The Costume Designer - Fall 2010

The Official Magazine of the Costume Designers Guild

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

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

vol. 6, issue 4

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22

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FEATURES Who is Debra McGuire? . . . . . . . . . . . . . . . . 16 Edith Head . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 A conversation with Susan Claassen

The collar stays in the picture . . . . . . . . . . . 24

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 11 President’s Letter Interim Executive Director Labor Report

The Costume Department . . . . . . . . . . . . . . . 26 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 The 40 Year Old Virgin, 2005 Costume Designer, Debra McGuire

Meet the Assistants History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Location: Atlanta Boldface Names

What’s On/What’s In . . . . . . . . . . . . . . . . . . . 40 Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Fall 2010 The Costume Designer

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EDITOR’S NOTE

W

hy a feature on Debra McGuire?

It occurs to me that there’s always someone. A Costume Designer who’s on everybody’s lips and I’m not talking about a smile. Someone whose name conjures up much discussion and eye rolling and gossip. “Where did HE come from?

He came out of nowhere.” “She MUST have a publicist!” “What is her background? Does she have any training?” “How is he getting all these Emmy nominations when his period work isn’t even accurate?” Sound familiar? These are just some of the rumblings of many of us when discussing (or actually questioning) another designer’s success. I’ll admit it. I’ve been guilty too. Do we really think that if an A-list, Oscar-winning Costume Designer were not designing those two star-studded features simultaneously, one of us regular working folk would have had a chance at that those films? On a similar note, is it possible that the Costume Designer who is bending reality to heighten a period film is not only doing it on purpose—but his or her director, producers and audience is eating up every last costume?

“She’s taking all the jobs” was often the complaint about Debra McGuire. True… she works a LOT. True… a lot of designers aren’t working. But if my recent foray into the land of TV is any indication, it’s a wonder anyone can cobble together enough of an income to survive. Most of Debra’s jobs came from repeat employers. In fact, in the 25 years she’s been designing, she’s only had representation for two of those years. She is currently without an agent.

In the past few years, I’ve had reason to contact Debra for one thing or another and I’m always struck by her graciousness, kindness and willingness to help. It made me realize that maybe we’re all a little too judgmental about one thing or another, and it’s important to remember that there’s always more to the story and the person than the gossip implies.

costumedesignersguild.com EDITOR/PHOTO EDITOR

Deena Appel ASSOCIATE EDITOR

Bonnie Nipar PRESIDENT

Mary Rose mrose@costumedesignersguild.com VICE PRESIDENT

Van Broughton Ramsey vramsey@costumedesignersguild.com SECRETARY

Ann Somers Major asomersmajor@costumedesignersguild.com TREASURER

Marilyn Matthews mmatthews@costumedesignersguild.com EXECUTIVE BOARD

Deena Appel dappel@costumedesignersguild.com

April Ferry aferry@costumedesignersguild.com

Salvador Perez sperez@costumedesignersguild.com

Cliff Chally cchally@costumedesignersguild.com

Felipe Sanchez (Illustrators) fsanchez@costumedesignersguild.com BOARD ALTERNATES

Robert Blackman

“The collar stays in the picture.” (page 24) I’ll admit it, I haven’t seen much in the theaters this year but Inception just stayed with me. Simple as that. I could have written about so many other exceptionally designed contemporary films this year but somehow, the shirts and ties on Leonardo DiCaprio got under my skin. What about Ellen Mirojncik’s amazing shirts for Michael Douglas in Wall Street: Money Never Sleeps? Exquisite and unique. This year, to me, the shirts stand out. I’d like to continue to feature the little things that mean a lot in this magazine. If there is a detail of design that has moved you this past year, I’d love to hear about it.

rblackman@costumedesignersguild.com

Julie Weiss jweiss@costumedesignersguild.com

Mark Bridges mbridges@costumedesignersguild.com

Sharon Day sday@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty pflaherty@costumedesignersguild.com

Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

Edith Head. If you ask any layperson on the street to name a single Costume Designer, it’s no surprise they’ll proudly say, “Edith Head.” Jacqueline Saint Anne talked with Susan Claassen about her theatrical portrayal of the legendary designer (see page 22). Watch for A Conversation With Edith Head to return to Los Angeles in 2011. If you are a Costume Designer or appreciate Costume Design, it shouldn’t be missed.

Karyn Wagner kwagner@costumedesignersguild.com

Wendy Chuck (alternate) wchuck@costumedesignersguild.com INTERIM EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Suzanne Huntington shuntington@costumedesignersguild.com

Lastly, as the new year approaches, I would like to once again encourage our members to contribute to the magazine. This is the place for us to set the record straight. We would love to hear your voice in a singular story, ideas for a new column and even your comments and suggestions to help this publication grow.

RECEPTIONIST/SECRETARY

Cheryl Marshall cmarshall@costumedesignersguild.com PUBLISHER

IngleDodd Publishing

It’s been a pleasure to spend another year with you. I look forward to seeing what next year brings.

Happy Holidays, Deena Appel dappel@costumedesignersguild.com

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The Costume Designer Fall 2010

ADVERTISING DIRECTOR

Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

Contributors COSTUME DESIGN CENTER COURTNEY HOFFMAN

ALONZO WILSON

(Meet the Assistants) This Los Angeles native and CDG newbie is thrilled to join the writing staff of The Costume Designer.

A graduate of New York University, she is happy to be back in Los Angeles working alongside her Costume Designer heroes. She currently works as an Assistant Costume Designer for film and TV. “I am ecstatic to have the opportunity to know my fellow ACDs and share their stories. I enjoyed the magazine long before I was a member and being able to contribute is a dream come true.”

(Boldface Names) Joined the CDG last fall after 25 years of working with costumes, mostly on the East Coast. Known for the WB series Dawson’s Creek and HBO’s acclaimed series, The Wire. Alonzo spends most of the year on location in New Orleans, designing the series Treme for HBO but wanted to participate as a member of the CDG. Tackling the bear known as “Boldface Names” from his computer seemed like the perfect fit.

BONNIE NIPAR

JACQUELINE SAINT ANNE

(What’s On/What’s In & Locations) Joined the Guild in 1997 and works as a Designer for TV. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles. She adores the process of gathering new sources, thus writing Locations is a great fit. And for the What’s On/In, “It’s a treat to research the latest accomplishments of our peers.” Bonnie has been so involved that she recently took on the role of Associate Editor.

(Edith Head) Emmy Award–winning Costume Designer and former President of the CDG, continues to serve the Guild as a Trustee. Born in Panama and educated in Europe and the U.S., she earned her master’s from the Ring Theatre at the University of Miami. She has designed for film, video, television, webisodes and mobisodes, ballet, IMAX, opera and theater. Chronicling our Illustrator members since the very first issue, Saint Anne is always a welcome contributor.

KARYN WAGNER (History of Dress,Text) ROBIN RICHESSON (History of Dress, Art)

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SUZANNE HUNTINGTON (Boldface Names) Fall 2010 The Costume Designer

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“...the most stunning effects lie in the ANN HORNADAY

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film’s ingenious makeup and costumes...”

THE WASHINGTON POST

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B E S T C O S T U M E DE S IG N C O L L E E N ATWOO D

©2010 Disney

For screening information, visit WaltDisneyStudiosAwards.com

UNION LABEL PRESIDENT’S LETTER Dear Members, In November, I attended a memorial service for one of our own. A large photo of Michael Dennison’s smiling face was visible between the heads of many Costume Designers and Costumers roaming the pretty little green patch that everyone at Western Costume Co. calls “Dog Park.” Familiar faces were already there to pay tribute to Dixie (as he was known by his close friends and colleagues), whom they all loved. Fashionably late, I arrived at 11:15 a.m., just in time to catch Ellen Mirojnick speak. Ellen had such a long and close relationship with Michael, as a friend and as a working partner, on countless films. Her speech was moving, at times funny. Ellen shared the kind of stories that we all want to have with people we worked with. Michael was an extraordinarily talented Costume Designer in his prime and was loved by everyone that came in contact with him. He will be so missed by his peers. Thanks to Eddie Marks for his sensitivity and generosity. This great send-off, complete with laughter and tears, should be appreciated by all Costume Designers. Please note, Eddie made an announcement that the Dog Park will be officially renamed Michael Dennison Memorial Park. On an emotional level, having 80 or more colleagues together to speak about a loved one with such affection and fond memories was a rare and treasured experience that I wanted to share with you.

You may have also heard that another iconic Costume Designer, Noel Tayor, died at the ripe old age of 97.

Most of our members under 50 may not remember him, but he was nominated for three Emmys and won in 1978 for Actor. He was also honored with our very own Career Achievement in Television Award in 2004. We can all be proud to say that we are members of the very same Guild that supported these two men who have left us with a legacy of amazing Costume Design that spans over seven decades.

I cannot end my President’s letter without a huge THANK YOU to Eddie Marks and Western Costume Co. for sponsoring our holiday party this year. We are so grateful Eddie, for your tremendous support of the Guild and all our members.

Have a wonderful new year!

In Solidarity, Mary Rose mrose@costumedesignersguild.com

2010/2011 CALENDAR December 28 CDG Awards nomination ballots mailed 30 New Year’s holiday: office closed January 10 Executive Board Meeting 17 CDG office closed for Martin Luther King Day 18 CDG Awards nominations due 21 CDG Awards nominees announced to press 25 CDG Awards final ballots mailed February 2 Executive Board Meeting 22 CDG Awards event March 7 Executive Board Meeting

Fall 2010 The Costume Designer

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UNION LABEL INTERIM EXECUTIVE DIRECTOR

Dear Members and Friends, It’s hard to believe another year has come and gone again. 2010 was another exciting year here at the Guild. The year kicked off with FIDM’s gala to celebrate the opening of the Motion Picture Costume Design exhibit, showcasing the best of 2009.

On Thursday, February 25, we honored the Art of Costume Design at our annual awards event with a Career Achievement Award in Film going to Sandy Powell and one in TV to Michael Travis. Past President Robert Turturice was inducted into the Hall of Fame. It was full swing into our first-ever Illustrators Exhibit once again hosted by FIDM and then on to the Emmy gala and exhibit of TV costumes for the past year also hosted by FIDM. Our Education Committee worked overtime with classes on computer skills, photoshop, Wacom tablet, negotiating skills and our weekly Tuesday Tea and Technology classes.

The CDG was a huge hit at Comic-Con again with our panels and involvement continues to increase each year. It was a big hit with fans to have Designers walk the Convention Hall and surprise them with blue ribbons for their re-creation of costumes from their favorite films.

This fall, the IATSE organized the successful reality show, The Biggest Loser, as well as several small-budget films in the L.A. area opening more opportunities for work for our members.

Now holidays are upon us again and we celebrated our fourth annual holiday party with our largest-ever crowd of more than 175 attendees.

As we look forward to the new year, we can look back with pride on another full and successful year.

I wish you and your families the happiest of holiday seasons and a prosperous and healthy new year in 2011.

In Solidarity, Rachael Stanley rstanley@costumedesignersguild.com

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UNION LABEL LABOR REPORT

“A SHOT OF SIMPLE JOY, BURNISHED WITH THE AMBER GLOW OF NOSTALGIA AND PERIOD DETAIL.” -Ann Hornaday, THE WASHINGTON POST

“A DOWN-HOME PERIOD PIECE. THE PERIOD DETAILS THE CARS, THE CLOTHES, THE OLD STOREFRONTS ALONG MAIN STREET - ARE ATTENTIVELY DESCRIBED.” -Steven Rea, THE PHILADELPHIA INQUIRER

Welcome to the new members of the Costume Designers Guild, Local 892, who were initiated by International Vice President Mike Miller at the CDG Membership meeting Monday, November 15.

Mike gave members valuable information about the upcoming challenges regarding healthcare and encouraged them to participate in union-organizing efforts throughout the year.

Election Phone Banking. Thanks to all our members who participated in the midterm election phone banking. Our efforts in California really paid off.

The IATSE Survey sent to all IA Local members needs to be filled out and sent back to the International. This very important survey will help guide the next round of contract negotiations. The survey asks what’s important to you as a member.

The entire production crew of the NBC television show The Biggest Loser (now in its sixth year) walked off the show on November 8, 2010. Help came with the full backing of the IATSE—building a stronger union movement with volunteer members of the various locals participating in picket duty to organize The Biggest Loser. The full support of the County Federation of Labor and the California State Federation of Labor endorsed the organizing campaign in solidarity with the striking crew members of The Biggest Loser. A contract agreement was reached and accepted by crew members on Monday, November 22. Thank you to all CDG members who helped organize The Biggest Loser.

BEST COSTUME DESIGN Julie Weiss

www.spcscreenings.com

“ITS PERIOD DETAILS ARE COLORFUL AND RESONANT, AND IT PACKS AN EMOTIONAL PUNCH THANKS IN LARGE PART TO ITS LEADING LADY - THE DIVINE SALLY HAWKINS.” - James Verniere, BOSTON HERALD

CDG President Mary Rose has tapped Sharon Day to chair the Education and Retiree Committee with the goal of offering one and three unit classes through the IDEAS grant at Valley College. Contract Services will link the skill set and teaching talents of CDG retirees with current CDG members for their continuing education.

Motion Picture Industry Pension & Health Plan. Watch your mail for updates as the healthcare law takes effect in 2011. You should have received the November MPIHP letter explaining the Patient Protection & Affordable Care Act as it affects the plan.

In Solidarity, Betty Madden bmadden@costumedesignersguild.com

BEST COSTUME DESIGN Louise Stjernsward

MADE IN DAGENHAM www.spcscreenings.com

Fall 2010 The Costume Designer

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?

Who is Debra McGuire and why does everybody hate her Debra McGuire

N

ow that I have your attention, I hope to at least answer the question, “Who is Debra McGuire and why you might like to know her?”

Debra McGuire is a mother, a painter, an activist, a volunteer, a polo player, an entrepreneur and a most spiritual person. She’s also been a Costume Designer in the neighborhood of 25 years.

Born in Cleveland, Ohio, designing was one of Debra’s earliest memories. At age 7, she sent a sketch to the comic book Millie the Model.

They published her design and gave her credit, pretty much sealing the deal. It wasn’t until the Vietnam War dominated her consciousness that she realized, 1968 was not the time to focus on what people were wearing. While still in high school, she decided to work with inner-city schools making art to help make sense of the times.

Debra studied art in Boulder, Colorado, where she met a Tibetan Buddist—former monk, Chogyam Trungpa Rinpoche, who became her spiritual teacher. She graduated from the California College of Arts and Crafts in Oakland, with a B.F.A. in painting and then moved to Rinpoche’s artist community in Mendocino. Debra credits the experience during that time and the formation of her continuing meditation practice to be the most important ingredients to her development as an artist.

Debra lived in New York in the ’80s, channeling her art as a studio painter and jewelry designer. When several friends encouraged her to move west and consider Costume Design, she welcomed the idea of an artistic collaborative process. “Stacey Snider gave me the advice that formed my career. ‘Work for and with people you like and connect to. Make the work about relationships. Nurture those that mean the most to you so that the work grows organically and with the people you care most about.’ My life is like this though, coincidences and blessings abound!”

She took that advice and became extremely prolific in the 1990s, designing countless made-fortelevision movies and later, multiple TV series simultaneously. Knowing Debra’s productivity, I was curious how she manages to work so much, so often, and did I mention so darn much.

I was also curious if she knew that her volume of work has many designers up in arms. When we spoke, Debra told me she had no idea that anyone was keeping track of her career and in fact, found it “interesting and sad to think that there are other Designers who might be angry, confused or jealous that I get so much work.” Debra went on to explain, “I work mostly for the same people I started with and that first project branched into all the others.” Those relationships continued with Friends and Freaks and Geeks, which is where Debra met Judd Apatow

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Friends

and Jake Kasdan. The work didn’t come out of the blue for Debra, it came from successful collaborations, relationships and trust built over time. When the producers of Friends were juggling three shows at Warner Bros., they wanted her on board. Debra was very fortunate to be appreciated for her contributions and the producers were thrilled that she thrived on multitasking.

I was surprised to hear her perspective on hiring a crew.

“I always hire my moms first” was what she told me when I called for references. As a mother myself (who worries if the next producer is “family-friendly”), that really struck a chord. “One of the reasons why I love hiring parents is because they understand how to prioritize and manage time more efficiently. I hire very talented and creative people. I let them have a voice and they respectfully understand the boundaries. They have a lot of responsibility when I am multitasking and not around all the time.

“As the work increased, so did my crews. I was afraid if I did less work, it might mean losing people. My crews are my extended family, many of them becoming parents themselves. Many of our children were born during shooting … doggie beds under the desk for babies … the trailer, an obstacle course of toys. I believed then, as I do now, that real spiritual work takes place in the everyday goings-on and in the way we treat each other so I always encourage ‘real life’ coming first. Working with me requires a certain-kind-of someone, and it doesn’t work for everyone.” Let’s just say where Debra and her crews are concerned, the loyalty is mutual.

Debra’s 16-year-old-daughter Lily was born the day she got the call to start Friends. It was a Thursday and she had to start that Monday.

As she tells it, “I interviewed Diane Crooke on Saturday and hired her as my supervisor. My mom came along that day to help me with

Walk Hard: The Dewey Cox Story

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Lily while my son Gavin (5½ years old) was home with the nanny, Marcela, who is still part of our family today. The director asked me to leave the stage with my baby basket saying that a soundstage was no place for an infant. Ours was not a kid-friendly environment until years later when our executive producer became pregnant, and our prop mistress and our actors. Then there were nurseries and nannies all over the stage. Working while raising children is an incredible challenge. I always had to work and leave my children. In retrospect, I suppose that’s why I insist on children being part of our work life whenever possible. A new era has dawned but unfortunately for me, I missed the wave!” The great irony is that Debra’s now-21-year-oldson Gavin became a member of Local 705 this year!

We all seem to have the same complaint about the misunderstanding that costumes fall out of the sky. Day or night.

As Debra puts it, “I’m working in north Georgia in the middle of nowhere and the director calls at six o’clock to say that it would be fabulous if in the next scene, the actors could be in tuxedos and wildly outrageous costumes. Thankfully, it is close to Halloween and we recall seeing a store with costumes ... somewhere. The troops head out in opposite directions only to find that the store is closed. We go over to the shop next door and beg the owner to give us a contact number for their neighbor. We finally get in touch with him, ransack the place, call ahead to hair and makeup to discuss ideas and get the actors in the works, mix up everything we’ve got and make it happen. But of course, no one ever asks to see the magic wand.” Just another problem solved again, as the cameras continue to roll.

Publicity is good.

When I asked Debra if she understands why the costumes on Friends were so coveted she feels, “It just means that I was reflect-

Heroes

Anchorman

ing back a heightened reality and helping to create a world that the viewers wanted to be a part of.”

The general consensus is that any designer who’s getting press helps us all by putting a face to Costume Design and hopefully, promoting a better understanding of our work. However, publicity can be a double-edge sword as Debra found out the hard way. With the success of Friends, Debra agreed to a lot of interviews without much discretion until an editor from Vogue called wanting to do a feature story. The writer had been interviewing an actor in the courtyard outside of my store and called the next day. She wanted to do an article about me and my atelier. I agreed to do the interview if it could be about me as an artist and designer and not about Friends and the actors. She agreed. Three months later, Debra discovers the article in print with a photo of Rachel, Monica and Phoebe splashed across the front!!! To make matters worse Debra says, “There was a picture of Steve Martin from My Blue Heaven, with a line saying I had been involved in the design. That was my first project and I was the INTERN!!! Can you imagine? There were numerous quotes ... none of which I had said or implied. I was mortified. Everyone was angry with me. Actors, designers ... everyone!! It was hard for me to imagine that people would believe I had actually said these things to a national publication, but they did. I was threatened with lawsuits and even received a ‘hate’ letter from a costumer I had worked with. Our union, however, was very supportive! The journalist was fired but the damage to my relationships and reputation were long lasting. I didn’t do another interview for almost 10 years.”

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Debra’s been thinking a lot about her peers these days. “I recently wrote a fan letter to Lou Eyrich, who designs Glee. I don’t get to watch every week but when I do, I am completely blown away by her level of creativity. I know what it’s like to design a hit show.

You are moving at top speed, dealing with the challenges at hand and the sheer volume of costumes, and then all the additional requests that come with a high-profile show: personal requests, photo shoots, interviews, etc.… In order to stay focused you have to eliminate the perspective of the outside world to get the work done! It’s so much more intense than the pace of a film. Most people don’t realize how difficult TV can be.”

Working in Michigan over the summer, Debra had the good fortune to connect with other CDG Designers and Assistant Designers, all on location in the area. Some she knew personally and some she met for the first time. “With several like-minded artists in one room it was a bit of a love & respect fest. The meeting just reinforced the need to stay united. It appears that our work as Designers in this industry will become even more difficult as the years progress. It is important that we not judge or speak unkindly about our peers but instead, try to share our knowledge with each other and support each other.”

Deena Appel dappel@costumedesignersguild.com

EDITH HEAD A

Conversation

With

Susan

Claassen

I

n the heart of the NoHo Arts District, across the street from the Television Academy is the grand dame of jewelbox theaters, El Portal. Originally built in 1926 as a vaudeville house, it opened the year after Edith Head began her career as a Costume Designer. In August, I saw a small notice that A Conversation With Edith Head would be opening at the theater in October. Intrigued, I sought out Susan Claassen, the performer/creator of the piece, and eventually “clicked” with her on Facebook! One thing lead to another and the Costume Designers Guild gave her a champagne reception on the sold-out opening night to thank her for “Keeping the Legend Alive.”

Susan’s interpretation of Edith Head (the play written by Susan and Paddy Calistro) honors the most iconic of Costume Designers. Many of Edith’s colleagues and friends were astonished at the physical, vocal, and attitudinal likeness of Susan Claassen’s performance of the woman and the character, Edith Head.

Herewith is my conversation with Susan Claassen.

What was it that first inspired you to write the piece?

I first got the idea seven years ago while watching a television biography of Edith Head. I asked the Motion Picture & Television Fund, which manages Head’s estate, for permission to pursue my project, which they gave. I met Paddy Calistro, who wrote Edith Head’s Hollywood. It was kismet and we agreed to collaborate. Paddy had not only written the book but had inherited 13 hours of taped interviews with Edith Head which was a gift from heaven. We can truly say that A Conversation With Edith Head is based upon the words and thoughts of Edith Head—the “Edith-isms.”

Through Calistro’s connections, I met with Bob Mackie, once a sketch artist for Edith Head; Edie Wasserman, wife of the late Lew Wasserman; and Art Linkletter, host of the long-running TV magazine show House Party, on which she regularly appeared. I also met many former colleagues such as Costume Designers Anthony Powell, Jean-Pierre Dorléac and Helen Colvig, who gave me a more intimate glimpse into Edith’s world.

You have a striking resemblance to Edith Head.

I literally did a double take when I watched that TV biography ... my physical resemblance to Edith Head seemed uncanny! And what’s even more bizarre is that we are the same height and both born in October, 50 years apart! The more I watched, the more I knew there was a great story to be told.

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Saint Anne (in red) and members congratulate Claassen.

Susan Claassen as Edith Head

What would you like audiences to take away with them?

The audience response has been amazing. From Tbilisi to Edinburgh to Chicago, audiences have been touched by Edith’s story. What they take with them after having seen the performance is truly dependent on what they bring to it. Film buffs get immersed in hearing stories from someone who has lived through the evolution of contemporary film, older audiences remember often seeing the closing credits, “Gowns by Edith Head” evoking a bygone era, while younger audiences think of the animated film The Incredibles with Edna Mode, designer to the super heroes. I would sum up the universal response with a note I received from a fan, “My friend saw the show on Saturday and adored it. If someone mentions Edith Head to me now, my first reaction will be to say, ‘Oh yes, I met her once and it was unforgettable!’”

What is it, do you think, that made Edith so successful?

Edith was an executive woman before there was such a thing! It was a boy’s club when she started in the 1920s. If you can imagine, women in the United States had just recently gotten the vote.

It’s been said that Edith had the instincts of a pastry chef and the authority of a factory foreman. From her perspective, “I knew I was not a creative design genius … I am a better diplomat than I am a designer ... I was never going to be the world’s greatest Costume Designer, but there was no reason I could not be the smartest and the most celebrated.” She knew how to play the game better than anyone. Her real concern was to change actors into characters. Edith said, “I make people into what they are not—10 years older or younger, fatter or thinner, more handsome or more ridiculous, glamorous or sexy or horrible. The camera never lies after all, so my work is really an exercise in camouflage.”

Is there a moment in the show that particularly touches you?

We set the play in 1981 during the making of her last film, Carl Reiner’s Dead Men Don’t Wear Plaid, starring Steve Martin. She died two weeks after the wrap of the film and the film is dedicated to her. Throughout the play we see glimpses of a woman who has outlived all her contemporaries and is wrestling with a lifetime of memories and regrets.

I’ve always wished I had had a conversation with Edith Head.

Now I believe I have.

Jacqueline Saint Anne jsaintanne@costumesdesignersguild.com Mary Rose & Ms. Claassen

Fall 2010 The Costume Designer

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the collar stays in the picture

While I was struggling with the perfect white shirt for Jimmy Smits, I saw this “little” movie called Inception that may have had the MOST perfect shirts I’d ever seen captured on the screen. In fact, the men’s costumes for Inception came up in conversation and in several of my fittings again and again. Interestingly enough, I was making shirts for Jimmy at Anto of Beverly Hills; who, as it turns out, was also the maker of the 300 shirts and the vast majority of the ties for Inception.

Anto Sepepjian started as a shirtmaker in 1953. His sons Jack & Ken have continued the family tradition making the perfect shirt for almost every Costume Designer and male star in the biz, Leonardo DiCaprio included. They’ve built shirts for DiCaprio for Titanic (Deborah Scott), Catch Me If You Can (Mary Zophres), The Aviator (Sandy Powell), Revolutionary Road (Albert Wolsky) and currently, Hoover (Deborah Hopper).

I wanted to know what made something so simple as a men’s shirt, so memorable so I went to the source, Jeffrey Kurland, the Costume Designer for Inception.

What was your approach to DiCaprio’s character “Cobb”?

“Leonardo DiCaprio may have been the star of Inception, but his character ‘Cobb’ was also the realized physical soul of the film. His sense of solidity and maturity combined with a heightened reality, creates and steadies the style of the film.

“I needed Cobb to anchor the film in color and style. By keeping him the proverbial ‘everyman’ in warm tones and de-saturated colors mixed with a generous grey scale, it allowed me to widen the palette for the other characters. That way I could keep a con-

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The Costume Designer Fall 2010

tinuity to the piece and still have a solid base to return to, without sacrificing individuality.”

Did you have any idea that the shirts (and ties) would be so critical and so memorable?

“I knew they would be. Along with the actor’s face, they are what fill the foreground. All of Mr. DiCaprio’s shirts were designed to frame his face and jaw. The stand of the collar varied, adhering to the demands of the scene and the various clothing worn with it.

Collar and cuff sizes varied accordingly, depending on the tie, the size of the knot, and the style of cuff link.”

The shirts look as if they were never worn more than once. How did they look so impeccable?

“The beauty of a shirt crafted by Anto is that the individual body is taken into account with every seam. I wanted the Cobb character to have a look of comfortable perfection. A mature look that gave way to a personal and individual aesthetic, always in charge. I must also give credit to Leonardo’s dresser, Cookie Lopez. She was always on top of things and followed my desires for the character’s physical and sartorial evolution.”

Anto’s Jack Sepepjian tells me that “Jeffrey Kurland always makes us work harder” and the secret to the shirts from Inception “the collars were made a little higher, with no tie space and more body in the interlinings.” Good to know.

Starch or no starch?

“No starch … and good collar stays.”

Deena Appel dappel@costumedesignersguild.com

THE COSTUME DEPARTMENT

IMOGENE CHAYES

JENNIFER ANTONY

MICHELLE LYNETTE BUSH

MEET THE ASSISTANTS

La Crosse, Wisconsin, is home to 50,000 people, one of which was ACD Jennifer Antony. After state-hopping to Minnesota for a job in Target’s trend department, a movie came to town. A month later, Jennifer made the decision to leave a life of cubicles, move to LA and join the entertainment bandwagon. Upon arrival, she started work for Nordstrom’s Studio Services to expand her contacts. With the help of CD Kim Tillman, Jennifer was thrown into the commercial world. Since that time, she has acquired a gamut of film, TV and commercial experience.

Over the past six years, she has assisted CD Gretchen Patch on hundreds of commercials and CD Karen Patch on numerous films. Karen expands, “Jennifer has been an enthusiastic, supportive and creative part of my team for a few years. We have a seamless working relationship and still manage to have fun under some very stressful circumstances.”

Jennifer recommends that new ACDs have a big dose of patience.

“This doesn’t happen overnight. Work from the bottom to the top. I’m still learning on the job, every single day I go to work.”

Jennifer is on the move again, relocating her life to Houston, Texas. She is planning to continue her film and commercial jobs there, in conjunction with her work here in Los Angeles.

She looks forward to connecting with any CDs living or shooting in the Southwest, so CDs take note!

Pennsylvania-born Bush received her B.A. in theater from Kutztown University, and then started her journey west. After a rewarding pit stop in the Chicago theater scene for five years, she headed to Los Angeles to pursue Costume Design in new mediums. Upon her arrival, she teamed up with CD Jen Rade. Working with Jen, Michelle tackled everything from music videos and commercials to independent films and red-carpet styling. Armed with previous experience as a stitcher, a comprehension of current styles and a photographic memory, she is fully equipped to take on a variety of challenges. Jen Rade explains, “One of the things I love about Michelle is that I can leave her in charge on set and have total confidence that she will represent me in the best way possible. I have complete trust in her decision-making skills.”

No matter what the project, Michelle makes sure to incorporate “research, preparedness, and dedication.” Her newest venture is assisting Randall Christensen on Dancing With the Stars, who explains that Michelle “constantly amazes me with her intuitiveness and ability to anticipate my needs before I even realize that I have needs.”

Michelle takes her creative energy home where her two cats and a dog try on their favorite costumes. Then she “screams her lungs out” to Green Day to shake off her daily stress. Michelle “rolls with the punches” and keeps her crew laughing while pursing her passion.

Hailing from the Bay Area’s Sonoma County, this ACD newcomer was excited to break in to the film business. Previously working in musical theater in San Francisco, Imogene left the fishnets of Rocky Horror to earn her advanced associates degree at FIDM’s Film and TV Costume Design program. After graduating, she was granted the Academy of Television Arts and Sciences Costume Design internship. Through this program, Imogene had the chance to work with “absolutely amazing mentors including CDG President Mary Rose, as well as CDs Audrey Fisher, Chrisi Karvonides, Susan Nininger and many more.”

With strong illustration skills, Imogene hopes to incorporate her passion for sketching with her abilities as an ACD to be a valuable asset to the department. She enjoys researching all genres of costumes and would love to work in all mediums. Glee CD Lou Eyrich expounds, “Imogene is a delightful addition to my crew. Her sketches are amazing and detailed and she has a willingness to make anything happen. I hope to have the opportunity to use more of her talents as an Assistant Designer.”

When not working on film and TV, Imogene has interests in special effects, concept art and video-game design. Most recently, her team took second place in Disney’s ImagiNations 2010 Imagineering Design competition.

jellzey@me.com

Madamedecostumes@aol.com

imogenechayes@yahoo.com

can’t live without scissors, iPhone, and diet coke

can’t live without my PT cruiser, MacBook, laughter and love!

can’t live without coffee, my Blackberry, safety pins Courtney Hoffman courtneyehoffman@gmail.com

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The Costume Designer Fall 2010

Fall 2010 The Costume Designer

27

THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z

W

AFFENROCK, WAMBAIS: German,

started in the medieval era as a quilted tunic, doublet or tabard worn with armor. Adapted through the ages, it became a military coat worn by the Prussian army. In 1935, it was adopted by the Wehrmacht as a form-fitting, thigh-length, eight-button tunic of fine grey wool with no external pockets. By 1940, it was no longer “issued” to soldiers but instead, it had become a formal dress uniform. It was also common practice to loan a tunic to a soldier from regimental stocks for their wedding day.

WAMPUM: The Europeans shortened the original Algonquin word wapapyaki to wampum. These strings of beads were used as a medium of exchange, dowry and respect for events such as weddings and peace treaties.

Girls of some tribes wore wampum to announce their eligibility for marriage. Settlers such as the Dutch quickly adopted this mode of exchange and even set up New World workshops to manufacture large amounts of it.

Strings of wampum evolved into belts only after the First Americans began making peace treaties with the Europeans.

WATTEAU: The principal style of the French Regency (1715–1723) as pictured by the painter Jean-Antoine Watteau. The original Watteau gown was a loose sack or dress worn over a tight bodice and a very full underskirt. The gown had loose folds falling from the shoulders in back, becoming part of the skirt. The front of the gown varied in design, either hanging loose or fitted at the waist, worn closed or open, and if open, revealing a bodice and underskirt. If the neck in front was low, the stomacher was also often revealed and was ornamented with ribbon. A neck frill, pagoda sleeves, completed the costume. In the 1730s, the Watteau gown became the robe à la Francaise with six box pleats stitched to the back and ending in a train.

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The Costume Designer Fall 2010

WIMPLE OR HEADRAIL: A headkerchief from the 12th and 13th centuries. It was worn on top of the head and hung to the shoulders, as it was unseemly for a married woman to show her hair during the medieval era.

The wimple was held in place by a fillet of metal or by a crown for a lady of rank. A chin band was often used to keep it in place. It was mostly made of fine white linen though often in colors; saffron yellow was particularly popular. A wimple might be elaborately starched, creased or folded, and supported on wire or wicker framing, called a cornette. Such elaborate laundry involved the labor of servants and therefore, demonstrated the status of the wearer. The wimple later became the headdress of nuns and then hat decoration for ladies of the late ’30s.

WRAPPER: An informal house gown of the late 19th and early 20th centuries, usually with a ruffled neck, sleeves and hem. Fastened in front and held to the figure with a tie belt or left to hang loose. Made of great variety of fabrics, either plain or trimmed with lace or other decoration. It was revived in the late ’30s as part of the monastic silhouette.

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

IN FOCUS

location, location, location: MALLS Cumberland Mall

1000 Cumberland Mall, Atlanta, GA 30339 (770) 435-2206 www.cumberlandmall.com Macy’s, Sears and Costco.

The best Forever XXI in Atlanta!

Gwinnett Place Mall

2100 Pleasant Hill Road, Duluth, GA 30096 (770) 813-6840 Macy’s, Sears, JCPenney, Belk and MegaMart.

(An amazing new concept store from Korea.)

Lenox Square Mall

3393 Peachtree Road NE, Atlanta, GA 30326 (404) 233-6767 HUGE mall anchored by Bloomingdale’s, Neiman Marcus and Macy’s, with 250 specialty stores.

Tanger Outlets Mall at Peachtree Center

231 Peachtree Street, Atlanta, GA 30303 (404) 654-1296 www.peachtreecenter.com Three-tiered mall in the heart of downtown.

Only open until 6 p.m. Closed Sundays.

Mall of Georgia

3333 Buford Drive, Buford, GA 30519 (770) 271-9458 www.mallofgeorgia.com Dillard’s, Macy’s, Nordstrom, JCPenney and Belk. Plus more than 225 stores.

North Georgia Premium Outlets

800 Highway 400 South Dawsonville, GA 30534 (706) 216-3609 www.premiumoutlets.com Featuring more than 140 outlets.

Perimeter Mall

4400 Ashford Dunwoody Road Atlanta, GA 30346 (770) 394-4270; www.perimetermall.com Bloomingdale’s, Dillard’s, Macy’s (Open until 10 p.m. Thu.-Sat.).

Nordstrom and 200 specialty shops.

Phipps Plaza

3500 Peachtree Rd. NE, Atlanta, GA 30326 (404) 261-7910 Upscale shopping anchored by Nordstrom, Belk, and Saks Fifth Avenue.

100 specialty stores including Gucci, Giorgio Armani, Jimmy Choo.

Like shopping in Beverly Hills.

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The Costume Designer Fall 2010

1000 Tanger Dr., Locust Grove, GA 30248 (770) 957-5310 www.tangeroutlet.com/locustgrove More than 70 brand-name outlets just off I-75 south of Atlanta.

SHOPPING AREAS Atlantic Station

www.atlanticstation.com Outdoor mall in midtown with specialty shops, restaurants, movie theater, all within walking distance.

Bennett Street

Soho-style mix of galleries and art centers, a destination for fine art and antique-lovers.

Little Five Points

At the intersection of Moreland Avenue and Euclid Street. Great vintage and thrift shopping!

Roswell

Affluent suburb neighborhood just north of Atlanta.

The District

At Howell Mill Road and I-75.

Walmart, TJ-Maxx, Ross for Less.

Vinings Village Jubilee

Shop and dine in 19th-century charm.

Virginia-Highland

At the intersection of Virginia and Highland Avenues, this is a quaint historical area with fabulous shops, art galleries, restaurants, and nightlife.

BOUTIQUES Blu’ Couture Jean House

Located in Phipp’s Plaza (404) 869-8000 High-end denim store.

Evolve Boutique

1581 N. Decatur Rd., Atlanta, GA 30307 (404) 474-3244 www.evolve-boutique.com Carries organic, eco-friendly designs, repurposed items, trendy labels and independent designers. Contact: Joyce Justicz, owner.

Fab’rik

1114 West Peachtree St., Atlanta, GA 30309 (404) 881-8223 Designer denim store for men and women.

Kelly’s Closet

1649 McLendon Ave. NE, Atlanta, GA 30307 (404) 377-9923 www.kellyscloset.net Interesting and tasteful shop—half wedding salon and other half is a charming fashion boutique.

Mooncake Clothing Co.

1019 Virginia Ave. NE, Atlanta, GA 30306 (404) 892-8043 Creative clothing and artisan jewelry.

Rene Rene

1142 Euclid Ave. NE, Atlanta, GA 30307 404-522-7363 www.renerenedesigns.com Vintage-inspired fashion by a local designer.

Fall 2010 The Costume Designer

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IN FOCUS Lucky Exchange

Horsetown

212 Ponce De Leon Ave. NE Atlanta, GA 30308 (404) 817-7715 www.luckyexchange.com Buyer has a great eye for good-quality vintage at amazing prices.

Multiple locations www.horsetown.com The BEST place for country/cowboy apparel.

Rag-O-Rama

111 Euclid Ave. NE, Atlanta, GA 30307 (404) 658-1988 www.ragorama.com Secondhand apparel in excellent condition.

Stefan’s

1160 Euclid Ave. NE, Atlanta, GA 30307 (404) 688-4929 www.stefansvintage.com Open in 1977—oldest vintage store in Atlanta.

The Clothing Warehouse

420 Moreland Ave., Atlanta, GA 30307 (404) 524-5070 www.theclothingwarehouse.com Good character pieces.

Untamed

BOUTIQUES

MENSWEAR

Taste Boutique

Bill Hallman Boutique

Located in The District at Atlantic Station.

(404) 347-0211 www.tasteboutiques.com Trendy boutique owned by rapper Bow Wow’s mom.

792 N. Highland Ave. NE, Atlanta, GA 30306 (404) 876-6055 www.billhallman.com Emerging and offbeat labels.

Miller Brothers Ltd.

Tootsies

3400 Around Lenox Dr. NE Atlanta, GA 30326 (404) 842-9990 One-stop specialty store with unique artisan jewelry.

3207 Paces Ferry Place, Atlanta, GA 30305 (404) 233-8000 www.millerbrothers.com Made-to-measure and ready-made suits, sportswear and furnishings.

Sid Mashburn

Sandpiper

4300 Paces Ferry Rd. SE, Atlanta, GA 30339 (770) 433-2989 Trendy clothing and accessories.

Rebecca Taylor, DVF, Nanette Lapore Youngblood Gallery and Boutique

636 N. Highland Ave., Atlanta, GA 30306 (404) 254-4127 youngbloodgallery.com Indie designers and emerging artists.

1198 Howell Mill Road, Atlanta, GA 30318 (404) 350-7135 www.sidmashburn.com One-stop shop for formal and casual.

VINTAGE & THRIFT 1403 N. Highland Ave., Atlanta, GA 30306 (404) 885-1101 www.desucouture.com Resale designer pieces at a great price.

Located in StudioPlex Lofts 659 Auburn Ave., Atlanta, GA 30312 (404) 935-8253 Recently opened hip resale store.

The Costume Designer Fall 2010

SHOE STORES

2385 Peachtree Rd. NE, Atlanta, GA 30305 (404) 949-0222 www.izzymaternityclothes.com Stylish maternity. Sizes 0-32 Verdier Jewelry

(404) 876-7456 www.verdierjewelry.com Amazing local jewelry designer who uses vintage elements to make new contemporary designs.

FABRIC & TRIM Gail K Fabrics

Bistro Niko

Krog Bar

2216 Cheshire Bridge Rd. NE Atlanta, GA 30324 (404) 982-0366 www.gailkfabricsinc.com Best all-around fabric store. Check hours: closes early daily and closed Monday.

3344 Peachtree Rd., Atlanta, GA 30326 (404) 261-6456 A slice of Paris!

112 Krog St. NE, Atlanta, GA 30307 (404) 524-1618 www.krogbar.com Have a drink after work in an old stove works building.

Lewis & Sheron Fabrics Textile Co.

912 Huff Rd., Atlanta, GA 30318 (404) 351-4833 lsfabrics.com Specializing in upholstery.

Great trim selection!

Peachtree Fabrics

Friedmans Shoes

209 Mitchell St. SW, Atlanta, GA 30303 (404) 688-8859 www.largefeet.com Large-size, brand-name shoes.

Walters

66 Decatur St. SE, Atlanta, GA 30303 (404) 688-8859 Great selection of cool sneakers.

SPECIALTY

1400 English St. NW, Atlanta, GA 30318 (404) 351-5400 www.peachtreefabrics.com Specializing in upholstery fabrics.

Contact Karen.

EAT & DRINK 10 Degrees South

4183 Roswell Rd. NE, Atlanta, GA 30342 (404) 705-8870 African-Ethiopian food.

Azalea Bridal and Formal

Aja

2258 Snellville Plaza, Hwy. 78 Snellville, GA 30078 (770) 712-5122 www.azaleabridal.com Wedding gowns. Sizes 0-32

3500 Lenox Rd. NE #100, Atlanta, GA 30326 (404) 231-0001 Modern Asian kitchen. Try a signature mai tai.

DesU Couture Consignment

Doubletake Recycled Luxury Boutique

32

387 Joseph E. Lowery Unit #110 Atlanta, GA 30310 (404) 753-5071 www.untamedonline.com Vintage boutique with variety of sizes including petites and plus sizes.

Izzy Maternity

Deka Athletics

3400 Around Lenox Rd. NE Atlanta, GA 30326 (404) 869-9600 High-end workout clothes. Lines like Adidas & Puma by Stella McCartney, and Y3.

Atlanta Fish Market

265 Pharr Rd. NE, Atlanta, GA 30305 (404) 262-3165 Huge fresh fish menu printed twice daily.

Bacchanalia

1198 Howell Mill Rd. NW, Atlanta, GA 30318 (404) 365-0410 www.starprovisions.com Very pricey fine-dining featuring organic ingredients. Four-course prix fixe menu.

Buckhead Diner

3073 Piedmont Rd. NE, Atlanta, GA 30305 (404) 262-3336 Nostalgic diner serving American cuisine with fresh farm ingredients.

Café Sunflower

2140 Peachtree Rd. NW, Atlanta, GA 30309 (404) 352-8859 Best vegetarian.

Cakes & Ale Restaurant and Bar

254 West Ponce De Leon Ave. Decatur, GA 30030 (404) 377-7994 New restaurant owned by a young local couple.

Chops Lobster Bar

70 West Paces Ferry Rd., Atlanta, GA 30305 (404) 262-2675 Awesome steakhouse!

Flying Biscuit Café

1001 Piedmont Ave. NE #103 Atlanta, GA 30309 (404) 874-8887 www.flyingbiscuit.com Sunday brunch is a winner, but they serve breakfast all day, every day.

Highland Bakery

655 Highland Ave. NE #10, Atlanta, GA 30312 (404) 586-0772 www.highlandbakery.com Popular for brunch.

King of Pops

Handmade popsicles sold from cart at the corner of North Avenue and N. Highland.

Taking the neighborhood by storm!

Murphy’s

997 Virginia Ave. NE, Atlanta, GA 30306 (404) 872-0904 www.murphysvh.com Upscale comfort food. Tuesday wine-tasting.

Mary Mac’s Tea Room

224 Ponce De Leon Ave. NE Atlanta, GA 30308 (404) 876-1800 www.marymacs.com First opened in 1945. Great tradition of Southern cuisine and hospitality.

La Tavola Trattoria

992 Virginia Ave. NE, Atlanta, GA 30306 (404) 873-5430 www.latavolatrattoria.com Classic Italian with extensive wine list.

ONE Midtown Kitchen

559 Dutch Valley Rd., Atlanta, GA 30324 (404) 892-4111 www.onemidtownkitchen.com Fine dining in a renovated urban warehouse.

Parish

240 N. Highland Ave. NE Atlanta, GA 30307 (404) 681-4434 www.parishatl.com Southern comfort food.

Publik Draft House

654 Peachtree St., Atlanta, GA 30308 (404) 885-7505 www.publikatl.com New-age Southern draft house.

Hearty fare in a relaxed, modern setting.

Fall 2010 The Costume Designer

33

IN FOCUS NBC Universal

EAT & DRINK Rathbun’s

FILMMAKERSDESTINATION.COM 818.777.2722 • 800.892.1979

112 Krog St. NE Atlanta, GA 30307 (404) 524-8280 www.ratbunsrestaurant.com Great place for after-work dining on Fridays.

Sotto Sotto Restaurant

SPA Jeju Sauna

South City Kitchen

Natural Body Morningside

1144 Crescent Ave. Atlanta, GA 30309 (404) 873-7358 New Southern cuisine with a twist.

1402 North Highland Ave. Suite #1 Atlanta, GA 30306 (404) 872-1039 www.naturalbody.com Ask for Wa-nee.

The Shed at Glenwood

MISC.

1200 Howell Mill Rd. NW Atlanta, GA 30318 (404) 352-5811 www.taqueriadelsol.com Cross-cultural, fresh, fast food: Mexican, Southern, Southwestern.

The Varsity

61 North Ave. NW Atlanta, GA 30308 (404) 881-1706 “World’s Largest Drive-in Restaurant” since 1928.

Two Urban Licks

820 Ralph Mcgill Blvd. NE Atlanta, GA 30306 (404) 522-4622 Spicy wood-fired meats and fish.

Live blues Tue.-Sat. Watershed Restaurant

406 West Ponce De Leon Ave. Decatur, GA 30030 (404) 378-4900 Good Southern cooking in a relaxed casual atmosphere.

Try the Georgia pecan tart with shortbread crust!

The Costume Designer Fall 2010

471 North Highland Ave. Atlanta, GA 30307 (404) 525-3363 www.wisteria-atlanta.com Contemporary American with a Southern twist. Locals’ favorite!

3555 Gwinnett Place Dr. Duluth, GA 30096 (678) 336-7414 www.jejusauna.net A 24-hour spa! You will feel like you are in Korea.

Taqueria del Sol

34

Wisteria Restaurant

313 North Highland Ave. Atlanta, GA 30307 (404) 523-6678 Authentic Italian in historic Inman Park. All-Italian wine list.

475 Bill Kennedy Way Atlanta, GA 30316 (404) 835-4363 Order a few sliders, a beer, and chill.

Costume Rentals Manufacturing Alterations Fitting Rooms & Offices

IN FOCUS

Dr. Robert Kaufmann

Emory Health Care 565 W. Peachtree St., NW Atlanta, GA 30308 (404) 881-9727 He understands our crazy hours and will see you quickly.

Dr. Karen Joanson-Scott

(404) 262-9278 Great chiropractor Dr. Mack Rachal

(404) 215-6520 Dermatologist OXXO Care Cleaners

3167 Peach Tree Rd., Suite C Atlanta, GA 30305 (404) 660-0571 Organic “green” dry-cleaning.

Contact: Federico Antun.

BOLDFACE NAMES BOLDFACE AT WORK And we’re off … to the races that is. CD Ane Crabtree is holding the design reigns for the new HBO series Luck, filming on location in and around Los Angeles as well as Santa Anita Park’s racetrack. Stakes are high as producer/director Michael Mann brings Dustin Hoffman, Nick Nolte and Joan Allen to the track. The story revolves around a career bookmaker and money launderer (Hoffman), freshly released from a four-year-prison stay, crafting a scheme to team with a former crony (Dennis Farina) and a shady horse trainer (John Ortiz, from Mann’s Public Enemies). Other news around town, CD Marissa Borsetto has completed the new crime series Criminal Minds: Suspect Behavior at ABC Studios, starring Forest Whitaker and Janeane Garofalo. CD Terry Ann Gordon is shooting the new CMT comedy series Working Class, with her team that includes CD Nancy Butts Martin serving as costume supervisor and ACD Nickolaus Brown as key costumer. The series marks the network’s first foray into original-scripted programming and is due to wrap this month. This summer, CD Audrey Fisher completed the pilot All Signs of Death for HBO, another Alan Ball (True Blood) creation. The story features Echo Park slacker Web, played by Brit Ben Whishaw, who finds solace in cleaning up gory crime scenes.

CDs Steven Lee and Daniela Gschwendtner made a smooth transition from the dance floor (DWTS) to the rink, and have glided right into the new series Skating With the Stars, featuring Mötley Crüe singer Vince Neal and actress Sean Young, among others. CD Julia Schklair is on The Whole Truth, a new Jerry Bruckheimer series at Warner Bros., starring Maura Tierney and Rob Morrow.

member CD Justin Ducoty will be digging his teeth into designing the new vampire film Death Valley , shooting locally through March. CD Beth Pasternak was in Whittier and Santa Clarita for Red State, a film where a group of misfits encounter fundamentalism gone to extremes in Middle America, starring Michael Parks (Kill Bill), Melissa Leo and John Goodman. CD Ni-

cole Christine Schott designed costumes for indie comedy Should’ve Mr. Dippy costume & illustration Been Romeo, with notables Ed Asner, Carol Kane, Paul Ben Victor and Kelly Osbourne.

CD Ariyela Wald-Cohain recently wrapped the indie For the Love of Money, a mob story starring James Caan and Paul Sorvino.

CD Dana Rebecca Woods’ design work can be seen in the new play Train Driver, by South African playwright Athol Fugard, now through January at the Fountain Theatre. CD Wendy Benbrook just finished designing a short feature, Wish Wizard, for the Make a Wish Foundation, with all services and goods donated to the very worthwhile wish-granting organization for children. It stars Ed Begley Jr.

CD Mark Bridges teamed with CD Pamela Shaw as ACD and CD Barbara Inglehart supervising, for The Artist, a French production filmed entirely in Los Angeles with an IA union crew.

The silent, black and white feature starring John Goodman, James Cromwell, and Penelope Ann Miller revisits the transition in Hollywood from silent pictures to talkies from 1927 to 1931. New

Rack Rental

(678) 464-6262 And some supplies.

Contact: Cindy Ganoe

Wish Wizard/Make a Wish Foundation recipients from left: Kabrina Cressey, Kimberly Voegele, Daria Stachowiak, and Matthew Hartman

COMPILED BY Bonnie Nipar bnipar@costumedesignersguild .com SPECIAL THANKS TO OUR CONTRIBUTORS Jennifer Bryan, Kathleen Detoro, Betsy Heimann, Leah Katznelson, Daniel Orlandi and Ken Van Duyne

Should’ve Been Romeo: Mr. Dippy costume and illustration

From across the country, we hear that CD Kathleen Detoro and her supervisor, CD Robin Bush, just wrapped the new pilot Necessary Roughness in Atlanta. CD Christine Peters is on location in Hawaii designing Off the Map until February. CD Denise Wingate is in Oahu, Hawaii, designing the New Line family adventure Journey 2: The Mysterious Island, with Michael Caine, Dwayne Johnson and Kristin Davis, and then heads off to North CarFall 2010 The Costume Designer

35

IN FOCUS

BOLDFACE NAMES BOLDFACE ENTREPRENEURS ACD Inka Sherman has launched her fashion label ISM Mode and premiered her new line with a runway show at the Concept LA

Wish Wizard fairies (above, left). Wish Wizard leprechauns: Heidi Brucker as Lizzy the Leprechaun (left) and Jonathan Morgan Heit as Larry the Leprechaun (above, right).

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

PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)

Ov er 30,000 costumes Designs by leading theatrical designers Storybook and fa ntasy characters Shoes, hats, masks and accessories 612.375.8722 or e-mail costumes@costumerentals.org &"45 )&//&1*/ t .*//&"10-*4 ./ t $0456.&3&/5"-4 03(

36

The Costume Designer Fall 2010

olina for more filming in January. CD Wendy Chuck is in New Orleans on the indie project So Undercover, starring Miley Cyrus.

CD Susanna Puisto just left New Orleans last month designing From the Rough. CD Debra McGuire was in Georgia on the recently wrapped Universal’s Wanderlust, with Jennifer Aniston and Paul Rudd. CD Durinda Wood is back in Michigan designing Right Angle, a feature based on the Adam Niskar book Busted— the real-life account of a hard-drinking, promiscuous salesman who becomes a quadriplegic after a tragic accident and struggles to come to terms with his predicament and his future. News from New York: CD Susan Lyall is presently designing Man on a Ledge, starring Sam Worthington, Elizabeth Banks, Ed Harris, Kyra Sedgwick, and Jamie Bell. The feature focuses a spotlight on a former-cop-turned-con threatening to plunge off a skyscraper as a diversion to a big bank heist. CD Christine Bieselin Clark has signed on to design the Disney feature version of the sci-fi illustrated novel Oblivion. Joining forces again with Clark is ACD Carlos Rosario.

Fashion Week. Sherman is thrilled with the coverage in WWD, Apparel News, and stylesectionLA, and is donating a percentage of ISM profits to a local nonprofit providing after-school programs for children. www.ismmode .com Mad Men CD Janie Bryant’s new book, The Fashion File, got off to a glamorous start with a book-signing cocktail and canapÊ party in November at the Judith Leiber boutique on Rodeo Drive.

BOLDFACE PRESS

Sherman’s new line: models and logo

Hollywood star Angelina Jolie’s sexy style was redefined by Oscar-winning Costume Designer Colleen Atwood for The Tourist, coming out this month. In The Hollywood Reporter feature “Fashions of the Tourist,â€? Atwood spoke with Leslie Bruce about reworking Jolie’s obvious beauty into a more subtle and refined sexuality for the film, capturing this idea with classic selections: gloves, not-so-plunging necklines, and a luxurious, elegant, neutral palette. CD Jean-Pierre DorlĂŠac recounted a conversation with legendary Costume Designer Edith Head for the Los Angeles Times Image section, October 24. In the midst of his

CD Shawna Trpcic is the new designer for the BBC series Torchwood, filming in Los Angeles and England, as well as slipping in design work for the Web series Dragon Age: Tallis. CD Suttirat Larlarb is in London happy to reteam with her Slumdog Millionaire director Danny Boyle for the 2012 Olympics.

They will not only be collaborating on the costumes, but the overall concept for the opening ceremonies. CD Louise Frogley has teamed up again with Steven Soderbergh, having just returned from Hong Kong and Chicago, and presently designing the drama Contagion. The action thriller about a widespread virus threatening humanity, features a long list of headliners— Gwyneth Paltrow, Matt Damon, Jude Law, Marion Cotillard, Kate Winslet, Laurence Fishburne and Sanaa Lathan. Frogley isn’t slowing down anytime soon and heads off for Atlanta, San Francisco, London, Geneva and Abu Dhabi for the rest of the shoot. CD Susan Matheson has traveled back to her home country of South Africa and is currently designing the action feature Safe House, starring Denzel Washington as a criminal hidden away in a CIA safe house about to be moved in by house-sitter Ryan Reynolds. Costume Illustrators Phillip Boutte and Constantine Sekeris round out the team on the exciting futuristic feature, which will be shooting in Iceland in the spring.

Fall 2010 The Costume Designer

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COSTUME CO-OP

Custom made and Alterations for the Entertainment Industry

BOLDFACE NAMES BOLDFACE PRESS

BOLDFACE EVENTS Most costumes featured in the annual FIDM Art of Costume Design come to the museum via a messenger or by courier, but that wasn’t the case for one of the more standout ensembles from the exhibit. The gorgeously plumed headdress and beaded costumes from the New Orleans–based series Treme were so massive in size and delicate in nature (the pieces were shrouded in intricate hand-

om costumeco-op.c

11501 N. Chandler Blvd., North Hollywood, CA 91601 Tel: 818 752-7522 Fax: 818 752-7524 mail@costumeco-op.com

Boone—Men’s & ladies’ cover of Essence magazine memoir-in-progress, he went into detail about how it was Edith who deserved the real credit for those famous frocks worn by Audrey Hepburn in Sabrina. After designing For Colored Girls, CD Johnetta Boone was thrilled to then go on to style the lovely ladies and men of the cast (with exception of Janet Jackson and Tyler Perry) for the December covers of both men’s and women’s Essence magazine. In Wall Street news, or more specifically, Wall Street: Money Never Sleeps news, CD Ellen Miro-

CD Alonzo Wilson & his ACD, Ann Walters

beading and covered in feathers), shipping proved too costly. So CD Alonzo Wilson and his ACD Ann Walters did the next best thing—they rigged a 17-foot U-Haul to buffer the pieces and drove it across country themselves! Wilson was happy to go the distance to share the labor of love with the 1,000 or more people who saw the exhibit.

Designing

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jnick sat down for an interview with Los Angles Times Image

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The Costume Designer Fall 2010

For DETAILS, call us toll free at For DETAILS, call us us online toll free 1-800-393-3833 or visit at at 1-800-393-3833 or visit us online at www.musicianscu.org www.musicianscu.org

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Toll Free: 800 / 393-3833 Phone: 323 / 462-6447 Fax: 323 / 462-4411

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Fall 2010 The Costume Designer

Cuadpro® Marketing 10-62

writer Adam Tschorn to share her thoughts and inspirations in designing both the first and current film, and the thumbprint left on the American men’s wardrobe. In the contemporary version, Money Never Sleeps, Mirojnick framed the lead male character’s faces with distinctive collars for each and modeled the tones in Gordon’s (Michael Douglas) wardrobe to the silver and grays of an ocean-swimming shark. CD Luke Reichle’s Castle actors took time out to speak about their roles and how their looks are defined and fleshed out by the work of their Costume Designer! http://bit.ly/bHng8n

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WHAT’S ON

WHAT’S IN

Detroit 1-8-7

LOUISE MINGENBACH

WENDY GREINER

AGATA MASZKIEWICZ

Assistant Designer:

$#*! My Dad Says

Jesse Stone: No Remorse

Costume Designer:

Costume Designer:

LORI ESKOWITZCARTER

BETSY COX Assistant Designer:

DENISE BARRETT

Mike & Molly

The Event

Costume Designer:

Costume Designer:

JILL OHANNESON

SIMON TUKE

Law & Order: Los Angeles

Chase Costume Designer:

Costume Designer:

TANEIA LEDNICKY

MICHELE MICHEL

Outsourced

Hot in Cleveland

Costume Designer:

Costume Designer:

SUSIE DESANTO

The Costume Designer Fall 2010

KARLA STEVENS

Detroit 1-8-7, No Ordinary Family/ABC; The Defenders, Hawaii Five-O, $#*! My Dad Says, Jesse Stone: No Remorse, Mike & Molly/CBS; The Event, Chase, Law & Order: Los Angeles, Outsourced/NBC; Hot in Cleveland/TV Land

KATHRYN MORRISON

GIGI MELTON

Due Date/Warner Bros.; Faster/CBS Films; Love & Other Drugs/20th Century Fox; Burlesque/Screen Gems; The Tourist/Sony Pictures; How Do You Know/Columbia; True Grit/Paramount; For Colored Girls/Lionsgate; The Company Men/Weinstein Co.; Little Fockers/Universal Pictures; The Way Back/Newmarket; Frankie and Alice/Freestyle Releasing

BRIGITTA ROMANOV

Costume Designer:

Costume Designer:

Costume Designer:

SALVADOR PEREZ

Assistant Designer:

Hawaii Five-O

The Defenders

Faster

Costume Designer:

Costume Designer:

Costume Designer:

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Due Date

No Ordinary Family

ALISON MCCOSH

Love & Other Drugs

Burlesque

Costume Designer:

Costume Designer:

DEBORAH LYNN SCOTT

MICHAEL KAPLAN Assistant Designer:

Assistant Designer:

STACY CABALLERO

BRIAN KOPP

The Tourist How Do You Know

Costume Designer:

COLLEEN ATWOOD

Costume Designer:

Assistant Designer:

SHAY CUNLIFFE

CHRISTINE CANTELLA

True Grit

For Colored Girls

Costume Designer:

Costume Designer:

MARY ZOPHRES

JOHNETTA BOONE

Assistant Designer:

Assistant Designer:

JENNY EAGAN

ALEX BOVAIRD

Little Fockers

The Company Men

Costume Designer:

Costume Designer:

MOLLY MAGINNIS

LYN PAOLO

Assistant Designer:

NANROSE BUCHMAN

The Way Back

Frankie and Alice

Costume Designer:

Costume Designer:

WENDY STITES

RUTH CARTER

Fall 2010 The Costume Designer

41

SCRAPBOOK

Happy Holidays and Best Wishes for a Happy and Healthy New Year

Courteney Cox and Debra McGuire, Friends, 1994–2004.

WOODBURY UNIVERSITY 7500 Glenoaks Boulevard Burbank, California 91510 42

The Costume Designer Fall 2010

mcd.woodbury.edu/fashiondesign