a single stroke.

In celebration of the 2013 Emmys for Costume Design, we have asked the nominees to reveal how they paint on screen. 速

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Boardwalk Empire

Photo: Macall B. Polay/HBO

CD John Dunn and Lisa Padovani ACD Maria Zamansky Dunn: After the discovery of King Tutankhamen’s tomb, Egyptomania swept the nation. For our opening show, the 1923 New Year’s Eve bash, we decided to capture the beauty, but also show the absurdities that accompanied the craze. Much of the wonder of the Tut discovery was the unfathomable cache of golden treasure in the burial chambers.

We used gold as our baseline and riffed on that throughout the party, creating several gowns of gold metallic laces from the ’20s, golden hair combs, and a treasure chest full of golden trinkets for the guests. The Nubian servers wore gold-highlighted faux-Egyptian costumes worthy of Cecil B. DeMille. It’s one of those wonderful but rare moments when it really is OK for the costumes to take center stage.

Padovani: We were inspired by such natural elements as peacock feathers, Egyptian beads, and gold. Margaret, being the host and our leading lady, had to have the most intricate of dresses. We layered modern gold French lace with vintage lamé, lace, and beaded pieces. She became the dazzling centerpiece to the colorful background surrounding her. We also incorporated a good measure of theatricality as these thematic parties were popular among the rich and the costumes were often elaborate. Such excess and opulence would have been instrumental in securing the high social standing that Margaret pursues in season three.

Game of Thrones

CD Michele Clapton ACDs Alex Fordham and Chloe Aubry I use my dye artist to experiment with many shades of color, which we then add to our mood boards. I spend time with these samples, moving them around, trying different strengths of colors next to each other. Once I’m reasonably comfortable with where I’m going, I will start to work color into my drawings. Even once a costume is made, we will then shade further into it to give life and depth.

An example of how I use color is with the Lannister Red when we first visited the King’s Landing court. It was the dominant color with a weaker use of Baratheon Gold (the King’s color), to clearly show who was really in control. When Margaery Tyrell arrived to marry Joffrey, the court began to be influenced by her, and many of the young pretty things of court started to wear the Tyrell Blue. This not only showed her burgeoning popularity and strength, but was also wounding to Cersei as it portrayed her as older and overdressed.

Color has always been extremely important to me. I use it to help create character, to foretell plot, to show allegiance, power, weakness, and despair. On Game of Thrones the story is often complicated, and moves frequently from one geographical location to another. I try to give each place a defined palette to help the viewer relocate quickly.

[Color] also acts as a tool to, without words, hint at what might be going on beneath the surface.

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Photo: Keith Bernstein/HBO

Photo: PBS Masterpiece

Outstanding Costumes For A Series

Downton Abbey

CD Caroline McCall Costume Supervisor: Dulcie Scott I have so many characters to costume in Downton Abbey that I try to have a color palette for each one, so that when they all come together in a scene, they all work together in harmony.

For Mary’s wedding, the palette was old roses in dusky shades. Edith’s wedding was slightly brighter to juxtapose the outcome.

After Sybil’s death, all the characters went into black for mourning, but we felt the scene in which her child is baptized, the family should be in half mourning, so all the ladies were dressed in shades of purple and mauve. Only Violet remains in black to mark her out as the matriarch of the family.

The family remained in shades of half mourning (purples, mauves, greys, blacks, and creams) until the cricket match, where everyone wore shades of cream and white (also mourning colors) to add to the sense of hope and harmony amongst everyone at the end of the episode.

Color plays a huge part in my work on Downton. My aim is that every frame should feel like a painting, all the colors working in harmony.

Photo: Tamas Kende, Showtime

The Borgias

CD Gabriella Pescucci Costume Supervisors: Uliva Pizzetti and Gabor Homonnay Color is very important to my work, because it can suggest the mood of a character and the atmosphere of a scene. For example, in the first season, Lucrezia was dressed with light pastel colors, to give an adolescent image. As she gets older, I started to use warm colors in all their nuances, from red to gold, to accentuate her passion and richness.

During the parties inside the Vatican, I used many red tones, because red is also the color of power. The conspirators wore darker earth colors with studs and leather to make them appear more aggressive. Color also helps me to show the difference between the various armies during a battle.

Color is the immediate tool to express a concept, a social character, or a mood.

Photo: Khren Hill, ABC

Once Upon a Time

CD Eduardo Castro ACD Monique McRae Color is very interesting for me, because I’m not afraid of it. I use a lot of red, black, and purple because they are strong, bold colors that make a statement.

I use color to differentiate between Storybrook and the Fantasy World. In the Fantasy World, the colors are much stronger and more powerful. Snow White is always very neutral, wearing off-white, bone, and stone colors, but the contrast plays well against Evil Queen who wears black, red, and purple to show her as treacherous and formidable. Rumpelstiltskin is very dark, but more textural. For him, I mostly use crocodile skins in brown. However, this season, he opens in a new costume and it’s totally black. Captain Hook always wears black. Villains are black! It’s very dramatic.

I also use color to designate armies: We have foot soldiers in black for Evil Queen, Prince Charming’s soldiers are in white, and now I’m designing a new army of foot soldiers for Red Queen who will be in red and black.

In Storybrook, portraying Maine, I like to use an autumnal palette when it comes to the modern clothes. I use neutrals, browns, rusts, etc…, but black is still essential. There are always the black jeans, turtleneck, and leather jacket.

I don’t really overthink or over-analyze the colors I use … it comes naturally to me. I see a fabric, I think it’s fantastic, I buy it and we make something. It’s simple.

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Outstanding Costumes For A MINISERIES, MOVIE OR A SPECIAL Parade’s End

CD Sheena Napier Supervisor: Jenna McGranaghan ACD/Military CD: Richard Cooke I find colour very important in representing mood, the personality of a character and in the development of their story. For instance, I chose very different styles and colour schemes for the three younger principal women. Where Sylvia’s (Rebecca Hall) clothes are sleek and fashionable, in subtle colours, Edith Duchemin’s (Anne-Marie Duff) clothes are in rich fabrics, patterns, and colours. Valentine (Adelaide Clemens) has a more reduced palette, whites with navy and chocolate browns. Her style is more innocent and feminine white shirts and lace mixed with her Suffragette ties and divided skirt.

CD Debra McGuire Supervisor: Marcia Patten Assistant Designer: Lorraine Calvert Designing Phil Spector was an opportunity to be reunited with David Mamet and Al Pacino, both of whom I have been blessed to do numerous projects with. This familiarity allowed me to know Dave’s taste and what would work best for Mr. Pacino.

I did extensive research on Phil Spector and remembered vividly his wild wigs and outfits during the trial. I wanted the costumes to remind us but not copy what had actually existed.

For instance, his shirt collars were oversized, which I thought that was a good detail to carry over, as were the dragonfly pin, his rings, jewelry, and buttons.

Tremendously inspired by Patrizia Von Brandenstein’s brilliant production design, especially in the mansion set, I chose rich fabrics and colors: the goldenrod tiger, embroidered on a black velvet robe with black silk pajamas piped in white; the orange and purple shantung Nehru style shirts with silk drawstring pants; the purple silk smoking jacket and pink silk shirt. The richness of these fabrics and colors not only helped to define the character but also integrated Spector into his whimsical world of collectible circus paraphernalia. A visual metaphor.

I also worked closely with Renate Leuschner the wig maker and Cydney Cornell, Mr. Pacino’s hairstylist, to coordinate the costumes and hair.

The hair was a “huge” element in deciding both outfits and color.

The contrast of Helen Mirren’s character is palpable. She clearly works beyond the confines of her ill health and her clothes express this through their lack of color and fit.

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Photo: Nick Briggs/HBO

Phil Spector

Photo: Phillip V. Caruso/HBO

The Girl

Photo: HBO

Costume Designer: Diana Cilliers Supervisor: Hetta Burger Assistant Designer: Melissa Moritz For The Girl, we had to re-create the sheath dress and matching jacket for Sienna Miller that was originally worn by Tippi Hedren in Hitchcock’s film The Birds. Edith Head designed this costume in a beautiful eau de nil green. Researching and contemplating this costume made me realize what a great example of using colour to create a harmonious balance this choice was. This costume was used almost throughout the entire film, so every aspect of it was so important given its screen time!

The colour never detracted from the dramatic tension by being neither too dramatic, nor too bland, and not only enhanced Tippi Hedren’s character, but also her particular colouring.

I think that colour is one of the most useful tools for a Costume Designer who can contribute to assist in building characters and conveying the narrative.

I am currently working on a film using a limited colour palette in blocks to create a specific world. This use of colour enables us to envision a world different to the one we know. I like using colour in a way that adds specific value to a script. Either the colour should be tonally harmonious or be used to dramatic effect.

Photo: National Geographic Channel

Killing Lincoln

CD Amy Andrews Harrell Supervisor: Renee Jones On Killing Lincoln, we were re-creating history, so we did not have many opportunities to choose the colors for the characters to wear. With politicians and businessmen wearing black, the military officers in dark frock coats, and over half of the women in Washington in mourning during the war, the color palate was necessarily limited.

Many of the other costumes were dictated by history as well. It is known that Laura Keene, the actress on stage the night of the assassination, was wearing a yellow dress. The black velvet cape and black bonnet that Mary Todd Lincoln wore still exist, as do swatches of the black silk dress with white flowers that she wore that night. It is even recorded that Booth was wearing drab green leather gloves and a black top hat when he went to pick up his mail at Ford’s Theatre and learned that the president was going to attend the play there that night instead of seeing Aladdin at Grover’s Theatre.

One scene where I did have freedom with color is the scene where Lincolns’ son Robert has come home from Harvard and the family is having breakfast. Since there is hope that the end of the war is near and the family is together and hopeful, I wanted to give it lightness in color and texture. All the men, including little Tad, are eating in their shirtsleeves, and Mary is wearing a light-colored skirt and an off-white housecoat with feminine touches.

Those light colors combined with the actual light that Jeremy Benning, our DP, had flowing through the windows do, I hope, make you feel ... well, lighter, when you watch it.

Summer 2013 The Costume Designer

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Outstanding Costumes For A MINISERIES, MOVIE OR A SPECIAL

continued

American Horror Story: Asylum

CD Lou Eyrich Supervisor: Marcey Lavendar ACD: Ken van Duyne Illustrator: Liuba Randolph Because American Horror Story took place in the asylum, and we knew there was going to be a lot of black and white on the nuns and orderlies, we wanted to be able to have some color, to make it interesting to watch. We didn’t want to just use greys for their uniforms, so we took chambray and overdyed it with a mauvey lavender and aged everything down so that it would have a bit of texture and color and wouldn’t look so drab with the black, white, and grey. We did a lot of overdying fabrics to put in some subtle color in the asylum. Because the palette was so tight, texture was just as important as color choices in making the look varied. When we were able to do flashbacks, we tried to bring in color to play contrast to the drabness of the asylum.

Also, any time we were outside of the asylum, we tried to infuse color wherever we could. My favorite color moment would be, when we go to do the dance number “The Name Game.” We put Jessica [Lange] in a turquoise dress to make her pop, and again show some contrast to what she would wear in the asylum. Going into the fantasy snapped the audience out of the bleakness of Briarcliff and grabbed their attention. It was also a respite for the actors. It’s such an intense show to work on, so to get to do a dance number was fun for them.

Behind the Candelabra

Photo: © FX

CD Ellen Mirojnick Supervisor: Robert Q. Mathews Assistant Designers: Ann Foley and Robert Morgan Illustrator: Christian Cordella Color was the prominent element that we used to create the world of Liberace and Scott Thorson. The stage and the reality of their lives mirror each other in the tonality of the colors that we chose. I found a beautiful photo of sherbet-colored macaroons that said to me: Palm Springs, Las Vegas, Liberace, and Scott. That became our foundation for their “real” clothes.

Bobby Garland at Western Costume found a souvenir book [of] Liberace’s shows from 1978 through 1985, which became our bible. Howard Cummings, who is the most wonderful production designer, and I primarily based the arc of his show costumes and performances on this book.

Howard and I choreographed each piano, piece of music, costume, what the stage was going to look like, and, in one case—the car! It starts in 1978, with the palest of blues, “Here I Am,” and ends, six shows later, in the palest, most beautiful opalescence, shimmering and up to the sky. We knew those two pieces had to be the bookends. The iconic white fur [was] a manifest of the purity of their relationship. As things intensify and then break down, the performance costumes again mirror that in hot reds and hard, shiny blacks.

Everything has rhinestones and silver or gold embroidery and is embellished, over-embellished, plumed, and rhinestoned.

I would be remiss to not say that each one of the costumes are inspired by costumes that were done originally for him. We couldn’t re-create them; we took creative liberty. It’s not a biography; it’s the story of Liberace and Scott Thorson’s relationship.

If you look at a rhinestone, or a diamond for that matter, it reflects all kinds of different colors that draw you in. That was really a theme I couldn’t resist exploring, because we’re all attracted to the light.

Photo: HBO

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The Costume Designer Summer 2013

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An Interview with

Marilyn Vance

By Anna Wyckoff

2009 LACOSTE Film Career Achievement recipient CD Marilyn Vance chats with The Costume Designer about her two latest projects coming to the small screen.

From Ferris Bueller’s Day Off to The Untouchables to The Rocketeer, the characters you design are completely different, yet they seem both familiar and real. Can you tell us a little bit about your process?

Whether it’s action, fantasy, or contemporary, I love to do all of it.

From script to screen, I visually tell the story. As an artist I see the character in my mind, then I try to build that character. I consider their background, how he lives or she lives, their age range, and most importantly, what their life is like, and then try to project that.

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The Costume Designer Summer 2013

I certainly never expected Matthew Broderick to be alive in Ferris Bueller to this day.

What drew you to your two latest television projects: Bonnie and Clyde: Dead and Alive, and Lizzie Borden?

Television has become something more special than it ever was in my years doing features, and I’ve never really been approached to do TV. But I just thought, wow, Bonnie and Clyde? I would love to reimagine that. [CD] Theadora Van Runkle was my idol at the time when she designed the film. It was so hip, so fresh, and out there, and even though they [Bonnie and Clyde] were older, it left such an impression.

When you are designing, you’re serving the character. The Bonnie and Clyde script was absolutely sensational; on the page

Photo: Sony Television.

In considering the classic Bonnie and Clyde paradigm—how did you modernize the characters?

I had newspaper clippings, and what I did was duplicate the iconic outfits that both of them were wearing in these photographs. But because they were young, and because audiences have Faye Dunaway and Warren Beatty in their mind—who were 10 to 15 years older than these two when they played Bonnie and Clyde—it was a different set of rules.

In imagining the characters in something like Bonnie and Clyde or The Untouchables, I break things down in colors. It’s subliminal—I paint subliminal messages in my work. I think color-coding is a very interesting technique, for example, in The Untouchables. All the sets had colors and textures of grays. And the audience already knows that these are a certain group of people.

Also with a fresh Bonnie and Clyde, I went in a certain direction. I was fortunate to have this young actress, Holliday Grainger, who was amazing. Bonnie was always on the run, packing a suitcase, buying clothes here and there. What would work best? Let’s throw some knits in a bag and go. It just all came together. I used these wonderful knits that we have never seen. It was happenstance to find them buried in shelves and plastic tubs.

Also, I had the good fortune of having Emile Hirsch, and Emile was incredible. First I used three pieces on him, getting more dapper as he realizes he really likes dressing up. He made a transformation in the dressing room when we started putting on the suits, ties, and the hat—which was the most extraordinary thing to him because he’s never had a hat. Finally, he’s looked at himself and he said, “Okay, gangsta. I am Clyde,” and it was great!

Clyde comes from a very poor background. He met Bonnie who was very ambitious and wanted Hollywood. She was into Hollywood, and she was always rejected, and she wanted to be famous. And there they were, the couple of all time, he dressed the part and so did she.

May you give us a little preview of what to expect and what you were thinking as you designed Lizzie Borden?

With Lizzie Borden—she and her sister—there’s a dark story underlying everything. There is sexual suppression and being stuck in her father’s house at the age of 32 with her father and stepmother. It never explores that outright, but she needs a certain type of attention. Her interior life has really nothing to do with how she carries herself outside. Inside, I made her looser, she’s in her nightgown and her hair is down. Then when she goes out with the family to church and she’s very clipped, but yet, there’s something very imaginative about the way she dresses. She wears men’s ties with the little stickpins and collars open at the neck. The suits are quite form fitting

in that period. It happens that Christina [Ricci] is a very small girl, which worked well. All her clothing has that tiny waist and everything is about her shape.

I gave a similar look to Clea, who plays her sister, but not as extreme. She was still more Victorian. And there’s a friend, Alice, who exposes Lizzie to life outside of that house, where she is invited to an interesting party that would be considered very bohemian for the time.

So, I did some outrageous outfits there. We made her this beautiful bodice and skirt out of her color range—in purples with a black overlay of lace, completely feminine as opposed to how she was before. It was like a combination of her at home with her hair down, but here, she is all made up and still has the clipped look, but yet, there was something romantic and beautiful about it.

I have to ask this because it’s the obvious question, I know that you don’t intend to make iconic characters, but you do, repeatedly—how?

I’m also an artist, so I never do anything to say, “Oh my God, this is going to make it. This is going to be fashion.” Never. If it happens to become a trend or it happens to take off, that was not the intention. The intention was to have that character say something to you, and I guess I’ve been successful in that way.

As I said before, sometimes, we have these wonderful storytellers that really help us because it’s on the page, they write it and you meet with them. To begin with, I had a wonderful storyteller in John Hughes.

The person was on the page when you read his script, and in my mind, I already saw the characters. But that doesn’t always happen, the magic was him. I had a visual voice with him, a very big one, which was great.

Photo: Jason Clark, Makeup: Debbie Zoller, Hair: Connie Kallos, Styling: Anna Wyckoff.

it was beautiful. We had a lot of wonderful people working together, from [director] Bruce Beresford to the production designer, and my crew—everyone was on the same vibe, we were all fixated.

Comic-Con 2013 A Special Thank-You to the 2013 CDG Comic-Con Committee Phillip Boutté Jr. Jerry Carnevale Suzanne Chambliss Christine Cover Ferro Mariano Diaz Gina Flanagan Kimberly Freed Oneita Parker Ivy Thaide Michi Tomimatsu

Sponsors Western Costume Company ABC Studios Costume Department Fox Studios Costume Department Warner Bros. Studio Tour Product Sponsors: Angry Girl Printing Costumer Supplies LLC Designed by Hollywood The Fashion Bookstore Flicks Candy Co. ISW Jelly Belly Candy Co. Kind Healthy Snacks La Cienega Studio Cleaners Lionsgate The Los Angeles Ballet OPI Raw Materials Rockwren Winery Serj Costumes & Tailoring Universal Costume Dept.

Votivo Wizard

0 The 26 TheCostume CostumeDesigner Designer Summer Summer2013 2013

By Alexandra Lippin

A

fter months of planning and preparation, the magical mayhem that is San Diego’s International Comic-Con has once again come and gone. With many highly anticipated panels, major announcements, and sneak peeks of trailers for the year’s hottest films, the annual convention did not disappoint.

Friday’s CDG panel, “Welcome to the New Age,” featured Costume Illustrators Phillip Boutté Jr., Keith Christensen, Christian Cordella, Constantine Sekeris, and Alan Villanueva. It was moderated by author Peter Clines of the books Ex-Heroes, Ex-Patriots and showcased the Illustrators’ latest projects. They discussed the importance of traditional methods such as sketching and drawing, despite the dominance of digital tools and 3-D in their field.

On Saturday, a standing-room-only crowd gathered for the “Poppin’ Some Tags” panel, which featured Costume Designers from some of today’s highly anticipated blockbusters.

Christine Bieselin Clark, Isis Mussenden, Mayes Rubeo, and Trish Summerville spoke about their start in the business and how important it is to work with a great team, especially when they have thousands of cast members to design for, fit, and dress. Additional star wattage was added by actor Ron Perlman of Hell Boy and Sons of Anarchy fame, who moderated the panel.

However, nothing represented the power of Costume Design more than a surprise appearance by actor Tom Hiddleston, who came onstage in character, in his Loki costume from Thor: The Dark World. As he howled at the audience sweeping across the stage in his full-length leather coat glinting with hints of armor, the crowd was electrified.

Summer 2013 The Costume Designer

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The Costume Designer Summer 2013

Curated by CDG President Mary Rose, the show is the most extensive to date, featuring more than 120 designs. The exhibit is on view at the Fashion Institute of Design and Merchandising Museum (FIDM) through Oct. 19, 2013 919 S. Grand Ave. Los Angeles, CA 90015 (213) 623-5821 fidmmuseum.org Hours: 10 a.m.–5 p.m.

Tuesday–Saturday

IN FOCUS BOLDFACE NAMES

BFN - Work CD Kime Buzzelli’s latest sizzling summer project is the new CBS half-hour series Bad Teacher, shooting locally with Ari Graynor (For a Good Time Call, Fringe), starring as a sexy, foul-mouthed divorcée who becomes a teacher in an effort to land her next husband.

The TV adaptation of the 2011 Cameron Diaz film of the same title also stars Kristin Davis, Sara Gilbert, David Alan Grier, and Ryan Hansen. CD Nancea Ceo just wrapped the first season of Twisted for ABC Family, starring Avan Jogia, Maddie Hasson, and Kylie Bunbury.

The high school murder mystery is set in New York and shot in LA/NY.

CD Keri Smith is designing a new Reagan-era The Wonder Years series for ABC this fall titled The Goldbergs, based directly on executive producer Adam F. Goldberg’s own family. The family-life theme was successful for earlier Goldbergs, whose hit 1930s radio show of the same name was one of the second-longest running programs in radio. They transitioned successfully to television and lasted into the 1950s. ACD Jennifer Marlin assists Smith on the series which has George Segal cast as the wisecracking grandpa. CD Olivia Miles has begun prep on her latest new CBS series The Crazy Ones, featuring Robin Williams, Sarah Michelle Gellar, and Kelly Clarkson. ACD Bryan Kopp assists Miles with the comedy set for a fall premiere.

Olivia Miles: The Crazy Ones Robin Williams, Sarah Michelle Gellar

Nancea Ceo: Cast of Twisted CD Stacy Ellen Rich stood firmly with her crew and the IA on the recently wrapped feature Last Chance Holiday, that turned union.

Rich thanks her supervisor, Elizabeth Anne Hanley, and the rest of the crew for their support. She encourages others to reach out to their union! CD Kathleen Felix-Hager put to rest the final season of Dexter and now heads to Baltimore. She is thrilled to design the third season of Veep for HBO. CD Ane Crabtree is teamed up again with actor Blair Underwood on NBC’s new series Ironside. The reboot of the classic late ’60s–’70s series is set in the present day, gritty world of the NYPD, and is focused on the sexy and acerbic detective played by Underwood. CD Bob Blackman has taken the helm of the fifth season of Glee, and has brought ACD Brigitta Romanov on board to assist on the vocally driven show, now sadly minus one of the leading actors, Cory Monteith, who passed away tragically July 13, 2013.

Presently ensconced in Atlanta is CD Laura Goldsmith, now designing the third season of Necessary Roughness for the USA network. Goldsmith welcomes all the online coverage written up on her actors’ costumes worn this season. New CDGer CD Margot Wilson just wrapped her third collaboration with fellow Aussie, director John Hillcoat (LawJennifer Eve/Liuba Randolph less and The Road), on the HBO sketch - Dear Dumb Diary pilot Quarry, shot in Memphis and Mississippi, starring Logan Marshall-Green and Stellan Skarsgård (The Girl with the Dragon Tattoo). Welcome aboard Wilson!

CD Trayce Field didn’t skip a beat after finishing The Spoils of Babylon, a six-part comedy miniseries about an adaptation of a fake best-selling novel, with Will Ferrell, Tobey Maguire, Kristen Wiig, and Tim Robbins, and now looks forward to more cupcake mayhem in her third season of 2 Broke Girls.

Ane Crabtree: Ironside’s - Blair Underwood, Ane Crabtree 30

CD Jennifer Eve is one of more than a few members working on popular young adult (YA) noveladapted projects. Eve recently completed a TV movie, Dear Dumb Diary, in Salt Lake City based on the hugely popular book series written by Jim Benton. Ill Liuba Randolph is lending her sketching talents.

The Costume Designer Summer 2013

CD Sharen Davis happily reports her quick June/July stay in Hawaii on the feature Godzilla has had so many plusses: plenty of shopping resources (more than Vancouver!), great local, and L.A. crew with ILL Gina Flanagan illustrating and most of prep done in Los Angeles.

Ellen Falguiere (2): Schweppes Lemon Dry Soda commercial - Iggy Pop CD Ellen Falguiere recently finished a big Schweppes Lemon Dry Soda commercial airing in Europe and shot in Miami, featuring iconic rocker Iggy Pop. Falguiere was assisted by ACD Christine Jordan.

New CDGer CD Susan Doepner-Senac is at home in the world of rock ’n’ roll, making her recent costume collaboration for Joe Walsh on his latest music video a home run.

Doepner-Senac tells us it was done ‘in true Walsh fashion.’

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Joe Walsh and Susan Doepner-Senac

Where else but in Los Angeles would CD Danny Glicker be designing Love & Mercy, with new CDGer ACD Annalisa Adams assisting on the biopic feature about the reclusive life of Beach Boys’ Brian Wilson including his highly publicized nervous breakdown and reemergence as an acclaimed singer/songwriter. Paul Dano and John Cusack play Wilson, Paul Giamatti stars as his manipulative therapist, and Elizabeth Banks playing Wilson’s wife.

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Summer 2013 The Costume Designer

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IN FOCUS BOLDFACE NAMES

WARNER BROS. STUDIO FACILITIES

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CD Lorraine Carson was recently in Vancouver designing the Hallmark Channel series Cedar Cove, based on the popular Debbie Macomber book series, starring Andie MacDowell, Bruce Boxleitner, Dylan Neal, Barbara Niven, Brennan Elliott, Corey Sevier, Sebastian Spence, Elyse Levesque, and Teryl Rothery. On the other side of

Lorraine Carson: Cedar Cove cast the world, CD Francine Lecoultre was in Shanghai, China, designing 200 fantasy/sci-fi costumes for the show Illusions. The cast features 60 international dancers, circus performers, and acrobats led by the American director Daniel Flannery in a production using LED screens with illustrations crafted by Ill Christian Cordella.

CD Carol Ramsey has kept herself busy in Miami currently designing new uniforms for the Shelborne Hotel to complement the midcentury-style renovation of this famous Morris Lapidus beach hotel opening in December.

The Collection High-End Specialty

Shoes,Boots & Purses 818.954.1297 www.wbcostumedept.com Francine Lecoultre (2-sketch & photo): Illusions

Š and ™ 2013 Warner Bros. Entertainment Inc.

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The Costume Designer Summer 2013

CD Ariyela Wald-Cohain is spending her summer designing the sequel to the comedy feature A Haunted House 2, with Marlon Wayans after wrapping the third season of Web Therapy for Showtime with Billy Crystal, Meg Ryan, Steve Carell, Chelsea Handler, Matt LeBlanc, and many more.

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IN FOCUS BOLDFACE NAMES CD Laura Jean Shannon is in town collaborating again with director Jon Favreau on his latest creation, Chef. The film is written, directed, and stars Favreau as a chef rediscovering life while cooking up a food truck business. Sofia Vergara, Scarlett Johansson, Robert Downey Jr., and John Leguizamo join him, with ACD Tabitha Johnson assisting Shannon once again after 2 Guns. CD Nancy Steiner is in Los Angeles designing Alexander and the Terrible, Horrible, No Good, Very Bad Day. Adapted from the eponymous book by Lisa Cholodenko, with Steve Carell and Jennifer Garner starring in the feature about a boy who wakes up with gum in his hair and sees the day go downhill from there.

In July, CD Genevieve Tyrrell wrapped her latest feature Veronica Mars, with TV’s Kristen Bell reprising her lead role in Genevieve Tyrrell: Veronica Mars the film adaptation.

CD Ron Leamon is still in Seattle designing his latest feature Laggies for director Lynn Shelton, starring Keira Knightley, Sam Rockwell, Mark Webber, Jeff Garlin, and Gretchen Mol in a story of a women stuck in permanent adolescence, lying to her fiancé in order to spend more time with friends.

CD Christine Bieselin Clark has just closed the book in Baton Rouge on The Maze Runner, a sci-fi feature based on the James Dashner YA (young adult) novel of same name, directed by Wes Ball with ACD Alexandra Casey assisting. Another designer delving into an adapted novel is CD Jacqueline West, with her ACD Stacy Caballero, together again and keeping Christine Bieselin Clark: busy researching the new Ben The Maze Runner Affleck-directed feature Live

by Night, based on the Dennis Lehane Boston-based crime novel of same name due to shoot this winter, schedule permitting. CD Marlene Stewart is presently in Boston on her latest feature The Judge, starring Robert Downey Jr., Vera Farmiga, Vincent D’Onofrio, Leighton Meester, Robert Duvall, and Billy Bob Thornton in a story about a successful lawyer returning home to find his estranged father, the town judge, accused of murder.

CD Michael Boyd is presently designing Heaven Is for Real for director Randall Wallace, a feature based on the best-selling book of the same title about the real-life story of a young boy’s experience in heaven when he lay near death in a hospital at the age of 4. Greg Kinnear, Kelly Reilly, Thomas Haden Church, and Boyd’s dear friend and actress, Margo Martindale, round out the cast. The 34

The Costume Designer Summer 2013

With over 30,000 pieces, the Carole Tanenbaum Vintage Collection is an unparalleled collection of vintage costume jewelry with pieces dating from the Victorian era through to the 1980s.

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Summer 2013 The Costume Designer

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IN FOCUS BOLDFACE NAMES

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Universal Studios Costume Department

film is currently filming in Winnipeg and due to be completed this August. CD Rita Ryack has just wrapped Angelica, a Victorian gothic feature, directed by Mitchell Lichtenstein (son of artist Roy Lichtenstein), in New York and London with CD Maria Tortu assisting.

Melissa Bruning: Dawn of the Planet of the Apes CD Melissa Bruning with her crew of CD Dana Hart (supervisor) and CD Dan Moore (key) are all immersed in the complexity of their latest feature Dawn of the Planet of the Apes. After prepping in New Orleans and shooting the humans in Vancouver, the group is back in New Orleans at a soundstage for the more complicated motion capture digital shots of the apes. CD Mary Zophres has been prepping in Los Angeles and geared up for Christopher Nolan’s next film, Flora’s Letter, shooting in early August, starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Matt Damon, Michael Caine, Casey Affleck, shooting in Los Angeles, Calgary, and Iceland.

It wraps in December.

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CD Courtney Hoffman was selected for Glamour’s “35 Women in Hollywood Under 35” list. Hoffman was one of five that selected to be photographed. Glamour did a photo shoot at Western Costume. Hoffman feels it is an honor, as a Costume Designer, to be represented on the list. The article will be featured in mid-August online. (glamour.com)

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The magazine Business Insider has deemed CD Janie Bryant one of the “24 People Who Determine What’s Cool in America.” (businessinsider.com)

Also, delving into reality television, CD Janie Bryant is collaborating with the creators of NBC’s Fashion Star, for her own fashion competition series. The new endeavor is tentatively titled Janie Bryant’s Hollywood. The series will meld the worlds of fashion and Costume Design. Congratulations Janie! For the entire story, see (popstyle.ew.com) CD Michele Michel’s B&B “Hotel Mi Casita” was featured in Conde Nast Traveler magazine’s March issue. Opened in Taxco in 2003 to share with the atmosphere of her family’s home and honor her late grandmother and Mexican fashion designer Tachi Castillo, “Hotel Mi Casita” is celebrating its 10-year anniversary. (cntraveler.com)

CD Kime Buzzelli has opened a small vintage and designer clothing boutique called The End in Yucca Valley near Joshua Tree (just 30 minutes from Palm Springs). The beautifully curated boutique features one-of-kind local designers, jewelry makers, vintage pieces, home decor, art, ceramics, and accessories. Every unique piece tells a story at The End. Located at 55872 29 Palms Highway in the heart of Old Town Yucca Valley, CA 92284. (760) 418-5536

CostumeRentals offers year-round access to the Guthrie Theater and the Children’s Theatre Company’s combined inventory of extraordinary costume pieces.

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

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IN FOCUS on location

San Francisco with Danny Glicker “I’m just mad for San Francisco. It is like London and Paris stacked on top of each other.”

–Twiggy

Held Over

Photo: Jennifer Chen

’70s and ’80s mixed bag—everything from good period pieces to hipster flair. Great denim and leather, cords, ski jackets, etc… Good shoes and purses. Prices are reasonable and there is always something inspiring to find.

1543 Haight St., SF, CA 94117 (415) 864-0818 Neighborhood: The Haight

Static

W

ith apologies to Twiggy, the style icon with whom I rarely find cause to disagree, San Francisco is quite unlike any city in the world. Wander a day on the steep hills in the moody fog amongst the Mission and Victorian architecture, across the sprawling parks and take in the Bay vista that provides the perfect backdrop for a city known as The City.

San Francisco is progressive while being old fashioned, cutting edge, while remaining quaint, fast-paced while retaining a relaxed attitude. In short, San Francisco is nothing short of a miracle. I love working, visiting, and living here when I’m lucky enough to have a reason to. My heart and soul is always at home in San Francisco.

Shopping: There is such a vibrant array of shopping in The City at the stores we have all come to depend on, that I will not spend too much space on them. Most are downtown and around Union Square, really well situated for those major days of shopping.

The Westfield Mall

An unbeatable collection of flagship and chain stores. Imagine the Beverly Center crossed with Rodeo, married to NYC’s 5th Ave. … awe-inspiring.

865 Market St., SF, CA 94103 www.westfield.com/sanfrancisco/ Instead, I have chosen to share some of my favorite local shopping and recreational treats. Many have served me well on numerous projects ranging from time periods that include ’40s, ’50s, ’60s, and ’70s, to present day.

Vintage Stores: La Rosa Vintage

A treasure trove! Beautifully curated collection of clothing for men and women mostly from the ’40s upward. Gorgeous gems: party dresses, smoking jackets, hats, and jewelry in wonderful condition, as well as a friendly, knowledgeable staff. Priced accordingly.

1711 Haight St., SF, CA 94117 (415) 668-3744 Neighborhood: The Haight 38

The Costume Designer Summer 2013

A wittily curated collection of special pieces—perfect flashes of eccentric glam for a low-fi moment: vintage Gucci, Dior leather goods, fun dresses, and great treasures, with a little special pop.

1764 Haight St., SF, CA 94117 (415) 422-0046 Neighborhood: The Haight

Clothes Contact

By the pound! Surprisingly well-collected vintage, mostly ’70s and above, everything from tacky printed poly dresses to denim trucker jackets and overalls. The pleasant staff is willing to work with the prices to encourage more (by the pound) purchases with volume discounts!

473 Valencia St., SF, CA 94103 (415) 621-3212 Neighborhood: Mission

Consignment: Sui Generis Designer Consignment & Second Hand

An absolutely wonderful collection of upscale, recent high-end fashion at excellent prices. The condition of the clothes is often like new, and it skews to a very discerning eye. Brands including Dior, Comme de Garçon, Escada, Pucci, Prada, etc. Wonderful, fun, and priced well.

Mens: 2231 Market St. Womens: 2265 Market St., SF, CA 94114 (415) 437-2265 Neighborhood: Castro

Men’s Clothing: UnionMade

Gorgeous menswear with heritage inspiration; the clothes are cutting edge, very wearable, chosen for their quality and flattering cuts—beautiful items of enduring style without ever being boring.

493 Sanchez St., SF, CA 94114 (415) 861-3373 Neighborhood: Mission

Fabric Stores:

Dine:

Discount Fabrics

There is so much wonderful food in the Bay Area, but here are some personal favorites:

You’ll need to dig to find the gems, but they are there! Wonderful selection of vintage cotton prints and notions.

Eiji

Two locations: 201 11th St., SF, CA 94103 2315 Irving St., SF, CA 94122 (415) 564-7333

A sushi bar where the real draw is their amazing homemade tofu, unlike anything I’ve ever had before. Light and savory, it is a cool cloud of custard-like deliciousness, served with a tangy syrup of soy … it’s simply extraordinary and a true work of culinary art.

317 Sanchez St., SF, CA 94114 Neighborhood: Castro (415) 558-8149

Britex Fabrics

146 Geary St., SF, CA 94108 (415) 392-2910 Neighborhood: Union Square

You simply must try the James Beard Award-winning:

Tartine Bakery

Photo: Britex

The Grande Dame of SF fabric stores, highly upscale with many couture-quality fabrics: silks, suiting, ladies wear suiting. Expensive and beautiful.

Dolores Park

When the sun comes out, so do the people, and nothing could be more delightful than relaxing from a busy week’s work, than sunning yourself with the eclectic crowd at Dolores Park. Sports, picnics, and public events all take place here, and the San Francisco locals really know how to enjoy communal park recreation in style. Peoplewatching is divine and sure to provide endless inspiration for your next project.

Photo: Jennifer Chen

Explore:

The seasonal fruit bread pudding is a breakfast indulgence that is worth every last calorie, and their cakes are absolutely unequaled in their appeal to both the eye and the taste buds: rustic and modern.

600 Guerrero St., SF, CA 94110 (415) 487-2600 Neighborhood: Mission

18th St. & Dolores St. San Francisco, CA 94114 Neighborhood: Castro

And when you want to have a lovely journey, take an antique streetcar to the ferry building in the Embarcadero and enjoy the dazzling selection of gourmet shops, pottery, and lovely home goods from local vendors. Top off the day with a glass of something bubbly, a warm cup of chowder and some decadent oysters with an even more decadent view of sunset beyond the Bay Bridge at:

An even better way to enjoy the park, bring a picnic from:

Hog Island Oyster Co.

Lovely and healthy local foods, prepared sandwiches, salads, and legendary homemade ice cream … a perfect neighborhood gourmet market. It’s expensive but worth it.

3639 18th St., SF, CA 94110 (415) 241-9760 Neighborhood: Mission And bring a book from:

City Lights Bookstore

Co-founded by beat-era legend Lawrence Ferlinghetti, City Lights Bookstore has provided a haven for such literary luminaries as Jack Kerouac and Allen Ginsberg, and remains a vital independent bookstore, filled with classics and new works alike. An hour browsing might turn into several, but your night table stack will be richer for it.

Open daily from 10 a.m. to midnight 261 Columbus Ave., SF, CA 94133 (415) 362-8193 http://www.citylights.com/ Neighborhood: North Beach And when you are nice and relaxed from your picnic in the park, replenish your soul at the:

de Young Museum

50 Hagiwara Tea Garden Dr., SF, CA 94118 (415) 760-3600 40

The Costume Designer Summer 2013

…And finally, my favorite store in San Francisco:

The Candy Store

One of the finest candy stores in the world, from exquisite imported treats to nostalgia candy, has been touted by taste-making luminaries. The immaculate Russian Hill boutique displays its candy in a wall of clear jars creating a beautiful tableaux of colorful sweets that will send any visualist swooning. They create beautiful wrap gifts and give free samples!!! Tell the friendly owners, Diane and Brian, that you are a Costume Designer and they may even give you the royal treatment!

Photo: Jennifer Chen

Bi-Rite Market

1 Ferry Bldg., Shop 11, SF, CA 94111 Neighborhood: Embarcadero (415) 391-7117

507 Vallejo St., SF, CA 94109 (415) 921-8000 Neighborhood: Russian Hill

You probably know that walking is good for your heart. But, here’s some news that should really get you moving. New research shows that heart-healthy exercise is also good for your brain. It also may reduce

the risk of Alzheimer’s disease. To learn more about Alzheimer’s disease and what you can do, visit alz.org/californiasouthland. Thinking ahead now just might make all the difference down the road. alz.org/californiasouthland • 800.272.3900

SCRAPBOOK

Fantasy Island. Photo: Getty Images

Grady Hunt Grady Hunt made his way to Hollywood from Lone Oak, Texas, in the 1940s. He was born on a farm, but always dreamed about Costume Design. He first served in the Navy during WWII, then opened a couture shop in Dallas called Gradis, before moving to Los Angeles.

He is known for his Costume Design for The Milton Berle Show, and was Emmy nominated for the television shows Fantasy Island, Ziegfeld: The Man and His Women, and Columbo, among many others.

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The Costume Designer Summer 2013

CDG President Mary Rose worked as his assistant and recalls that Hunt’s true love was to tailor and build garments himself. He created gowns for many stars including Anne Baxter, Joan Crawford, and Eartha Kitt.

Hunt was the winner of the CDG Career Achievement in Television Award in 2007.

(1921–2013)

The Official Magazine of the Costume Designers Guild

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