The Costume Designer - Fall 2008

The Official Magazine of the Costume Designers Guild Costume Designers Guild Local 892窶的.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604

Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450

vol. 4, issue 4

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28

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FEATURES Costume Council, Costume Society . . . . . . . 14 Scholarly organizations

Fan Frenzy . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 A passion that begins with costume

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report Labor Report

FOR YOUR CONSIDERATION

BEST COSTUME DESIGN CAROLINE B. MARX

The Costume Department. . . . . . . . . . . . . . . 20 Meet the Assistants History of Dress My Favorite Things

For screening information:

DisneyStudiosAwards.com

©Disney Enterprises, Inc.

COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

COVER Tootsie, 1982 designed by Ruth Morley

What’s On/What’s In . . . . . . . . . . . . . . . . . . . 44

Photo courtesy of the Academy of Motion Picture Arts and Sciences

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

The Process: Sketch to Screen A Look Back at The Hunger Boldface Names

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EDITOR’S NOTE

W

hile consumed with the economy and the elections in a country moving from turmoil to hope, a theme for this issue just never surfaced. Which is why I thought we’d put a memorable “candidate” on the cover who would at the very least, make us smile. The transformation of Dustin Hoffman was made largely in part by Ruth Morley’s designs for Dorothy Michaels in Tootsie. Morley’s passing in 1991 left a legacy of some 50-plus films. Morley was nominated for an Oscar (The Miracle Worker, 1962) and Emmy (Death of a Salesman, 1985) and a BAFTA Award for Tootsie, 1982. She designed the contemporary films: The Hustler (1961), The Miracle Worker, 1962 & 1979, Taxi Driver (1976), Annie Hall (1977), Kramer vs. Kramer (1979), One From the Heart (1982), Tootsie (1982), Ghost (1990), The Prince of Tides (1991). If you are interested in further exploring Morley’s memorable career, her estate donated a collection of her scripts, correspondence and drawings to the Academy of Motion Pictures’ Margaret Herrick Library; all available for reference.

The launch of Meet the Assistants is finally here. New regular contributor — STENDHAL JR Hawbaker, an Assistant Designer herself, has enthusiastically taken on the task of introducing you to the “right hand” of the Costume Designer. I hope you appreciate her insights and her style as much as we do.

What’s On/What’s Out will now be called What’s On/What’s In. Why didn’t we think of it before? A much more positive headline.

You may have noticed that Boldface Names has grown into a bear of a column.

We love collecting your submissions and researching your Boldface news as much as you like reading it. News you submit and news we research. It takes four people to compile and edit Boldface Names. Help us make it easier by submitting all new work, press and new businesses in short concise entries. While we appreciate every detail of your project, it makes it harder for us to decide what to print if your entry is more suited for a full-length feature than a Boldface entry. Also, you know if you’ve already made it to press. If it’s been in print, please don’t resubmit. If it’s a new project, new business or a new Designer, ACD or Illustrator on an existing show, we will gladly include it. Please include high-resolution photos whenever possible. Note: we cannot include non-union work.

“

The more one pleases everybody, the less one pleases profoundly.

”

EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Audrey Fisher MANAGING EDITOR Cheryl Downey PRESIDENT Mary Rose mrose@costumedesignersguild.com

VICE PRESIDENT Hope Hanafin hhanafin@costumedesignersguild.com

SECRETARY Ann Somers Major asomersmajor@costumedesignersguild.com

TREASURER Marilyn Matthews mmatthews@costumedesignersguild.com EXECUTIVE BOARD

Sharon Day sday@costumedesignersguild.com

Salvador Perez sperez@costumedesignersguild.com

Deena Appel dappel@costumedesignersguild.com

Cliff Chally cchally@costumedesignersguild.com

Lois De Armond (Asst. Costume Designers) ldearmond@costumedesignersguild.com

Felipe Sanchez (Illustrators) fsanchez@costumedesignersguild.com

Tanya Gill (Commercial Costume Designers) tgill@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper vlavencooper@costumedesignersguild.com

Susan Nininger snininger@costumedesignersguild.com

Van Broughton Ramsey vramsey@costumedesignersguild.com

Helen Butler hbutler@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair pflaherty@costumedesignersguild.com

Jacqueline Saint Anne jsaintanne@costumedesignersguild.com LABOR DELEGATE

Betty Madden bpmadden@aol.com EXECUTIVE DIRECTOR

Cheryl Downey cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Deena Appel dappel@costumedesignersguild.com

Suzanne Huntington shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY

BEST COSTUME DESIGN Danny Glicker

Cheryl Marshall cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

CORRECTION

Reality TV Feature The original costume for Princess Leia in Return of the Jedi was designed by Aggie Rodgers.

PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236

For up-to-the-minute screening information and more on this extraordinary film go to: www.FilmInFocus.com/awards08

Advertising@IngleDodd.com

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The Costume Designer Fall 2008

ARTWORK ©2008 FOCUS FEATURES, LLC. ALL RIGHTS RESERVED.

Contributors

AUDREY FISHER

KARYN WAGNER

ROBIN RICHESSON

SUZANNE HUNTINGTON

(Associate Editor & A Look Back) joined the Guild in 2000 and is currently the Costume Designer for the new HBO original series, True Blood. Fisher was in her second term representing Assistant Costume Designers on the Executive Board when she reclassified to Designer.

“Associate editing the CDG magazine allows me to indulge one of my first loves and keeps up my writing chops. I appreciate the creative outlet and the opportunity to learn more about our colleagues and their designs.”

(History of Dress, Copy) A Costume Designer for film and television, Wagner ran for the CDG Board four years ago. “I wanted to give back a little of what the Guild has given me. I have found the experience to be rewarding and inspiring. I trained as a historian, and I love to watch the evolution of culture and clothing, so I volunteered to write the History of Dress column. I always learn something new and have so much fun writing it.”

(History of Dress, Illustrator) joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist,and an educator. “I trained for 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.”

(Boldface Names) came to the Guild in 2005 as the administrative assistant after two years with the Editors Guild as their project event coordinator. Educated and working in fine arts and entertainment keeps Huntington in the creative environment she enjoys. She stays busy with member inquiries, managing special projects, administrating the CDG website, among other duties. “It’s a pleasure to stay in touch with the members and make a contribution to the magazine.”

JR HAWBAKER

PHILLIP BOUTTE JR.

MARCY FROEHLICH

(Meet the Assistants and Locations) joined the Guild in 2006 and currently works as an Assistant Costume Designer for film and television. Originally from Chicago and the Goodman School of Drama, she calls Los Angeles and the CDG home now. Excited to be writing again, Hawbaker is thrilled to contribute to the magazine.

“Our Guild members are all storytellers, on screen and on the page, and I am only too happy to contribute to a magazine that narrates their stories.”

(Fan Frenzy) has been a member of the Costume Designers Guild since January of 2007. Since joining, Phillip has produced artwork for films such as The Mummy: Tomb of the Dragon Emperor, Star Trek, Wolverine, Terminator Salvation, Bedtime Stories, and the upcoming Madonna tour. He loves his job and would like to thank Robin Richesson for suggesting the Guild to him. Phillip currently lives in North Hollywood, Calif.

(Costume Society & Costume Council) joined the Guild in 1992 fresh in from New York and Broadway. She has long had an interest in historical costume and research, and satisfies much of this desire working in theater. However, for variety, her next project is the Miss America Pageant!

THANK YOU Phillip Boutte Sharen Davis Marcy Froehlich JR Hawbaker Suzanne Huntington Robin Richesson Felipe Sanchez Karyn Wagner The Kobal Collection

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UNION

LABEL

PRESIDENT’S LETTER Dear Members, his October marks the first year anniversary of the new CDG Executive Board, Officers and my Presidency. I was going to devote my letter to our accomplishments, as there is much to report in my view. But as the saying goes … bestlaid plans often go astray! The consequences of a nation in chaos and confusion!

By the time the fall issue is in your mailbox, our fate and that of the country will have been decided with the choice of Barack Obama for President. Even with this historic vote for change, there is no doubt that we are headed for hard times, the likes of which our generation has never experienced. It began this October with the crash of the market, and it’s uncertain when it will improve.

I grew up in Japan. In 1953, I came to the U.S., and raised two young children during the Vietnam War with a mother’s fear for their future; I especially worried about my son, who in a few short years would become eligible for the draft. As recently as 2004, my daughter, a mother of two young children herself, was sent to Iraq for 18 months to fight this meaningless war. By then, I thought I’d seen enough global happenings affect so many people’s lives, what more could possibly surprise me? What happened in October, the collapse of the economy worldwide … proved that I was wrong! I could never have anticipated this. “We all have to tighten our belts!” is the mantra that we will be hearing from everywhere that we must understand and follow.

If this message sounds like a gloomy and depressing forecast, that’s not my intention. It’s just a warning for all that we do have to be aware of the situation. We have to consider what we value and recognize and prioritize what is most important to each of us. Like many, the CDG’s investment values have declined. Still, the CDG’s finances are intact and quite safe under our watch. Less income from investments maybe, and yet new memberships are up. So there is a silver lining. Who can figure?

Our first Budget Committee meeting was the end of October, and I give you my assurance that our Education Committee’s budget was our highest priority. As you know, it is my passion and based on this year’s success, we may even increase the education budget by making cuts in less crucial areas. Don’t call us Scrooges just yet. Cheryl Downey and I have already begun to organize our Second Annual Holiday Party (December 6) that was such a success last year. This event benefits all members so we’ve made sure to allocate enough to celebrate a new year of HOPE with a great holiday party to let a little light into our spirits!

This year, Thanksgiving will have a special meaning for all of us indeed. Have a happy and wonderful day of celebration with your families and friends!

T

Mary Rose mrose@costumedesignersguild.com IMPORTANT DATES SATURDAY MONDAY Holiday Hours: MONDAY MONDAY TUESDAY MONDAY

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The Costume Designer Fall 2008

December 6 CDG Holiday Party 5-7 PM December 8 Eboard Meeting 7 PM Dec. 24–26, closed Dec. 31–January 2, 2009 closed January 12, 2009 Eboard Meeting 7 PM February 2 Eboard Meeting 7 PM February 17 CDG Awards Gala February 23 General Membership Meeting 7 PM

UNION

LABEL

From the Desk of the Executive Director

Assistant Executive Director’s Report

Dear CDG Brothers and Sisters,

L

est you worry about your MPI pension, let me assure you the Plan’s prudent investment guidelines have resulted in losses far smaller than those in other defined benefit plans across the country. In fact, the MPI Pension Plan is in the top 1% of jointly (labor and management) bargained and managed defined benefit plans. This means our MPI Plan solidly exceeds minimum funding guidelines and, for example, 13th- and 14th-month checks are again being issued to all retirees for 2008. Do you realize how fortunate we are to have such security in these daunting economic times?

Nevertheless, as of October 10, 2008, the Pension Plan’s portfolio was down 19% and the Individual Account Plan was down 15%. Losses and gains are actuarially spread over several years, which will help to even out this bad news. But the Pension Protection Act requires the monies coming into the Plans go first to fund the Pension Plan and secondly to fund the Health Plan. To be realistic, this may mean that modifications in our sterling Health Plan will be fiscally required.

This brings us once again to the importance of phoning in every newly landed non-union job you take. It is essential that you fax us your start paper work, so the IA can try to organize the show. Once “turned” to a union shoot, benefits get paid into the Plans.

If you land a job out of town on a union show in another IA Local’s jurisdiction, call our office for its number and Business Rep. When you arrive on location, call and introduce yourself to that Business Rep. Technically, the IA Constitution requires you receive permission to work in another IA Local’s jurisdiction.

Permission is routinely given and this professional protocol will help you in more ways than just local staffing. Make sure that if hired under the Basic Agreement here in Los Angeles, your benefits are paid to MPI. Each of you and the Guild office play a vital role in making sure the Plans receive all the monies due them for our common good.

Let’s count our MPI blessings!

Speaking of gratitude, a sincere thank-you to Karyn Wagner and Dana Onel who resigned from the Eboard for work reasons, and to Marilyn Matthews, our new Treasurer, and Felipe Sanchez, the new Illustrator Board member, who are filling their well-worn volunteer shoes. Come meet them at the 2nd CDG Holiday Party December 6!

With Gratitude, Cheryl cdowney@costume designersguild.com

CDG 2008 Holiday Card Illustration by Mirena Rada

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The Costume Designer Fall 2008

What Does an Assistant Designer Do?

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e are thrilled that our Costume Designers are seeing the benefit of hiring an Assistant Designer. TV designers are discovering what film designers have known for years; a good Assistant Designer is worth his or her weight in gold. Television shows are bigger and more demanding than ever and an ACD has become a necessity on most shows.

An Assistant Designer can do anything a Designer does under the direction of the Designer: •ACDs can represent the artistic ideals of the Costume Designer with all departments when the designer is not available •Research for contemporary and period projects, uniforms, and regional costumes •Assist with script analysis and setting up costume charts or boards •Be an extra set of eyes and ears in fittings and production meetings •Communicate with set dressing, camera, stunts, props, hair, make-up, and special effects, to let the designer know any special requirements and visa versa •Swatch fabrics and communicate the application of fabrics •Fit extras or day players when the CD is occupied elsewhere •Communicate with principal and extras casting and make the calls for sizes •Be the Designer’s liaison with the workroom •Shop for accessories or entire looks under the Designer’s direction •Contact vendors for product placement Every situation and job is unique, but an Assistant Costume Designer is a valuable asset to any production. The Costume Designers Guild is proud to have 133 talented Assistant Designers to help you on your next project. Call the office for a list or go to the website member’s area to check out the available members. The Assistant Designers are also featured in a new regular column in the magazine starting with this issue.

In Solidarity, Rachael Stanley rstanley@costumedesignersguild.com

“The haunting and visionary Dark Knight soars on the wings of untamed imagination.”

Peter Travers, ROLLING STONE

“All of The Dark Knight’s production values are first-rate.”

“Intelligent and masterfully crafted.

It is impeccably executed.”

UNION

LABEL

Claudia Puig, USA TODAY

“The entire production has superior technical quality.”

Roger Ebert, CHICAGO SUN-TIMES

Kenneth Turan, LOS ANGELES TIMES

Labor Report

“

W

ith new leadership in Washington, we may be able to fix some of the laws that have been hurting us for years, and enact new legislation that will give workers a fair shot at improving their lives,” said Thomas Short.

President Elect Barack Obama’s theme, Vote for Change, brought out the volunteer spirit in CDG members to a degree unseen in past elections. Members clearly wanted to make a difference in this presidential election by phone banking on Thursday evenings at I.A.T.S.E. Local 80 and elsewhere. Calls went out to Colorado union members who were appreciative of hearing from fellow brothers and sisters in the labor movement; especially informing them about three anti-worker amendments on the Colorado ballot. We then turned our attention to another swing state, Nevada, whose working families are also struggling in this time of economic turmoil and uncertainty.

Thank you to Sharon Day for leading the charge as the “CDG Obama Coordinator,” and rousing the membership to action. Sharon attended all six phone-bank evenings at Local 80 and was joined by Betty Madden, Diah Wymont, Beth Pasternak, Sandy Ampon, Jacqueline St. Anne, Eric Berg, Terry Gordon, April Ferry, Paula Kaatz, Valerie Laven-Cooper, Melissa Meister, Austin Myers, Libby Palmer, Laurel Taylor, Louise de Teliga, Dana Woods, Cheryl Downey, Rachael Stanley, and Liuba Randolph for phoning. Hope Hanafin traveled on her own to help knock on doors in Colorado and many more members participated in their own ways wherever they were located.

Thank you all for voting and acting for change. Now let’s work to bring about that change.

Labor Delegate, Betty Madden bmadden@costumedesignersguild.com

NEW MEMBERS

F O R

Y O UR

C ON S I DE R A T I O N

BEST COSTUME DESIGN

L I N DY H E M M I N G

Front row left to right: Gloria Shih, Candice Cordella, Glenda Maddox, Lucas Culshaw Back row left to right: Gersha Phillips, Sarah Burton, Elizabeth Jett, Lindsay McKay, Shoshana Rubin, Karen Baird, Brandy Lusvardi

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The Costume Society of America I have long enjoyed membership in the Costume Society of America, so I’m surprised when other Costume Designers haven’t heard of it. Founded in 1973, it is primarily concerned with the study of dress. Yes, you could call it scholarly, as there are yearly symposiums where papers are presented, and many members are from universities or museums, but there are also workshops on a variety of subjects which I have found fascinating as a designer: a presentation on the costume and research archives of the LA County Museum, a tour through a craftsman home where there was a bounty of beautiful arts and crafts clothing and embroideries, and a fascinating lecture where I learned of the scarcity of a particular red dye in the 17th century! And there’s always the opportunity for tea or lunch with others who just love clothing, very civilized. Yearly dues are $75, which entitles you to membership in the international and regional chapter, newsletters, and a subscription to the annual publication Dress.

The Costume Society of America National Office Telephone: 800-CSA-9447 or 908-359-1471 national.office@costumesocietyamerica.com

Dress, the annual scholarly magazine of the Costume Society

The Costume

Council

There is another organization in town that you should know about. The Costume Council of the Los Angeles County Museum of Art. The group supports the Costume & Textile Department through fundraisers for acquisitions. Celebrating its 55th season, the Costume Council is now the largest of the 10 Art Councils of LACMA. They also have scholarly events, often associated with current exhibitions, which are sometimes open to the public. As a member, you have easy access to the Costume Research Center. The yearly dues have recently been raised to $400 (and there are two tiers above that). Membership is by invitation only. Mark your calendars: the next event on November 17 at the Bing Theater focuses on burlesque and its influence on fashion, and is open to the public. Dita Von Teese will display her costumes and Ava Garter will perform. You can’t get any better than that for a scholarly event!

For information on this event, contact Brigette 323-857-6013 bginter@lacma.org General information: costumecouncil@lacma.org Marcy Froehlich Marcyfro@aol.com

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The Costume Designer Fall 2008

Invitation artwork taken from Liz Goldwyn’s book, Pretty Things.

NEIMAN MARCUS IS MORE THAN A FASHION DESTINATION—IT’S A MUST-SEE RESOURCE FOR FILM AND TELEVISION INDUSTRIES. OUR STUDIO SERVICES EXPERTS HELP COSTUMERS AND STYLISTS SELECT THE PERFECT WARDROBES AND PROPS FOR YOUR PRODUCTION. NM TOPANGA STUDIO SERVICES MONDAY—FRIDAY, 10 TO 6 SATURDAY BY APPOINTMENT 818.316.7014 TOPANGA 818.316.7000 NEIMANMARCUS.COM

Star Wars

We have so little understanding of how our costumes touch people. Beyond the experience in a darkened living room or Cineplex, our costumes can also inspire.

There are two stories that came out of my experience at Comic-Con this year, and though very different, they are somehow born through a passion for Costume Design...

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Firstly, the duo known as the Hindi Sisters. Hillary and Hannah Hindi are quite a pair. After entering a contest sponsored by AOL that encouraged teens to send in ideas for a Web-based show, they placed third out of almost 100,000 entries.Though disappointed that they didn’t win, they bought their own camera and continued to shoot webisodes for their newly acquired fan base.

Their passion became known as The Hillywood Show.

Imagine Doc from Back to the Future running into Captain Jack Sparrow from Pirates of the Caribbean? What would happen if The Terminator was sent back in time to kill Jack Sparrow? The Hillywood Show centers around the two sisters as they do impersonations of various characters, from a mix of films, interacting together in quirky situations.

Their attention to detail is what impressed me the most.

There is an obvious love for the characters they portray, and their passion for re-creating the costumes is evidenced by their precision. Hillary and Hannah are wildly influenced by all things “Tim Burton” as well as the chameleon-like nature that Johnny Depp brings to his characters.When asked about Costume Designer Colleen Atwood, the two could not have had more admiration for her work in their voices.

They love her use of desaturated color, the materials and of course, Colleen’s attention to detail. Most of all, they are passionate about re-creating them to the best of their ability.

Thanks to The Hillywood Show, you really get the sense that you are watching your most beloved characters interact in ways that you could never imagine; and central to pulling that off are the costumes.

Explore and enjoy the Hindi Sisters’ artistry at thehillywoodshow.com.

You’re in for an imaginative wild ride.

The second unexpected surprise came in the form of the unassuming Michael Solof.

Michael, while clutching an artist’s portfolio, waited patiently during the meet-and-greet session after the Comic-Con panels. He informed me

All sketches by Charles Solof. Courtesy Mike Solof.

Sweeney Todd

Fan Frenzy

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Fear and Loathing in Las Vegas

Edward Scissorhands

that the portfolio was not his but that of his late father, Charles Solof.

Charles Solof was a furniture manufacturer’s rep in the 1960s. He traveled around selling furniture for various companies to support his family, like his father did before him. But there was another side to his father that Michael always found intriguing. Michael remembers finding his father’s secret sketches on his furniture orders, the sand castles he sculpted at the beach, and his beautiful landscape paintings. Shortly before his father passed away, Michael was digging through one of his father’s closets when he happened upon a portfolio. When he opened it, he was stunned by what he found. In it, were about 175 costume illustrations he had done when he was only 19. Charles explained to his son that he had dreams of going to New York after high school to become a designer and that someday, a famous starlet would wear one of his designs. This dream was never realized because his parents felt that costume design was not something a young man should do. This, coupled with a young boy’s doubts about making it in “The Big Apple” led him to go into the family business.

As I looked at one beautiful sketch after another, I was blown away by the innate talent that this man possessed.There were socialites and ballerinas, brides and ballroom dancers, moms and sweet 16ers. Charles Solof was a naturalborn Costume Designer. His passion was sealed in a box in the closet for more than 40 years.

Michael Solof is now determined to find opportunities to share these gems with the world.

So, what drives the Hindi Sisters to pursue their dream of one day having a nationwide show to share their unique gifts?

What drove Michael to travel all the way to San Diego from Baltimore, Maryland, in hopes that someone would find value in his father’s hidden talents? Passion is the wellspring that creative individuals tap to nourish their very existence. And this passion seems to be eternally linked to a love of Costume Design.

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Charles Solof

Hindi Sisters

Phillip Boutte Jr. uphilme@gmail.com

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THE COSTUME DEPARTMENT

KRISTINE HAAG

HOLLY DAVIS

ALLISON LEACH

MEET THE ASSISTANTS

Before following a boyfriend in a band to Los Angeles, Holly Davis worked in New York editorial for Glamour magazine and public relations for Ralph Lauren. Davis also holds a BA in fashion design from the University of Missouri. Once in Los Angeles, she began working on commercials, videos, and MOWs. Today, this ACD guru has a large body of film work, having assisted Costume Designers Judianna Makovsky, Kym Barrett, Deborah Scott, Marlene Stewart and Jacqueline West. Her experiences have taught her the merit of Zen on the job. “Stay happy, be kind to your co-workers, and if the world is exploding around you, it becomes super important to stay calm and get the job done,” Davis explains. She strives to relieve the pressure of the designer’s demanding and ever-growing position.

Constant script changes, late casting, and increased expectations of the designer’s time make the ACD crucial; another set of eyes working for the designer’s vision.

Allison holds an MA in fashion and textile design from the University of Southampton Netherlands’ Satellite and has studied collection development at the Institut Francais de la Mode, Paris. She’s as versatile as the continents she has studied on.

Her California career began in the theater, but she has also worked in film, opera, commercials, custom bridal, and styling. As an ACD, she relies on efficiency, creative sourcing, pulling confidence, stamina, communication, and “treasure-hunting.” She even finds some of her best training comes from her college waitressing days, which gave her “the ability to have a 360º awareness of her responsibility and to systematically take care of everyone/thing with a delicate dance of agility!” She suggests “making yourself indispensable and then learning what rejuvenates you so you stay charged for the long haul!” For Leach, that includes “a lot of singing and laughing even when we’re in the thick of it!”

pugluv@earthlink.net

allisonleach@gmail.com

can’t live without coffee and good food JR Hawbaker jhawbaker@costumedesignersguild.com

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Positivity and friendliness are traits that this midwestern girl from outside of Akron, Ohio, knows are just as important as her background in construction and fabrics. Haag moved to Southern California five years ago, after receiving a fellowship from UC Irvine, to obtain her MFA in costume design. Her undergraduate work in fashion and BFA in costume design from Kent State University helped her get started on her path.

She believes designing is juggling. An ACD is not merely an extra costumer, but rather a designer with an eye for detail and an understanding of storytelling, who supports the vision of the Costume Designer. In this way, the final outcome is stronger and richer in its complexity. While working as a sounding board, shopping, sourcing, and conveying notes she stays professional and friendly. For Haag the process of building is the most rewarding.“If I’m not loving it, than why am I here?”

krisaliss@gmail.com

can’t live without

can’t live without

innersoles, my blackberry, jacket pockets for pins, sharpies, phone

inspirational photos, clean car, a great pen and my red leather binder

THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z

M

ail: Flexible material made of interlocking

metal links or rings; worn under armour for added protection until complete plate armour was used. The word refers to the actual material produced; each garment made from it has a specific name. A knee-length shirt is called a hauberk, a haubergeon if it comes to the mid-thigh, while waist length is a byrnie. Mail leggings are chausses, hoods are coif, and mittens: mitons. One source cites eight different types used between the 11th and 13th century: ringed, trellised, rustred (sic), mascled (sic), scaled, teglated, banded.

Maillot: Tight-fitting, one-piece swimsuit.

“antique� (roman style) sandals and affected rather unkempt hairstyles, a sort of bed head look.

Morian/Morion/ Murrion: The helmet of the 16th century, introduced by the Spaniards, who had copied if from the Moors, to the rest of Europe, about 1550. It was open-faced and had no visor.

Mufti: Street clothing worn by an officer of the British armed forces instead of a uniform.

Manga: Mexican coverall cloak similar to a poncho, not to be confused with Japanese animĂŠ!

Mantua: The mantua was launched in the 18th century and dominated it to such an extent that dressmakers were called mantua makers. It was a loose gown without stays worn by ladies and was introduced as a casual dress alternative to the heavily structured court dress of the time. Worn with a high headdress, it imposed a triangular shape on the body. The name seems to have derived from the Italian dukedom where a particularly fine type of fabric was manufactured.

Merveilleuse: Fashionable young Frenchwomen of the late 18th century, who were the female counterpart of the Incroyable. They wore long, sleeveless dresses of fine muslin,

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The Costume Designer Fall 2008

Munisak Robe: Purely a female garment worn by the Samarkand (Uzbek) people, the Munisak was originally a simple outer garment that later developed as more ceremonial. At the end of the 19th and early 20th centuries, it was worn for such occasions as birth feasts, holidays, weddings and family celebrations. It was made of woven ikat fabrics, the patterns of which implied hope for happiness, fertility and protection against the evil eye.

Murex: Is the mollusk from which purple dye comes. It is extremely labor intensive to extract which makes it very expensive. It was hugely popular with monarchs and was largely reserved for their use. Especially popular with Roman emperors, by 400 AD it had been over harvested and was increasingly rare. One pound of dyed cloth was worth $20,000 in modern equivalency. It was also used by priests of the temple in Jerusalem where it is still used today.

Illustrations by Robin Richesson rrichesson@costumedesignersguild.com Text by Karyn Wagner kwagner@costumedesignersguild.com

F O R YO U R C O N S I D E R AT I O N I N A L L C AT E G O R I E S I N C LU D I N G

THE COSTUME DEPARTMENT

THESE ARE A FEW OF MY

FAVORITE THINGS Joanna Johnston Masses of light, in a good space One visual kick that starts the job.

Could be a color, a scrap of fabric, a smell, a picture of a mood or a portrait

BEST COSTUME DESIGN Judianna Makovsky

ANN ROTH

My library and picture files collected since high school for endless inspiration; Western Costume’s library of hidden treasures and Bobbi who runs it Legal-size pocket files and a PTouch machine to keep the research organized Black and grey watercolor brush end markers, the best for quick sketching

The smiles of my crew

Zagat’s guides while on location ... must have good food.

Music too diverse to mention

And pictures of my pets ..... to make me smile

My antique sock monkeys who gaze happily, watching the costume dept. drama!

I am rather partial to green mesh bags and rail dividers

Mark Bridges

Mary Zophres Western Costume’s Research Library and research in general (books, magazines, Corbis and Getty Images etc.) Lots of it

Digital camera

Isis Mussenden My personal minisewing/fitting kit

14x17 acetate presentation folders Pre Val sprayers

My own script breakdown, done by hand, the old-fashioned way Sketch materials, foam core and snotty tape for presentation boards

Spiral sketch notebook My computer My 3-hole punch

Coffee Any will do, but ... usually Starbuck’s tall non-fat latte

My small leather shoulder bag for my phone or sunglasses My coach measuring tape (a gift from Faye Seville 10 years ago)

My kit: including a pegboard system for swatches, stock of period undergarments, jewelry and period fabric, computer, camera, and music that the movie inspires

Susan Lyall B&J Fabrics’ vast selection reminds you that any costume is possible Caran d'Ache water-soluble pencils if you are not a brilliant water colorist NY Public Library Picture Collection to begin any design process Metallic gold pens because they make everything look more interesting Acupuncture to undo the stress

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The Costume Designer Fall 2008

Please visit www.TWCHighlights.com for more information

Artwork © 2008 The Weinstein Company.

All Rights Reserved.

IN FOCUS

THE PROCESS: SKETCH TO SCREEN DREAMGIRLS 2006 Designer: Sharen Davis Illustrator: Felipe Sanchez Materials: mechanical and woodless pencils, technical ink pens, assorted markers, specialty pens, gouache paint on “fancy paper” 11x17 & 18x30.

Sharen Davis and Felipe Sanchez had to create an illustration for the Dreamgirls’ debut scene to be part of the presentation to green light the film. Both Davis and director Bill Condon felt the feathers were the best eye candy against the starry, midnight sky lighting effect that was planned.

During the actual design process for the film, Davis tested the idea of a steel grey fabric but felt it wasn’t dreamy enough for the scene.After a massive fabric hunt, she decided on the frosty white body with the blue facing and crystal embellishments (final sketch) that perfectly captured the moment on screen.

Davis: “Mr. Sanchez is great at anticipating my thoughts of style, so with each film the illustrations are expedited with less discussion.”

At the start, Sanchez works with the designer on choosing poses and facial expressions. He also utilizes a variety of different illustration styles, papers and materials to find the best way to represent the mood of the project.

Sanchez completed over 100 illustrations for the costumes, several of which were seen on screen during the end credits as well as ten additional illustrated posters for the film within the film, Cleopatra.

Presentation pencil sketch

Steel grey option

Final sketch

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The Costume Designer Fall 2008

DreamWorks/The Kobal Collection

Presentation painting

Fall 2008 The Costume Designer

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IN FOCUS

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BEST PICTURE

A LOOK BACK

BEST COSTUME DESIGN ANN ROTH

Deadly Elegance: Milena Canonero’s Costumes in The Hunger ony Scott’s languid vampire cult hit, The Hunger (1983), mates ’80s attitude with traditional vampire myth and Egyptology. Complications with sun, garlic and stakes have been conveniently eradicated, and The Hunger’s glamorous daytime creatures drain humans once a week with a stiletto encased in an Ankh pendant. This stylish, moody and impeccably designed film showcases designer Milena Canonero’s costumes, especially the sophisticated, ’40s-inflected look of elegant vampire Miriam Blaylock, played by Catherine Deneuve. Since I am currently designing the contemporary Southern gothic vampire show True Blood, I thought it would be inspiring to take a look back at this supernatural horror classic.

Ancient Miriam has been a vampire since the time of the Pharaohs, and we see her in one bloody flashback in a Nefertiti crown feeding on a slave. In 18th century France, she took her current lover, John (David Bowie), falsely promising him eternal life.

Two hundred hears later, coolly dressed to the nines in ’80s fashion while the punk band Bauhaus wails “Bela Lugosi’s Dead,” the couple prowls a downtown NYC club for fresh meat. Miriam’s costume epitomizes ’40s/’80s haute style: she wears a wide-shouldered leather jacket over a belted spandex cat suit, studded leather gauntlet gloves, a sleek cocktail hat, and cat-eye sunglasses. John is more subdued, also in dark glasses, wearing a shiny black blazer.The dangerously chic pair quickly find willing prey:Ann Magnuson, dressed as a femme biker chick with one dangle earring, and her leatherclad boy-toy.

When John begins the irreversible deterioration that Miriam’s lovers are cursed to endure, she seeks help from Dr. Sarah Roberts, played by Susan Sarandon, all eyes and spiky auburn hair. Sarah’s costumes are simple but body-conscious: well-cut grey suits, belted at the waist, T-shirts, and pumps. Knowing full well that John will soon be a living corpse, Miriam chooses Sarah to be her next beloved companion, and the seduction begins.

MGM/UA/The Kobal Collection

T

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The Costume Designer Fall 2008

For Miriam’s first advance on Sarah, Canonero designed a dramatic ensemble: she appears at Sarah’s book signing in a luxe cream cashmere overcoat, cinched sharply at the waist with a wide patent leather belt, a glittering salamander pin on one lapel, and a black cloche with black-and-white dotted veil pulled over her exquisitely made-up face. Miriam telepathically signals Sarah, who looks up to see this mysterious beauty, and instantly falls in love.

Later the next day, when Sarah arrives at Miriam’s sumptuous upper East Side townhouse, her own costume references the vampire’s sudden influence: she wears an uncharacteristic marcasite swallow brooch on her lapel. Miriam seduces Sarah in a sunlightdrenched afternoon of sex, and Sarah unknowingly exchanges blood with the vampire. Her transformation begins, and later that night, when she cannot sleep or satisfy her strange new hunger, Sarah sees a vision of Miriam as an ’80s black widow, in a leather halter dress, beaded gloves and black veil, mourning the loss of John but welcoming Sarah.

The next day, sick and terrified, Sarah returns to the townhouse wearing an unusual golden trench coat, which alludes to an Egyptian goddess’ raiment and signals her mortal days are over. Sarah fights to the death with Miriam, who with her usually perfect golden hair hanging in her face and Sarah’s blood soaking the cream silk of her dressing gown, is revealed to be a sadistic killer. In the last mysterious shot Sarah, fully healed and dressed in flowing white, admires the view from the balcony of a grand London apartment.

Milena Canonero’s designs in The Hunger beautifully mirror the plot, guiding the audience as the heartless story unfolds. She has imagined for us the costumes of a polished 3000-year-old vampire who wields her perfect style like a weapon, making us fall in love ourselves.

Audrey Fisher afisher@costumedesignersguild.com

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IN FOCUS

IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK CD Salvador Perez is designing ABC’s Castle, a NYC crime drama about a novelist and detective trying to solve copy-cat murders lifted from the author’s books; CD Dalhia Schuette is working on the show as a costumer. CD Barbara Chennault is working on the new Comedy Central show Chocolate News and having fun with her team. CD Heidi Kaczenski has taken the helm at Nip/Tuck while the show’s former CD, Lou Eyrich, is designing the pilot of Fox’s Glee, a new musical comedy set around high school glee clubs. The Amazing Mrs. Novak, a pilot about a supermarket manager who becomes the governor of New Jersey, is being designed by CD Genevieve Tyrrell. Also designing pilots: Kelli Jones is on Night and Day; Bobbie Read is designing The Line; and Allyson Fanger is working on Ruby and the Rockits starring brothers David and Patrick Cassidy, and produced by Shaun Cassidy.

multaneously designing three talk shows: Dr. Phil, The Doctors, and Talkshow With Spike Feresten. Alycia Belle styled the MTV show FN, featuring hot rock stars and music videos.

CD Erin Lareau is styling the 2008 Scream Awards, as well as designing the upcoming PBS special Yanni Voices: Live From Mundo Imperial. CD and stylist Elle Werlin styled stars of hit TV shows Gossip Girl, 30 Rock, Fringe and Kings for Nylon Magazine’s September issue.This fall,Werlin also styled editorials for City Magazine, Vegas Magazine, plus Nylon’s October and November issues. For Trace magazine’s fall 2008 issue cover “Black Girls Rule!”

CD Ane Crabtree styled Joie Lee, who was photographed for the piece by her brother, Spike Lee.

CD Judianna Makovsky is in town through December designing the next M. Night Shyamalan fantasy-adventure film The Last Airbender, with illustrations by Christian Cordella.After her Jill Ohanneson is designing the drama September honeymoon in Fiji, ACD series Lie to Me for Fox. CD Shawna TrElaine Davis began working with CD pcic is currently at work on Joss WheSusan Matheson, who is designing don’s Dollhouse and recently wrapped the Universal film Couples. CD JacqueDr. Horrible’s Sing-Along Blog, a popular line Saint Anne recently wrapped the webisode on Hulu and iTunes. ABC Famfeature Christina, and is currently deily’s The Secret Life of the American Fringe stars styled by CD Werlin signing both a Heroes webisode called Teenager is being designed by CD Create Your Own Hero and the opera Sherry Thompson, with CD Sharon The Rape of Lucretia at USC’s Thornton School of Music. CD Sampson serving as supervisor; the show was honored at Danielle Hollowell has begun work on the psychological the Teen Choice Awards for “Best Summer Series.” CD Liz thriller Unthinkable starring Samuel L. Jackson. CD Arianne Bass just wrapped her second season of CBS’ comedy Rules Phillips is prepping The Simple Man, directed by former of Engagement, completed the first season of Disney’s WizGucci guru Tom Ford. This fall in Napa and Los Angeles, CD ards of Waverly Place, and designed the Nickelodeon pilot Miye (Mimi) Matsumoto designed the Japanese remake of True Jackson. In her free time, Bass created the on-air looks Alexander Payne’s Sideways. for both the NFL Network’s talent and the teen correspondents on Kids Pick the Presidents. Allison Freer has taken ACD Monique Long just wrapped the Sci-Fi channel’s Starthe reigns of the new series True Jackson, with ACD gate Atlantis on location in Las Vegas. Also in Vegas, CD Andrea Sweet acting as supervisor. Nickelodeon is already Louise Mingenbach is designing Todd Phillips’ The Hangworking on a corresponding retail line based on Freer’s deover, a comedy about three groomsmen who lose their signs. groom during a drunken misadventure. In New Mexico, CD Michael Wilkinson just wrapped Terminator Salvation: CD Wendy Benbrook is the designer for ABC’s Opportunity The Future Begins and has now started Disney’s sci-fi TR2N, Knocks, a traveling family game show. Carrie Kramer is si-

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The Costume Designer Fall 2008

BOLDFACE NAMES BOLDFACE AT WORK which will be shot in stereoscopic 3D. CD Frank Helmer is traveling to Atlanta to design The Preacher’s Kid for Warner Premiere. CDs Marie France and Brie Harris are in Michigan designing the office comedy Demoted. CD Jeffrey Kurland is off to Detroit and Philadelphia to shoot the thriller Law Abiding Citizen starring Gerard Butler and Catherine Zeta-Jones.

Indie dramedy Paper Man, which focuses on an unlikely friendship between a failed writer and a Long Island teen, features costumes by CD Juliet Polcsa and was filmed in Montauk.

CD Michael Kaplan is slated to design Disney’s The Sorcerer’s Apprentice, starring Nicolas Cage as a sorcerer who seeks out an apprentice in New The Futurist, CD Ane Crabtree York. CD Amy Westcott is in NYC designing the dark drama 13. CD Maria Schicker has started work on Friendship!, prepping in Berlin and Los Angeles, and shooting in New York, New Mexico, Las Vegas, and San Francisco. CD Ane Crabtree is now shooting the film Every Day in NYC. Crabtree just wrapped The Futurist, a folk tale about the music industry shot in Echo Park, for which she served as both CD and associate producer.

CD Isis Mussenden will be traveling abroad to design the next Narnia installment, The Voyage of the Dawn Treader, 32

The Costume Designer Fall 2008

Mussenden designed costume for Chevy

IN FOCUS

BOLDFACE NAMES BOLDFACE HONORS

slated for release in 2010. Recently, Mussenden and ACD Kimberly Adams Galligan created costumes for mythological creatures in a Chevy commercial. CD Louise Frogley is on location in Puerto Rico, once again designing for George Clooney in the historical drama, The Men Who Stare at Goats.The film also stars Jeff Bridges, Ewan McGregor and Kevin Spacey. CD Bonnie Stauch is designing Amsterdam, shooting in Los Angeles, Bulgaria and Amsterdam, and she recently did a Select Comfort mattress commercial. In the UK, Joanna Johnston has reteamed with director Richard Curtis on The Boat That Rocked, which chronicles pirate radio stations in 1966. Colleen Atwood is currently prepping the next Rob Marshall musical extravaganza Nine with ACD Colleen Kelsall and Tim Burton’s Alice in Wonderland with Christine Cantella serving as ACD. Icon Bob Mackie and presenter Mitzi Gaynor

Correction: Genevieve Tyrell was the CD for Race to Witch Mountain; Monique Long was mistakenly listed as the CD in the Spring 2008 issue.

Mackie, Gaynor/Bryant photos courtesy Getty Images, Wire Image

BOLDFACE AT WORK

The Hollywood Life, Hollywood Style Awards honored legendary designer Bob Mackie as Costume Design icon, and

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The Costume Designer Fall 2008

BOLDFACE NAMES Mackie, Gaynor/Bryant photos courtesy Getty Images, Wire Image

BOLDFACE HONORS his dear friend, Mitzi Gaynor, presented him with the award.

That night, CD Janie Bryant also took home the award for

Bryant accepts her stylish award

Most Stylish Show, Mad Men. At this year’s Hollywood Film Festival, a black-tie gala at the Beverly Hilton, Changeling director Clint Eastwood presented CD Deborah Hopper with the Hollywood Costume Designer of the Year Award.

CD Marcy Froehlich was nominated again this year for two Ovation Awards for Costume Design for Bus Stop and Picasso at the Lapin Agile, both at the Rubicon Theatre in Ventura. CD Maggie Morgan’s designs will be featured in the New York Public Library for the Performing Arts’ Curtain Call: Celebrating a Century of Women Designing for Live Performance.The exhibit in Lincoln Center Plaza will run through May 2009. http://www.nypl.org/research/calendar/exhib/lpa /lpaexhibdesc.cfm?id=487.

BOLDFACE ENTREPRENEURS Though CD Caroline Marx wrapped HSM3, the merchan dising marches on. In addition to HSM3 dolls, wax figures of

HSM3 dolls, costumes by Caroline Marx

Zac Efron are being produced for Madame Tussauds Wax Museums (London, Vegas and Hollywood) where Disney Fall 2008 The Costume Designer

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BOLDFACE NAMES BOLDFACE ENTREPRENEURS negotiated plaques crediting Marx as CD. CD Erin Lareau’s PavÊ Crystal Art and Accessories are being showcased at the Borata Hotel in Atlantic City and at Erin Lareau.com.

CD Sandy Ampon’s Happy Hearts Beads sell spiritually themed Buddhist prayer beads made with gemstones, designer glass and Swarovski crystals.

Check out her designs at happyhearts beads.com. New mem ber and CD Kerrie Ko CD Ampon’s rdowski is expanding Happy Hearts Beads her side business, Opal Moon Designs, which offers one-of-a-kind clothing pieces, jewelry, and unique “Pocket Belts.� During the multi-city Gap

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The Costume Designer Fall 2008

CD Kordowski’s Opal Moon Designs

COSTUME DESIGN CENTER

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BOLDFACE PRESS Hear CD Alexandra Welker’s interview on A Day in the Work Life, a regular feature on NPR’s Marketplace: http:// marketplace.publicradio.org/display/web/2008/09/19/ditl/.

This September, Entertainment Weekly featured CD Mona May and her House Bunny designs in “Do the ‘Bunny’ Shop.�

This October in The O.C. Register (http://www.ocregister.com/articles/morgan-catherine-costume-2191310costumes-hats#). CD Maggie Morgan discussed creating

Š and ™ 2008 Warner Bros. Entertainment Inc. All rights reserved

Fall 2008 The Costume Designer

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BOLDFACE NAMES BOLDFACE PRESS 1850’s period costumes for South Coast Rep’s upcoming production of The Heiress. On September 19, Variety’s V Plus Emmy Style/Fall Fashion section was choc-a-block with articles featuring CDG members. FIDM’s Outstanding Art of Television Costume Design exhibit was highlighted. The show is always a huge success and was beautifully curated this year by our own CDG President, Mary Rose. In another piece, “The Women Share a Common Thread,” CD John Dunn was interviewed about his Costume Design for Diane English’s recent adaptation of The Women. The last article, “Emmy Nominees Suit Up,” has CDs Amy Westcott, Shelly Levine, Tom Broecker and Carey Bennett discuss their choice of suits for their male leads on their respective shows, demonstrating that the suit really does make the man. Read more at: h t t p : / / w w w. v a r i e t y. c o m / i n d e x . a s p ? l a y o u t =awardcentral&jump=features&id=emmystyle. This fall, the L.A. Times’ Image section ran some fabulous costume-centric features. On August 10, “Denim Is Dona Granata’s Canvas” spotlighted the character development and process behind the famous jeans of The Sisterhood of the Traveling Pants 2. And the September 21 piece, “Keira Knightley, Fashion Chameleon,” featured the actress’ bestknown costumes and appropriately credited all her Costume Designers including Dona Granata’s Traveling Pants Penny Rose and Jacqueline Durran.

CD Anya Sarre, who designs both Entertainment Tonight and The Insider, has a weekly “fashion cam” segment on The Insider. This fall, Sarre was featured in a documentary photo exhibit by the fashion charity Little Black Dress and honored at the Bel Air Film Festival for her achievements as a designer.

Teen Vogue selected CD Mandi Line to speak about fashions from The Clique at Fashion University this October. Early in 2009, Line will head back to NYC to design The Clique 2 & 3.

continued on page 43 40

The Costume Designer Fall 2008

WORK IN STYLE

BOLDFACE NAMES BOLDFACE PRESS CD Arianne Phillips designed the costumes for style icon Madonna’s Sticky and Sweet Tour, with Phillip Boutte illustrating. Sketches of Madonna’s costumes were previewed on both Women’s Wear Daily’s and Perez Hilton’s websites. CD Bob Mackie strikes again: Perez Hilton also featured Mackie’s sketch of a sexy chocolate brown creation for Tina Turner’s World Tour.

WWD showcases CD Phillips, Illustrator Boutte Compiled by Suzanne Huntington shuntington@costumedesignersguild.com Rachael Stanley rstanley@costumedesignersguild.com Audrey Fisher afisher@costumedesignersguild.com Deena Appel dappel@costumedesignersguild.com

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WHAT’S ON The Mentalist

Costume Designer:

Costume Designer:

FLORENCE-ISABELLE MEGGINSON

JULIA SCHKLAIR

Privleged The Cleaner

Costume Designer:

Costume Designer:

NICOLE GORSUCH

JOSEPH PORRO

Assistant Designer:

ALEXANDRA BECRAFT

90210

Fringe

Costume Designer:

Costume Designer:

DEBRA MCGUIRE

MARIE ABMA

True Blood My Own Worst Enemy

Costume Designer:

AUDREY FISHER

Costume Designer:

Assistant Designer:

KATHRYN MORRISON

ANDREA SWEET

Kath & Kim

Gary Unmarried

Costume Designers:

Costume Designer:

MARIO MARTINES & JESSICA REPLANSKY

SUSAN MICHALEK

Crash Eleventh Hour

Costume Designer::

Costume Designer:

AMY STOFSKY

JOLIE ANDREATTA

Assistant Designer:

ERIKA WALTHALL

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The Costume Designer Fall 2008

The Spirit

Quantum of Solace Quantum of Solace Columbia/MGM, The Spirit Lionsgate/Odd Lot Entertainment, Marley & Me FOX/Barry Wetcher/SMPSP, Milk Focus Features/Phil Bray, Twilight Summit Entertainment, The Curious Case of Benjamin Button Paramount Pictures, The Brothers Bloom Summit Entertainment/Slobodan Pikula, Shanghai TWC/Murray Close, Changeling Universal Studios/Tony Rivetti, Jr., Yes Man Warner Bros./Melissa Moseley, High School Musical 3: Senior Year Disney Enterprises/Fred Hayes, Four Christmases New Line/John P. Johnson

Worst Week

Worst Week CBS/Monty Brinton, The Mentalist CBS, The Cleaner A&E, Privileged The CW/Patrick Ecclesine, 90210 The CW/Art Streiber, Fringe FOX/Patrick Harbon, True Blood HBO, My Own Worst Enemy NBC/ Mitchell Haaseth, Kath & Kim NBC/Mitchell Haaseth, Gary Unmarried CBS/Monty Brinton, Eleventh Hour Warner Bros. Television/Adam Taylor, Crash Stars

WHAT’S IN Costume Designer:

Costume Designer:

LOUISE FROGLEY

MICHAEL DENNISON

Marley & Me

Milk

Costume Designer:

DANNY GLICKER

Costume Designer:

CINDY EVANS

Asst. Designer (LA prep):

AUDREY FISHER

The Curious Case of Benjamin Button

Twilight Costume Designer:

Costume Designer:

WENDY CHUCK

JACQUELINE WEST

Assistant Designer:

Assistant Designer:

JORDANNA FINEBERG

MARJORIE MCCOWAN

Shanghai

The Brothers Bloom Justice

Costume Designer:

Costume Designer: Costume Designer:

JULIE WEISS

BEATRIX ARUNA KATHLEEN DETORO PASZTOR

Assistant Designer:

MICHAEL CROW

Yes Man

Changeling

Costume Designer:

Costume Designer:

MARK BRIDGES

DEBORAH HOPPER

Assistant Designers:

KIMBERLY ADAMS & ANITA CABADA High School Musical 3: Senior Year

Four Christmases

Costume Designer:

SOPHIE CARBONELL

CAROLINE MARX Assistant Designer:

Costume Designer: Assistant Designer:

BRIE HARRIS

MARIAN TOY

KAREN YAN

JACQUELINE WAZIR

Illustrator:

Illustrator:

Fall 2008 The Costume Designer

45

Courtesy of the Academy of Motion Picture Arts and Sciences, Margaret Herrick Library

SCRAPBOOK

Dustin Hoffman and Ruth Morley, Tootsie, 1982.

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The Costume Designer Fall 2008