The Costume Designer - Fall 2011

The Official Magazine of the Costume Designers Guild

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

Merry Christmas & Happy Holidays Wishing you peace on Earth & goodwill towards mankind & all living creatures

Motion Picture Costume Company

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

vol. 7, issue 4

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FEATURES The Hidden Narrative of Footwear. . . . . . . . 26

FOR YOUR CONSIDERATION IN ALL CATEGORIES, INCLUDING: BEST COSTUME DESIGN MICHAEL O’CONNOR

Beauty in the Details . . . . . . . . . . . . . . . . . . . 32

´75$16),;,1* MICHAEL O’CONNOR’S COSTUMES ARE MARVELOUS.”

DEPARTMENTS

– JOE MORGENSTERN,

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 10 President’s Letter Executive Director Labor Report

The Costume Department . . . . . . . . . . . . . . . 18 Meet the Assistants Meet the Illustrators History of Dress COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 costumedesignersguild.com

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

Scrapbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

COVER Celebrating the first 25 covers of The Costume Designer

For up-to-the-minute screening information, exclusive video content, the score, screenplay and more on this extraordinary film, go to: www.FocusAwards2011.com

Boldface Names What’s On/What’s In

Ray Aghayan Theadora Van Runkle

Fall 2011 The Costume Designer

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EDITOR’S NOTE

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eauty in the Details In the pilot episode of The Playboy Club, I was so struck by the perfection of the foundations and lingerie in the dressing room scenes that it made me think about the many details that are generally overlooked and taken for granted in projects large and small. Those details became the focal point of this issue. As you read the story “Beauty in the Details,” if you are not a Costume Designer yourself, consider the great length one goes to for such a small part of the whole. There’s always one thing that becomes the big thing, sometimes we see it coming and other times it may catch us off guard. If you are a designer, you might smile to recall those times when you searched high and low for the perfect pair of hose or just the right belt or a purse that tells you everything you need to know about a character at first glance. Of course, your audience shouldn’t see you sweat, but every now and then it’s nice to draw back the curtain and see what goes on in Oz. One of the most critical details in defining a character is most often cut right out of the frame. What could be so influential and so expressive an accessory that it speaks volumes even when it goes sight unseen? The shoe of course. I recently met the lovely Meghan Cleary, self-proclaimed “Shoe Expert,” and was surprised to find that on the heels of releasing her second book on the topic of shoes (Shoe Are You?), she was eager and willing to contribute her musing on shoes and character and story for The Costume Designer. The first step for any character is to feel at home in his or her shoes. Meghan, more than most, inherently understands the value of the “right” shoe at the right time. Something we designers do not take for granted.

On another front; why are we celebrating our 25th issue? To some it might seem too early; but if you consider the design and scope of The Costume Designer (with this issue being our largest to date), we’ve come a long way. For someone who had zero experience producing, shepherding, designing, writing, editing and overseeing a magazine at the start, it’s been a great challenge and a pleasure getting to no. 25. So indulge me. Thank you Sharon Day for all you’ve done, Audrey Fisher for a long ride, Bonnie Nipar for never saying “no,” IngleDodd for making it possible and to all the contributors who have managed to volunteer their time from the start.

Lastly and sadly we bid farewell to two extraordinary talents, Costume Designers Theadora Van Runkle and Ray Aghayan.

Both recipients of Costume Designers Guild Career Achievement Awards and between them, they were honored with six Oscar nominations, four Emmy wins, four additional Emmy nominations and a BAFTA nomination. We are thrilled to be able to share their earliest days with two scrapbook pages featuring each designer in the prime of their celebrated career.

costumedesignersguild.com EDITOR/PHOTO EDITOR

Deena Appel ASSOCIATE EDITOR

Bonnie Nipar PRESIDENT

Mary Rose mrose@cdgia.com VICE PRESIDENT

Van Broughton Ramsey vramsey@cdgia.com SECRETARY

Beth Pasternak bpasternak@cdgia.com TREASURER

Marilyn Matthews mmatthews@cdgia.com EXECUTIVE BOARD

Deena Appel dappel@cdgia.com

April Ferry aferry@cdgia.com

Salvador Perez sperez@cdgia.com

Cliff Chally cchally@cdgia.com

Brigitta Romanov (ACD) bromanov@cdgia.com

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

Robert Blackman rblackman@cdgia.com

Julie Weiss jweiss@cdgia.com

Mark Bridges mbridges@cdgia.com

Sharon Day sday@cdgia.com BOARD OF TRUSTEES

Peter Flaherty pflaherty@cdgia.com

Jacqueline Saint Anne jsaintanne@cdgia.com

Karyn Wagner kwagner@cdgia.com EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@cdgia.com

The Costume Designer Fall 2011

—PETER TRAVERS, ROLLING STONE

Gina Silverstein gsilverstein@cdgia.com MEMBER SERVICES ADMINISTRATOR

Suzanne Huntington shuntington@cdgia.com RECEPTIONIST/SECRETARY

Cheryl Marshall

THRILLING AND MOVING FROM THE FIRST FRAME TO THE INSPIRED CLOSING MONTAGE. Incredibly rich and perfectly constructed. The greys and browns that dominate the film perfectly capture 1970s Britain, and the attention to detail is really quite extraordinary. Grade: A. —OLIVER LYTTELTON, INDIEWIRE

PUBLISHER

IngleDodd Publishing ADVERTISING DIRECTOR

Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

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EASILY ONE OF THE YEAR’S BEST FILMS. A MASTER CLASS IN FILM ARTISTRY.

COMMUNICATIONS DIRECTOR

cmarshall@cdgia.com

Happy 25th and a Joyous New Year to all!

Deena Appel dappel@cdgia.com

BEST COSTUME DESIGN JACQUELINE DURRAN

TINKER TAIL0R S0LDIER SPY For up-to-the-minute screening information, exclusive video content, the score, screenplay and more on this extraordinary film, go to: www.FocusAwards2011.com

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“ THERE IS ATTENTION TO THE LOOK OF THE FILM,

INVENTIVE DETAIL AND THE SWEEPING EL ABORATE SET PIECES .”

BOTH IN ITS

CHRISTY LEMIRE,

BEST COSTUME DESIGN BONNIE NIPAR

MARCY FROEHLICH

COURTNEY HOFFMAN

(Associate Editor, What’s On/ In) Joined the Guild in 1997 and works as a Costume Designer for television. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of the CDG magazine, Bonnie happily took over four recurring columns.

With her sense of wanderlust, Bonnie enjoys searching for the treasures of Locations, and also finds “It’s a treat to honor the latest accomplishments of our peers.”

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

(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 television. “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.”

SUZANNE HUNTINGTON

ROBIN RICHESSON

JACQUELINE SAINT ANNE

(Boldface Names) Has made a home with the IATSE, starting in 2002 as an event coordinator with the Editors Guild, and moving to the CDG in 2005, now as the Member Services Administrator. Creativity blossoms in a variety of mediums beyond her fine arts degree— writing being a favorite, followed by making Zeninspired jewelry. Huntington’s contributions include Boldface Names and the weekly Friday GEMS. She loves the day-to-day contact with members and is only a phone call away!

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

(Meet the Illustrators) The Emmy Award-wnning 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 United States, 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.

JANY TEMIME

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The Costume Designer Fall 2011

W W W . WA R N E R B R O S 2 0 1 1 . C O M

Harry Potter Publishing Rights © J.K.R.

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C O N S I D E R AT I O N

Dear CDG Member, DreamWorks Pictures cordially invites you and a guest to attend these screenings of WAR HORSE. Additional screening information is available online at DreamWorksPicturesAwards.com

SCREENING LOCATIONS

LOS ANGELES Sunday, Dec. 18 Saturday, Dec. 24 Sunday, Dec. 25 Sunday, Dec. 25 Monday, Dec. 26 Thursday, Dec. 29 Saturday, Dec. 31

3:00 pm 12:00 pm 12:00 pm 4:00 pm 7:00 pm 6:30 pm 12:00 pm

Disney Main Theatre DGA Theater #2 DGA Theater #2 Disney Main Theatre DGA Theater #1 DGA Theater #2 DGA Theater #2

NEW YORK Sunday, Dec. 25 Sunday, Dec. 25 Monday, Dec. 26 Friday, Dec. 30 Saturday, Dec. 31

4:00 pm 7:00 pm 7:00 pm 7:00 pm 12:00 pm

DGA DGA DGA DGA DGA

Theater Theater Theater Theater Theater

7:00 7:00 7:00 7:00 7:00

pm pm pm pm pm

Premier Theater at ILM Variety Screening Room Delancey Street Scr. Room Premier Theater at ILM Premier Theater at ILM

LONDON Thursday, Dec. 15 Wednesday, Dec. 21

LOS ANGELES DGA Theaters #1 and #2 7920 Sunset Boulevard Los Angeles Disney Main Theatre Walt Disney Studios 500 S. Buena Vista St. Burbank

NEW YORK DGA Theater 110 West 57th Street New York

SAN FRANCISCO

SAN FRANCISCO Monday, Dec. 19 Tuesday, Dec. 27 Wednesday, Dec. 28 Tuesday, Jan. 3 Friday, Jan. 6

No recording permitted. Violation of this prohibition is subject to civil and criminal liabilities.

6:30 pm 6:30 pm

Moving Picture Company Moving Picture Company

LA, NY and SF screenings: RSVP online at DreamWorksPicturesAwards.com or by email to DisneyAwardsOffice@disney.com London screenings: RSVP by email to Disney@PremierPR.com

Delancey Street Scr. Room 600 Embarcadero Avenue San Francisco Premier Theater at ILM One Letterman Drive San Francisco Variety Screening Room 582 Market Street, Suite 101 San Francisco

LONDON Century Fox 31-32 Soho Square Soho, London The Moving Picture Company 127 Wardour Street Soho, London

DreamWorks Pictures’ WAR HORSE, director Steven Spielberg’s epic adventure, is a tale of loyalty, hope and tenacity set against a sweeping canvas of rural England and Europe during the First World War. WAR HORSE begins with the remarkable friendship between a horse named Joey and a young man called Albert, who tames and trains him. When they are forcefully parted, the film follows the extradordinary journey of the horse as he moves through the war, changing and inspiring the lives of all those he meets—British cavalry, German soldiers, and a French farmer and his granddaughter—before the story reaches its emotional climax in the heart of No Man’s Land. The First World War is experienced through the journey of this horse—an odyssey of joy and sorrow, passionate friendship and high adventure. The cast includes Emily Watson, David Thewlis, Peter Mullan,Tom Hiddleston, Jeremy Irvine, Benedict Cumberbatch, Niels Arestrup and Toby Kebbell. Directed by Steven Spielberg, the film is produced by Steven Spielberg and Kathleen Kennedy, and the screenplay is by Lee Hall and Richard Curtis, based on the book by Michael Morpurgo and the recent stage play by Nick Stafford, orginally produced by the National Theatre of Great Britain and directed by Tom Morris and Marianne Elliott. The behind-the-scences team includes director of photography Janusz Kaminski, production designer Rick Carter, costume designer Joanna Johnston, editor Michael Kahn, A.C.E. and composer John Williams.

Rated PG-13 Running time approximately 140 min.

F OR YO U R C ON S I D E R AT ION

BEST COSTUME DESIGN joanna johnston

For screening information,visit www.DreamWorksPicturesAwards.com ©2011 DreamWorks II Distribution Co., LLC

UNION LABEL

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PRESIDENT’S LETTER Dear Colleagues,

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COSTUME CO-OP

Custom made and Alterations for the Entertainment Industry

When someone mentioned that this is our magazine’s 25th year anniversary, I thought I was really having an old-age problem. How can that be? To my relief, I then realized that they meant this is the 25th issue of the CDG magazine. This is quite a different thing. I know that Rachael Stanley already has extended information about the origins of the magazine, so I will not repeat the same thing here, but instead, express my heartfelt congratulations and thanks to those key people who are involved: editor Deena Appel, contributors Suzanne Huntington, Bonnie Niper, Gina Silverstein, Robin Richesson, Marcy Froehlich, Courtney Hoffman, and many more volunteers who give their time and effort.

Also in this 25th issue, I want to pay tribute to the IngleDodd Publishing staff and express my long overdue sincere gratitude for making it possible for our magazine to grow and for our partnership to continue the way it has. I feel that I never really thanked them properly before. Does taking you for granted come to mind? This is my proper acknowledgment to IngleDodd. Thank you so much.

By the time you get this magazine in your mailbox, I do hope that you’ll have had a wonderful Thanksgiving Day, and that the Sunday after Thanksgiving, some of you would have been at the Artisan Bazaar on Nov. 27 (as you might know, we were rained out on the 13th and 20th). On the 27th, the weather was kind to us (third time’s the charm they say), and the day was wonderful and sunny and those who attended had lots of fun, finding great creative gifts, and purchasing our own CDG Illustrators’ Christmas and holiday cards.

A week after the Artisan Bazaar, Dec. 3, was our annual holiday party that once again was hosted by Western Costume Company. It’s a little bit early to celebrate their 100th year (2012), but please raise your glass at New Year’s to this historical 100-year-old Western Costume House that served Costume Designers since 1912.

Switching to a more serious issue regarding the CDG Awards Submissions for Best Costumes in all categories: film and television submissions should have been in your mailbox for more than a few weeks already, yet I’m noticing that the film submissions seem to be far less than television, which were thin as well. Let’s get serious and enter your own work. Undoubtedly, some designers feel that if they themselves don’t enter, someone else would do it. Though it’s often worked that way in the past, that kind of thinking is presumptuous, irresponsible, and should end. Please give it some consideration.

Have a happy and wonderful holiday to all of you and Happy New Year!

“ DEBORAH HOPPER ’ S COSTUMES ARE EXCELLENT. THEY ALLOW THE ACTORS TO PL AY CHARACTERS ACROSS THE DEC ADES.” JAKE COYLE,

BE S T C O S T UM E DE S IG N DEBOR A H HOPPER

In Solidarity, Mary Rose mrose@cdgia.com

WE APPRECIATE THE ONGOING SUPPORT OF OUR CORPORATE SPONSORS

DIAMOND LEVEL

SAPPHIRE LEVEL

om costumeco-op.c

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

The Costume Designer Fall 2011

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W W W . WA R N E RB RO S 2 0 1 1 .C O M

UNION LABEL EXECUTIVE DIRECTOR A Look Back It seems hard to believe that we are in our 25th issue of the magazine. I can remember when Sharon Day first brought the concept of producing a magazine to the Guild officers that it was not easily embraced. After much prodding, Sharon convinced them that the idea would pay for itself with advertising and so The Costume Designer was born. Now 25 issues later, it is hard to imagine not having the magazine as part of our heritage. It has long been a goal of the Costume Designers Guild to help promote the art of costume design in the entertainment industry and the magazine has become a wonderful tool in this endeavor.

It is a joy to see the different talents of our members spread throughout the pages as I glance back on past issues. In each issue, the feature article opens us to new ideas in how to develop our craft and stay on the cutting edge of design. Our members and affiliates comment on how much they enjoy the articles and photos and look forward to each new issue.

Location, Location has become a staple for our members as they travel to out-of-town destinations for work. Having a list of referrals at their fingertips for fabrics, notions, ready to wear, dry cleaners, and other necessary vendors is a valuable timesaver. Gone are the days of having to hunt down resources from scratch with each new location.

Boldface Names helps our members stay up to date with each other’s work projects and new businesses.

The What’s On/What’s In section is always a guide for my personal film and TV viewing. My other personal favorite is the Scrapbook page with a look back at where we have come from over the years. Some of those photos bring back great memories.

I personally wish to thank all the contributors who volunteer countless hours to help bring the magazine to you each issue. A special thanks goes out to our now longtime editor Deena Appel for all her work over the last 25 issues to make this publication into what it is today.

I look forward to the future of the art of costume design and the role our magazine will play in educating and entertaining us along the way.

In Solidarity, Rachael Stanley, rstanley@cdgia.com

“The director combines grandly detailed sets, costumes and hairdos with well-chosen music and a keen understanding of Deep South mindsets to create an authentic time capsule of an intransigent way of life eroding amid the civil-rights movement.”

Contributors Continued from page 6

CDG

Holiday Party VISIT THE CDG WEBSITE FOR COVERAGE & PHOTOS www.costumedesignersguild.com

THE ASSOCIATED PRESS, David Germain

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C O N S I D E R A T I O N IN ALL CATEGORIES INCLUDING

BEST COSTUME DESIGN

Sharen Davis

For screening information,visit www.DreamWorksPicturesAwards.com ©2011 DreamWorks II Distribution Co., LLC

GINA SILVERSTEIN (Boldface Names) Joined the CDG in June 2011 as Communications Director after 20-plus years working in the arts, entertainment and fashion—executing advertising, public relations and integrated marketing initiatives for Fortune 500 and entertainment powerhouses, as well as managing artists and producing international editorial and advertising shoots. Gina is happy to apply her experience and skills to grow positive awareness of CDG Costume Designers and Illustrators. A portion of Boldface Names is just one of the many communications activities she is taking on at the Guild.

Fall 2011 The Costume Designer

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UNION LABEL LABOR REPORT Collective Bargaining History Collective bargaining is the process of negotiation between the employer and the representative of a unit of employees aimed at reaching an agreement on working conditions.

Collective agreements set wages, work hours, training, health and safety conditions in the workplace.

In 1886, the American Federation of Labor (AFL) instituted collective bargaining for the crafts. The Federal Society of Journeymen Cordwainers of Philadelphia was established in 1792 for the craft trades. The IATSE was established in 1893 for stage carpenters, electricians and property persons.

So the next time someone asks what does the union do for you? Think about it. What does the union do? Could I have bargained a better contract for myself? The answer is yes and no.

Under the union contract that is in place from collective bargaining, I can still bargain better terms and conditions—but the minimum bar is set. The union sets a solid foundation from which we negotiate. So when I write my dues check, I think about the IATSE contract and what Local 892 does for me. I am assured a safe, healthy working environment and a valuable resource when I need answers. I know the union is there for me.

In Solidarity, Betty Madden bmadden@cdgia.com

2011–2012 CALENDAR December 23 26 30

CDG office closed 1:00 CDG office closed Christmas holiday CDG office closed 1:00

January BOLDFACE NAMES 2 10 16 21 February 13 24

CDG office closed New Year holiday Executive Board Mtg. Martin Luther King Jr. Day office closed A Day at the Races Benefit for MPTF Executive Board Mtg. CDG Awards at the Beverly Hilton Hotel

Fall 2011 The Costume Designer italian fashion 2thirds_fall10.indd 1

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BEST COSTUME DESIGN

LISY CHRISTL

“BRILLIANT! CAPTIVATING! OSCAR WORTHY!!!” ®

– Bonnie Laufer, TRIBUTE ENTERTAINMENT

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“PEOPLE WILL LIKELY LOOK BACK TO ‘ANONYMOUS’ AS THE TIPPING POINT OF WHAT YOU CAN REALLY DO WITH DIGITAL IN A NEXT-LEVEL KIND OF WAY. IT’S BEAUTIFUL WORK, CAPTURING EQUALLY EXTRAVAGANT AND NOTEWORTHY COSTUME AND PRODUCTION DESIGN.” – Kristopher Tapley, IN CONTENTION

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ALI LEVINE

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MEET THE ASSISTANTS

Born and raised in Hollywood, this Fairfax High graduate went on to Otis Parsons to study fashion design. Zelda Lambrecht started out in the garment industry with the hope of becoming a fashion designer, until a production designer friend enlisted her help on a low-budget film.

Realizing she could combine her creative and technical skills, Zelda found fashion “one-sided, while costumes are infinite.”

After working for Levis Strauss in San Francisco, she fell into episodic television. “It’s the fastest pace of the mediums, never a dull moment, we pretty much make a movie every eight days!”

She also relies on respectful relationships with vendors and stays in touch to maintain a strong relationship. Zelda understands how to “buffer between the creative concept and the technical aspects to a successful end result.” She often relies on her experience from the garment industry and loves anything “crafty.”

CD Kathryn Orindgreff expounds, “Zelda is a brilliant addition to any team.

Her personal style combined with her positive attitude are a huge asset for any designer. I count on her to find that perfect piece and present it with a smile and flair!” Additionally, Zelda suggests taking an “inventory of your strongest skills.

Develop what you think are your weakest and fine-tune your strongest to find your ‘specialty.’ Make genuine contacts and friendships and stay connected. The true friends I have made along the way are the best costumers in the business.”

When not at work, Zelda enjoys her blog, rebuilding her house and ballroom dancing. She also relishes traveling to Europe with her German husband to spend time with family.

As a toddler playing dress up in Highland Mills, N.Y., Ali Levine always had her heart set on a life in clothing. Shopping trips with her grandmother cemented a foundation in color, concepts and the intricacies of fashion. She attended Northern Arizona University studying fashion merchandising and design, helping her to become more business savvy, a skill she uses today with vendors and tailors. She then began a path down the corporate design road, working for Target and Coach, but quickly realized that was not for her.

While still in New York, she landed a gig as a PA for CD Ellen Mirojnick, who greatly influenced her on and off the set. Ellen explains, “From Ali’s first day on Wall Street 2: Money Never Sleeps, she showed determination to learn every aspect of Costume Design, from the ground up.” After her first day, Ali knew she had found a home in Costume Design.

After a couple more East Coast films, she was encouraged to move to Los Angeles.

Upon her arrival, she signed up with Jim Livie at Eastern Costume and then joined MPC 705 and subsequently, CDG 892.

Ali now seizes any opportunity to further her experience in Costume Design.

She wears a constant smile and relies on her positive attitude and out-of-the-box thinking, while building relationships and trust with her designers. She reminds herself to make the best of every circumstance and let go of the things you can’t control.

When not working, Ali enjoys relaxing with her fiancé and exploring & hiking all over California. She continues to be inspired by fashion. Ali also makes it a point to visit family back East and often reminds her grandmother about the exciting career she influenced!

After a brief time in Taiwan, Devon’s family settled in Franklin Lakes, N.J., just steps from Manhattan. During family outings to Broadway shows, Costume Design captured Devon’s eye. She attended Radford University in Virginia to study technical theater and immersed herself in the costume shop while spending her off time at summer stock theaters to further her craft. She moved west for UCLA’s graduate costume design program, and then took a leave of absence to join John David Ridge as a shopper. After her “trial by fire,” she had learned her L.A. sources, met tons of designers and was prepared for the “nitty-gritty of Hollywood.”

Just out of JDR, she paired up with CD Mary Vogt who became a “good friend and mentor.” Mary contributes, “Devon is a tireless worker with great taste, an endless source of contacts and a whimsical sense of humor that has both charm and edge.” With her background and as a member of 705, Devon feels at home in the workroom interacting with the “unsung talent who craft Hollywood’s costumes.”

Devon advises ACDs to persevere, build strong relationships with the entire crew “especially the Costume Supervisor.

Learn how to sew ... even if you are not good at it and be a great multi-tasker.”

She admires Designers like Vogt and Sanja Hays, whose ability to prioritize a life outside of work, makes them “happier people to work for.”

Devon has been working on her most challenging and rewarding project to date, her baby girl Grace. Still, she tries to integrate her own balance with a move to Tennessee, a project in L.A. and “around the world,” and a husband who’s also in the biz.

ReelStylePros@gmail.com

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devoncostume@gmail.com

can’t live without my husband’s coffee

can’t live without JJ my inspiration, my crazy NY family and shoes!

can’t live without my contact list, Eastern Silks swatch card and my car keys

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The Costume Designer Fall 2011

BEST COSTUME DESIGN

Penny Rose

www.WaltDisneyStudiosAwards.com ©2011 DISNEY

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MEET THE ILLUSTRATORS ALAN JAMES VILLANUEVA was fascinated by character and creature design throughout his childhood. He pursued his passion at Cal State University, Long Beach, where he was introduced to costume illustration through teacher and mentor and CDG Illustrator Robin Richesson. During this time, Alan decided to study advanced drawing and painting abroad in Firenze, Italy, and graduated cum laude with a B.F.A. in illustration. CD Christine Bieselin Clark was instrumental in Alan’s joining the Guild thanks to a chance encounter at last year’s Comic-Con. Alan was convinced he was dreaming when he was asked to illustrate his first film, OZ: The Great and Powerful, with a surprise call from CD Gary Jones. He is forever grateful for the experience and considers himself lucky to have worked with such an incredibly cohesive and talented team. He found that it helps for the costume illustrations to convey the mood and personality of the character which allows the actors to visualize themselves in the role.

Utilizing strong traditional art skills mixed with digital media, Alan’s style can be best described as beautiful, theatrical, stylishly sophisticated and yet to the point, with an amazing attention to detail.

Richesson notes: “Alan brings so much to every project. He’s a very positive, open-minded and dedicated artist, and loves collaboration. His gracious personality and definitive work ethic allows for an enjoyable and qualitydriven costume design experience and would be a great addition to any costume crew.”

When he’s free, Alan loves drawing, music and competing in triathlons. www.AlanVillanueva.com Jacqueline Saint Anne jsaintanne@cdgia.com

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The Costume Designer Fall 2011

VINCENT SONG is a San Jose native who as a child was so enthralled by his uncle’s humorous drawings that at age 5, he insisted his uncle teach him how to do it himself. Once he understood how to draw characters, he quickly imitated comics, cartoons and fantasy films. As he matured in his art, he studied fashion photography and illustration and graduated with an art degree from UC Santa Cruz.

In San Francisco, he spent studio time at the Academy of Art and when he arrived in Los Angeles, he drew at the Animation Union. Vincent has worked with costume designers and stylists and recently joined us as a CDG Illustrator.

Vincent has attained a high level of competence and success in the world of advertising and for the past several years, he has enjoyed contributing concept art for one sheets and print ads for theatrical, television, home entertainment and online campaigns for film.

Vincent draws inspiration from the many master illustrators he’s worked with including Gruau and Antonio Lopez, who have greatly influenced his art. His versatile style ranges from representative and realistic art to a more stylized approach for fashion and character. His focus is to illustrate concepts and designs that inform the characters that audiences enjoy on screen.

“I enjoy translating ideas into aesthetically beautiful and thoughtfully designed illustrations that communicate a mood, feeling or concept. In my work, I tend to pay close attention to details and likenesses and strive to represent the design and look of things faithfully and hopefully, inspirationally.”

To see more of Vincent Song’s stunning work, please visit him at www.vincentsong.com

THE COSTUME DEPARTMENT

HISTORY OF DRESS 1820 –1830 BANDEAU: A headband adband or fillet for the hair, usuallyy used with evening wear.

ROULEAU: French for a little roll; a cord encased in fabric that was especially used to trim the lower part of skirts. D During this decade, skirts became bec more bell shaped, w with much ornamentati ornamentation near the hem, and rouleau (a (along with hors horsehair) was instrumental in ke keeping the skirt wider and stiffe stiffer than in previo previous years.

BANYAN: A man’s dressing gown, full length: originally ginally in the 18th century, a loose robe of Asian or Turkish kish inspiration, but in this century with a waist seam and flared skirt.

BEAVER TOPPERS: Top hats made from felted hairs of beaver fur. Mercury was used in the curing of the beaver skin. No wonder der hatters were mad! Styles in these ese hats often reflected the dress and coat silhouettes of the decade.

SMOCK: SMOC

Full shirt w worn by workin working men, especia especially farmers. Sm Smocking at the yok yoke and on the sle sleeves gave this ga garment its name.

THE BETSY: TOQUE: A woman’s man’s

A neck ruff, with a varying number of layers.

DERBY (U.S.): DER A h hard felt hat with round crown and narrow brim curled up at sides. Called a nar “bowler” in England. “bo

PANTALETTES: Under drawers, worn PA for modesty to cover the legs as the skirts grew bigger and moved further away from the legs legs. Made of linen or cotton, with either separate legs attached at a waistband, or separa joined by a crotch seam. Usually trimmed joine with lace at the hem. wit

hat with little or no brim. Along with turbans, a very popular headdresss for evening; often n plumed.

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

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Excellence in Period Film

PIERRE-YVES GAYRAUD

“Thanks to the uniformly excellent costuming, the Dublin of the 1800s has been rendered authentically and beautifully.”

- Michael Patterson, IndieWire

“Pierre-Yves Gayraud’s costumes play a key role in helping define the characters.”

- Todd McCarthy, The Hollywood Reporter

“I can see awards nods to the costume designer Pierre-Yves Gayraud for dressing Glenn Close and Janet McTeer so authentically.”

- Mike Goodridge, Screen International

www.roadsideawards.com

W I N N E R

N O M I N E E

Glenn Close

Janet McTeer

Career Achievement Palm Springs International Film Festival

Best Supporting Actress Film Independent Spirit Awards

©2011 Roadside Attractions, LLC. All Rights Reserved.

HIDDEN Narrative The

I

Footwear

was just 5 years old when I fell in love with my first pair of shoes. They were a pair of baby blue, wedge espadrille sandals with embroidery. I don’t think I could have articulated it at the time, but what I was thinking was that if I got to wear those shoes, I would somehow be different, transformed, that life would be suddenly bigger, more perfect, or exciting in some way. It was a very visceral feeling and although a very small moment, turned out to be a very defining one launching me into my career as a footwear expert.

What I have found along my footwear journey, and what fascinates me most about footwear are not only the architectural details, the shape of a toe box or the build of a last, exotic materials and detailing, or the physics that go into the height of a heel—although all of those things DO fascinate me—what fascinates me most is the story behind the shoe. Shoes are the only item we put on our bodies that have an actual physiological impact on us—they affect the way we walk, the way we carry ourselves, the way we stand. And so shoes tell us stories about who we are, what we do, what mood we are in, our place in society, maybe even where we live or very literally what life experiences we may have walked through. It’s the particulars of shoe stories that fascinate me the most.

One of my favorite footwear narratives, that intrigued me to know the character and story behind the shoe, was that of Catherine de Medici. In 1530, she was a precocious 13-year-old bride trying to make an impression at the French court where she was being married, and she asked a Florentine artisan to make her some special shoes for that occasion. With that first pair of what many say were actually stilettos, she undulated her way across the French court and caused quite a furor. Not only that, she cemented her position and superiority in her new country, just by starting out with this particular pair of shoes—going on to be a very long living and powerful queen. That kind of driving force in shaping characters and creating narratives is the special sauce that only footwear has, and one that we see reflected time and again in modern film and TV. Nowhere has that power of the shoe been so apparent as in Sex and the City, brilliantly designed by Patricia Field. The groundbreaking HBO series was not only pivotal in bringing the shoe into the forefront of pop culture, but also in highlighting the stories

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The Costume Designer Fall 2011

that go along with our footwear. There is an episode of Sex and the City where Carrie Bradshaw goes to a baby shower and upon arrival, is asked to remove her Manolo Blahnik silver D’orsay pumps in the foyer. As the party winds down, she returns to the foyer for her shoes as she says her goodbyes. It turns out someone has done the unthinkable and nicked her stilettos at the baby shower!

Her hostess (or in actuality, her Costume Designer, Ms Field) gives her grungy Converse Chuck Taylors to get home. A few moments later, we see a forlorn Carrie walking home in the black, worn out Chucks, her spirit diminished, shoulders slumped, a light gone out.

Her narrative while wearing her sparkly stilettos is quite different than in her replacement pair of flat and spongy Chucks. And while it might seem very minor, it is actually this episode that drives the narrative of who she is, the choices she had made and how she chooses to live—or even BE in the world.

Fashion Designer Christian Siriano firmly believes that a character’s personality “shows in their shoe taste.” Speaking as a man who now has both his own shoe line and one for Payless, Siriano pays his respects to costume designers and their challenges when it comes to footwear. “In a period film you know the costume design is good when the shoes are right, you can’t fake it—certain shoes you just cannot fake.”

Sex and the City/HBO

of

Sex and the City Title illustration of Catherine de Medici

by Mary Pressel Cline

To that point, Laura Jean Shannon, Costume Designer for the box-office smash, Footloose, had a particular challenge. Not only to get the footwear right for the characters, but to honor the spirit of the first Footloose as well. “It was important to our director, Craig Brewer, Julianne Hough, and me that we revive Ariel’s classic red boots from the original Footloose—we tried upwards of 30 pairs of red boots on Julianne before we landed on the Frye boots.”

Julianne weighed in as well, “I definitely feel that a character’s look, from head to toe, helps define who they are.” She points to Ariel as a great example. “The red boots were practically a character of their own—not only were they a homage to the original film, but they represented Ariel’s wild-child attitude.” For Kenny Wormald’s character “Ren,” Laura Jean had to find the perfect fit for the key dance solo which builds up to the climax of the film. “We wanted Ren to have a classic James Dean vibe but he also needed to be able to move comfortably. After trying lots of different boots, we landed on a pair of Aldo’s that had a great military boot look but were very

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lightweight. She also selected some converse high tops and the lower profile John Varvatos for Converse Jack Purcell’s for when he did his ‘angry dance,’ which required a lot of flexibility.”

Every character on screen has a shoe behind it and a Costume Designer behind that. Janie Bryant, the Emmy award-winning Costume Designer who is known for her spot-on, meticulous attention to detail for Mad Men shared some of her perspective. From the perfectly polished pointy-toed stilettos that adorn Betty Draper (now Francis) and belie her troubled internal life, to the polished wingtips of the ad agency executive Don Draper that articulate the shiny surface societal norms that everyone seems to violate. “As the saying goes, if the shoe fits, wear it. Shoes have a great impact on how the audience sees the character as well as how the actor feels, walks, stands, and moves while playing the character,” says Bryant.

“The type of shoe, heel height, color, and amount of distressing on the shoe signals a great deal about the character’s persona and way of life.”

Footloose/Paramount Pictures/The Kobal Collection; Mad Men/AMC/The Kobal Collection

Footloose 2011

Mad Men

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The Costume Designer Fall 2011

Hedwig/New Line/The Kobal Collection/Sophie Giraud

The Tourist

The Tourist/Columbia Pictures

For The Tourist, Oscar-winning Costume Designer Colleen Atwood took a note from one of her stars when selecting the footwear. Angelina Jolie showed up to the set with a pair of her favorite Ferragamos, and Atwood decided they were perfect for Jolie’s character—buying three pair in black, camel and pink. Angelina did almost all of her stunts in the three and a half inch stilettos with hard metallic detailing on the heel. Only Colleen Atwood could pair the most modern of shoes with her original designs and an original Charles James dress to create a character with limitless style. Most amazing is that in a fun twist, Ferragamo re-named the shoe “Elise,” after Jolie’s character in the film, and sold them at the Salvatore Ferragamo NYC flagship store for a mere $750 a pair.

One of my all-time favorite movies, Hedwig and the Angry Inch, was designed by Arianne Phillips who followed her personal mantra from Laurence Olivier: “‘I always start building my character from the shoes up,’” she remarks, “Footwear is everything. It informs posture, attitude, how characters walk, carry themselves.

I live by that rule!” Phillips had the unusual challenge for Hedwig to design for a transsexual drag queen who goes from rock opera fabulousness to midwest housewife and everywhere in between.

But that’s not all … because Hedwig was played by John Cameron Mitchell, who was also the director, “John’s shoes were informed by his dual role as director and actor/star. He had to wear heels that he would be able to work with both ‘in front’ of and ‘behind’ the camera.”

There are endless footwear moments throughout film and TV history, these are just a few examples that I remember fondly. It’s the story of the person in the shoe and the character behind the shoe and the designer who labors over every pair that inspires me.

Whether they be a real person, or a larger than life character on the silver screen, there’s really no better lens, than that which adorns the foot to get to know someone from the inside out—or in this case from the ground up.

Meghan Cleary missmeghan@missmeghan.com

{

Is there always a physical thing that unlocks a character for you?

}

“If you change shoes you sit differently, you walk differently.” –Hilary Swank Newsweek Oscar Nominee roundtable, 2005

Hedwig and the Angry Inch

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THE PLAYBOY CLUB The Foundations & Lingerie by Isis Mussenden

“

The bunny dressing room was integral to the girls of The Playboy Club. It was their social hangout where they could transform from civilian life to bunny world. A feeling of camaraderie and playfulness exists when you get a bunch of women together putting on makeup and getting dressed; and that gave me the opportunity to show the girl under the suit. I wanted to capture the variety of women and their different personalities through the choice of their lingerie.

I had amazing research from the Playboy Enterprises who just recently created a digital catalogue, cover to cover. Because time was so short we pulled most of the lingerie from Western Costume and Palace Costumes, vintage shops in Chicago and the boutique Meow in Los Angeles. Today’s bodies are so different than 50 years ago. Actresses are thinner than ever, with little bust, less hip and far less derriere, and we are also longer in the girth. Many bras were simply too high, foundations too short.

I found a red vintage bra for Amber Heard, that was such an amazing color and fit for both her body and character—the surprise under the jean clad girl. So we swatched fabric and lace and dyed it to match the bra to create the perfect matching panty for Amber’s body.

It is rare to be able to exhibit such a extensive amount of undergarments and lingerie in a single project. We as designers know that you build period project from the inside out, but the audience rarely thinks about those details. It was rewarding to gather a room full of 25 young beautiful girls, and get to orchestrate a colorful and playful setting that was sexy but still innocent.

Beauty in theDetails

”

The Gloves by Erin Benach

“

While some say that Drive is a film “about gloves,” the gloves were not in the script. I thought about the elements of a race car driver combined with the nature of a killer (not wanting to leave their fingerprints behind) and it was a natural decision. One of the first, made early on in the process and one that was never challenged— only championed throughout. The gloves that Driver wears are all about his style and love of cars and even his vanity—they all go hand-in-hand. And then … the aspect of well, fingerprints, is just how we could rationalize it.

I think “Driver” is hero. Heroes don’t usually have real jobs, day jobs or go to the bathroom (that we know of).

The open knuckle driving gloves were not available in the rich chocolate brown we wanted so we dyed the six pair from Gaspar Gloves. Dorothy Gaspar claims that in the 70 films she’s “gloved,” she’s never had more calls (from around the world in fact) than she has for the Driver glove.

”

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The Costume Designer Fall Winter 2011 2011

Drive/Bold Films/The Kobal Collection; The Playboy Club/NBC /Matt Dinnerstein; (below left & right) courtesy Isis Mussenden

DRIVE

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W.E.

“

Jewelry was a legendary part of the Duke and Duchess’ love story and legacy. But for the independent film W.E. it was immediately apparent it would be an impossible story to re-create without the participation of Cartier and Van Cleef and Arpels.

My research took me from the Met in NYC, Victoria and Albert in London to the Museum De Mode at the Lourve in Paris. There was a lot of documentation about Wallis’ style to help me identify which pieces were crucial to our story.

Cartier has been building their heritage museum collection, buying back their original pieces at auction. They gave us access to those pieces and in the end, they agreed to re-create 10 of their most iconic pieces for W.E. Since their Atelier in Paris could not work within our timeline (some pieces take over a year to create, working only with real gem stones), we had to find and vet an independent jeweler that Cartier would approve. We finally found a very talented jeweler in London who was given the technical drawings of the real jewelry. The settings were made with precious metals and the stones were cut Swarovski Crystal. When the film is released, Cartier will destroy the 10 copies—so that like great art, they don’t devalue the originals.

Van Cleef and Arpels re-created their famous “contract” bracelet in their own atelier and loaned us archival pieces from their museum collection. Sotheby’s helped liase some very private meet-

ings to see the real jewelry owned by very private clients. I worked with Neil Lane, Anna Hu and Alexis Bittar. Madonna also understood our financial limitations to re-create the “couture” world of the Duke and Duchesses from the start so she offered her help in whatever way she could. I literally went into Madonna’s closet and basically took over her personal jewelry for the three-month duration of the film.

We shot most of the film in London and beyond, with a week in Paris, the south of France and a week in NYC. I had to pre-determine what jewelry we needed in what scene, in order to ship the jewelry to and from Paris, NYC, Switzerland, and Los Angeles and clear customs in time. With an ever-changing shooting schedule, I lost my assistant designer, Laura Morgan, to the monumental task of coordinating the jewelry’s travel.

The insurance aspect was its own giant hurdle. We had a fulltime security guard on set at all times and a bolted safe on our truck as well as in the production office. Our coverage limited the value that we could have out on set at any one time so when we exceeded that amount, we would have additional guards. On a few of the days, we had up to five security guards on set just for the jewelry.

It was truly a journey of discovery.

Deena Appel dappel@cdgia.com

”

W.E./The Weinstein Company

The Jewelry by Arianne Phillips

Cartier “cross bracelet”

Van Cleef & Arpels’ original “contract bracelet” 34

The Costume Designer Fall Winter 2011 2011

Winter Fall 2011 The Costume Designer

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IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK CD Emma Trask has come aboard to design the series Ringer, with new CDGer, ACD David Ochoa assisting. The duo are due to wrap this month and start back up in January. Another new member hitting the ground running is CD Blair Levin, who has stepped in to design the TV movie Elixir, shooting in Pittsburgh.

CD Chrisi Karvonides-Dushenko is currently designing the new and dark Ryan Murphy-created drama, American Horror Story, for FX, with CD Conan Castro Jr. supervising. ACD Tiffany White is new this season to the iconic series Mad Men, now assisting CD Janie Bryant here in town. ACD Laura Frecon is now assisting CD Audrey Fisher for season five of the hit HBO series True Blood, due to be sexier and bloodier than ever.

CD Nancy Ceo recently wrapped up a couple of teen-to-twentysomething MTV projects—the pilot Dumb Girls revolves around a group of L.A. youths who are smart in life but dumb in love, as well as the series Awkward, a teen comedy set for a second season.

CD Carrie Cramer has taken on double-duty designing Tosh.0, a humorous commentary about content on the Internet, and the daytime series The Doctors. CD Kathryn Langston Orindgreff is designing the third season of the series Make It or Break It, fol-

lowing a group of teen Olympic hopefuls as they train and prepare for their day in the spotlight. Orindgreff also made time to design the pilot Baby Daddy for ABC Family. CD Julia Schklair and ACD Courtney Stern have just finished up Perception for ABC/ TNT, starring Eric McCormack and Rachael Leigh Cook, with the duo resuming design duties on their ABC Family show Switched at Birth. CD Kathleen Felix-Hager has wrapped the ABC Family pilot Intercept, here in town for director Kevin Hooks, about a couple of college students-turned-crime-solvers, who create a communication device that captures nearby conversations, starring Austin Butler, Danielle Panabaker and Chloe Wang. CD Wendy Benbrook is designing a fresh new show for VH1 titled Stevie TV, starring the clever and beautiful Stevie Ryan in a sketch comedy parodying today’s pop culture, reality shows and pop stars. CD Meredith Markworth-Pollack is the new designer on board for CW’s Hart of Dixie, starring Rachel Bilson. It is set in smalltown Alabama but shoots locally through March.

CD Alexandra Welker is having great fun on location in Portland designing Grimm for NBC. The police procedural collides with a supernatural spin, featuring Portland in all its glory. Welker is delighted by the fun and unique town and her fabulous crew, and claims that between the stunts, the blood and the epic numbers of guest stars, it feels like doing a film every eight days. Atlanta is fast becoming a second home to more than a few of our designers: CD Frank Helmer is back in Atlanta on the A&E miniseries Coma, a retelling of the bestselling novel by Robin Cook and film by Michael Crichton. Coma is produced by Ridley Scott, Tony Scott and David W. Zucker. Frank reports it’s a busy scene there with lots of fellow

IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK CDGers. He’s especially grateful to CD Mona May for the crew tips! CD Michael T. Boyd is another designer starting to grow roots in Georgia, having wrapped Gamers in September for NBC, and due to be in Atlanta right up to Christmas on the Hallmark movie, Crew Six, based on the uplifting true story about a CA program within the juvenile minimum-security prisons turning female inmates into firefighters, with Cuba Gooding, Jr. and Q’Orianka Kilcher. CD Susanna Puisto is back East in Rhode Island this fall, taking over for the second season of Body of Proof, along with her team of ACD Rhona Meyers and CD Maritza Garcia-Roddy supervising. Puisto loves the fashion her cast of Dana Delany and Jeri Ryan rock every episode. CD Roland Sanchez has just returned from Prague and Istanbul designing the TV series Missing, starring Ashley Judd as a woman on a mission abroad after her son disappears.

This month, CD Mary Zophres is putting to rest the Warner Bros. crime feature Gangster Squad, shot entirely in Los Angeles.

The 1940s drama, directed by Ruben Fleischer, is based on an L.A. Times article that chronicles the LAPD’s fight to keep the East Coast mafia out of Los Angeles in the ’40s & ’50s. The all-star cast includes Sean Penn, Josh Brolin, Ryan Gosling, Emma Stone, Nick Nolte and Giovanni Ribisi. CD Tricia Gray recently wrapped her fifth project teamed with director Jay Chandrasekhar on the feature comedy The Babymakers, shot in Los Angeles, starring Paul Schneider, Olivia Munn and Chandrasekhar, about a guy who after failing to get his wife pregnant, recruits his pals to steal the deposit he left at a sperm bank years ago. CD April Napier returned from Shreveport after finishing Straight A’s for director James Cox (Wonderland), starring Anna Paquin, Ryan Phillippe and Luke Wilson. The comedy feature focuses on a young man harassed and haunted by the ghost of his mother pushing him to return home to deal with the family and first love left behind. Napier is glad to be home in Los Angeles, designing the Roman Coppola feature A Glimpse Inside the Mind of Charles Swan III, featuring Charlie Sheen, Jason Schwartzman, Patricia Arquette, Bill Murray, and Aubrey Plaza.

CD Caroline B. Marx designed the feature Long Time Gone, starring Virginia Madsen, Sam Trammell and Zach Gilford, with the producing team behind the Academy Award-winning film, Precious. Marx collaborated with her good friend and artist Elisa Jimenez (Project Runway All Stars), to design the unique free-cut and hand-drawn T-shirts worn by the cast. CD Shawna Trpcic has had a busy fall having just wrapped the latest feature adaption of Shakespeare’s Much Ado About Nothing for Joss Whedon before launching into her next feature Lust for Love, starring most of her cast from Dollhouse. Trpcic rounded out her season with Dragon Age: Redemption, designing a series of three webisodes to coincide with the video game release. ACD Jessica Albertson and CD Sophie De Rakoff are currently up in Santa Cruz on the surf feature Of Men and Mavericks, starring Gerard Butler and Elizabeth Shue.

Mavericks is well known among seasoned surfers as a Northern California heavy-hitter surf break on the Santa Cruz coastline.

Fall 2011 The Costume Designer

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IN FOCUS

BOLDFACE AT WORK CD Barcie Waite finished Jackie, a feature that was a gem of a project from a Dutch/American production company with a wonderful cast and crew, starring Holly Hunter. It couldn’t have been any better for Waite to also design in her own town of New Mexico. CD Salvador Perez is in Baton Rouge, LA, designing the comedy feature Pitch Perfect, about competing, college a cappella groups. Perfect stars Anna Kendrick, Brittany Snow, Rebel Wilson and Freddie Stroma and is produced by Perez’s dear friend, Elizabeth Banks. FYI: He reports from Los Angeles that he has officially “bought out the city.”

ILL Gina Flanagan and ILL Felipe Sanchez have been having a blast together, cranking out a broad range of period costume illustrations for CD Sharen Davis, who is designing Quentin Tarantino’s latest feature, Django Unchained. Tarantino’s vision of the feature is a spaghetti western done in the Deep South and focuses on a slave-turned-bounty hunter setting out to rescue his wife from a brutal Mississippi plantation owner. The cast includes a lengthy list of notables, including Leonardo DiCaprio, Jamie Foxx, Joseph Gordon-Levitt, Samuel L. Jackson, Christoph Waltz, Kurt Russell, Sacha Baron Cohen, and more. This fall, CD Leah Butler designed The Lords of Salem, the latest horror feature from director Rob Zombie, shot locally and wrapped in Salem, MA. CD Betsy Heimann is presently ensconced on the feature Broken City, a neo-noir genre pic set in NYC, with an amazing cast including Mark Wahlberg, Russell Crowe, Catherine Zeta-Jones, Barry Pepper, Kyle Chandler and Jeffrey Wright. Heimann and her ACD, Autumn Saville, are excited to be designing for director Allen Hughes (the Hughes Bros.), who brings incredible vision to the film.

CD George Little just wrapped the feature Warm Bodies in Montreal for Summit Entertainment. The postapocalyptic love story is directed by Jonathan Levine and stars Nicholas Hoult, Teresa Palmer, and John Malkovich. CD Lizz Wolf is in Bulgaria continuing her longtime collaboration with Sylvester Stallone, designing The Expendables 2. The action feature, directed

by Simon West, wraps up in China to festively ring in the new year. CD April Ferry has been in Mexico City on the last 40

BOLDFACE HONORS CD Gabriella Pescucci won the 2011 Primetime Emmy in the “Outstanding Costumes for a Series” category for The Borgias, the Renaissance period drama shot in Budapest. Pescucci’s Costume Supervisor, Uliva Pizzetti, shared the honor. In the “Outstanding Costumes for a Miniseries, Movie or a Special” category, CD Susannah Buxton took the honor home to London, along with her ACD, Caroline McCall, for their work on Downton Abbey. CD Arianne Phillips was honored with a Hollywood Style Award for Costume Designer of the Year on November CD Lou Eyrich walks the Emmy carpet 13, presented by actress Andrea

CD Phillips accepts the “Style Award”

CD Ferry on a break in Mexico

The Costume Designer Fall 2011

Riseborough. The honor followed numerous press mentions for Phillips’ work on the period film W.E., directed by longtime collaborator Madonna, including a September Vanity Fair spread with Riseborough and James D’Arcy. The 5th Annual Hamilton Behind the Camera

Lou Eyrich courtesy of Academy of Television Arts & Sciences, Arianne Phillips courtesy of www.RoseApodaca.com

BOLDFACE NAMES

six weeks of Elysium, the feature starring Matt Damon by writer/ director Neill Blomkamp of District 9. Ferry reports the locations in the barrios of Mexico City are eye opening and quite fabulous and finds the Mexican crew is experienced and easy to work with.

Ferry heads off to visit CD Joe Tompkins at his new home in Merida, Mexico, after the show wraps.

IN FOCUS

BOLDFACE NAMES BOLDFACE HONORS

NBC Universal FILMMAKERSDESTINATION.COM 818.777.2722 • 800.892.1979

Jon Hamm and Hamilton Prez Sylvian Dolla flank CD Bryant Awards honored CD Janie Bryant on November 6 for her contributions to television and the lasting impression her work has left on audiences. Mad Men star Jon Hamm presented the trophy in front of a room full of A-listers. Season five of the hit show will kick off March 16, 2012.

Janie Bryant courtesy of Hamilton Behind the Camera Awards

BOLDFACE PRESS Pan Am ’s 1960s-era costumes have been jetting off in the press. CD Ane Crabtree was interviewed by California Apparel News, WWD and ABC’s Nightline anchor Cynthia McFadden (http://abcn.ws/ n6HCWw), who tried on a flight attendant hat during the segment.

Crabtree described the pillboxes in a TV Guide interview as “works of art ... with tiny trapunto stitching, rows and rows that I hope you’ll be able to see on camera.” http:// bit.ly/n1fidV http:// www.muchadothemovie.com Entertainment Weekly interviewed

Costume Rentals Manufacturing Alterations Fitting Rooms & Offices

McFadden & CD Crabtree

Fall 2011 The Costume Designer

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IN FOCUS

the

Alter fashion world!

BOLDFACE NAMES BOLDFACE PRESS

A combined project of the Guthrie Theater and the Children’s Theatre Company

THE CAST OF THE WINTER’S TALE (T. CHARLES ERICKSON)

CD McGuire’s look for The New Girl

Whether you’re looking for an entire production, a character or simply to provide the quintessential accessory, CostumeRentals has an array of period costumes, flamboyant frocks, hilarious hats and mysterious masks.

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The Costume Designer Fall 2011

bit.ly/uMXCk1 Designs

by CD Nolan Miller and Elizabeth Courtney Costumes, owned by CDs Ret Turner and Bob Mackie, were featured in an InStyle article on Christie’s unprecedented auction of Elizabeth Taylor’s wardrobe. Included was Miller’s 1987 ruby red dress with a pleated silk taffeta bodice and floralaccented skirt that Taylor wore to the 40th Cannes Film Festival. Miller’s work was also recently highlighted in a Spotlight On article and video on the CDG website. http:// www.instyle.com/eliza bethtaylor

Christie’s auctions CD Miller designs

Debra McGuire (Zooey Deschanel) courtesy of FOX, Nolan Miller (Elizabeth Taylor) AFP/Getty Images Dominique Faget

CD Debra McGuire about her work on the hit show New Girl on FOX, starring Zooey Deschanel. The veteran designer explained how she created a playful retro look for Deschanel’s quirky character using mainly vintage pieces with a mix of colors and patterns. “Don’t expect to see Jess in cropped tops and tight jeans,” McGuire added. http://

ig n a s o s tu m e D e s C y d tu S · ig n n as Fa s h io n D e s n d b a g d e s ig a in h d A F n a B , a e o E a rn e ry, s h ,0 0 0 -p ie c e h o o s e m il li n to ry in th e 6 is h e e s to m a m in o r · C tu s o ry b o u n d a ri a rc h c a e n s li e R ip c · is s d e s v ro s ti o n . e le c ti , a n d a n im a o ll e c ti o n · C n C ig y s d e d tu S ic h n Fa s h io ti o n , g ra p c o m m u n ic a p s yc h o lo g y,

Gown by: Stephen Ferradino, Class of 2010 Photo by: Volker Correll

Join the fashion revolution: mcd.woodbury.edu/fashiondesign Fall 2011 The Costume Designer 45

IN FOCUS

BOLDFACE NAMES

Louise Frogley (George Clooney) courtesy of Sony Pictures, Sherry Thompson photo (Mayim Bialik) courtesy of NBC, Jill Ohanneson courtesy of ABC

BOLDFACE PRESS CD Louise Frogley’s costumes for George Clooney and Ryan Gosling in The Ides of March were featured in the October 14th issue of The Hollywood Reporter . Frogley, who dressed Clooney with classic single-breasted gray suits worthy of a political candidate, said, “…it wasn’t about making a style statement—the clothing is elegant but never draws attention to itself.” A recent revival of 1990s fashion has put CD Sherry Thompson’s trademark hats and quirky accessories front and center again. A Refinery 29 interview revisited the costumes Thompson created for CD Frogley’s Ides the popular teen comedy drama Blossom, which aired on NBC from 1991 to1995, and praised her for “spawning an army of lookalikes in school hallways.” http://bit.ly/paqQTf

We are mad for hats, shoes, ties, petticoats . . . all thingsCostume!

CD Thompson’s Blossom make new print CD Jill Ohanneson, who is designing for ABC’s freshman drama Revenge , is a behindthe-scenes star in a series of short clips airing online by the network. In the videos, Ohanneson shares design ideas and inspiration for the show’s characters, and provides an insider’s look at how their individual styles are developed. http://abc.tv/ CD Ohanneson ufTSY0

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Fall 2011 The Costume Designer

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IN FOCUS

BOLDFACE FESTIVALS & EVENTS North of the border, CDs Del-

phine White, Luis Sequeira, Gersha Phillips, Monique Prudhomme and Antoinette Messam are participating in “OtherCD Summerville’s streamlines Tattoo for H&M CD Trish Summerville has created a 30-piece line for retailer H&M inspired by her Girl With the Dragon Tattoo costumes. Summerville describes it as “more wearable and fashionable” than in the film.

Summerville’s H&M collection includes slouchy T-shirts, leather motorcycle jackets, long cardigans, roughed-up boots and jewelry, available December 14. ILL Lucas Culshaw has reached beyond rendering sketches into the world of indie filmmaking.

The multi-talented Illustrator wrote and produced Wasteland, a scifi/adventure film set in the near future. Culshaw also co-designed the costumes with 705 Costumer Erin Ill, CD, producer Culshaw Tanaka. Released on DVD October 11, the film is sold online and at major national retailers. http://www.wastelandthemovie.com/ 48

The Costume Designer Fall 2011

wordly: The Art of Canadian Costume Design” at the Toronto International Film Festival’s (TIFF) film gallery.

The exhibit, running through March, showcases costumes the Canadians designed for sci-fi and horror films.

Also at TIFF, White created a children’s educational program and Prudhomme was the keynote speaker in CD Delphine White November on “The Reality of Fantasy.” In October, CD Ane Crabtree was in a group show Bound Together, at the Fifth Floor Gallery in L.A.’s Chinatown. Ten artists from various backgrounds exhibited experiential, unedited portfolios containing sketches, collages, drawings, writings and multimedia, while stretching the boundaries of what is commonly considered a “book.”

CD Crabtree’s multimedia portfolio

CD Colleen Atwood retrospective, which suitably ended on Halloween, brought together more than 700 drawings, paintings, photos, storyboards, maquettes and costumes, with contributions

by Atwood and CDs Gabriella Pescucci, Ingrid Ferrin and Aggie Rodgers, who also designed for the iconic filmmaker. The Palm Spring Film Festival hosted a “Behind the Scenes” series with CD Arianne Phillips in October at the Rancho Mirage Public Library. Phillips spoke to the capacity crowd about designing costumes for films such as A Single Man and the upcoming W.E. as well as her Oscar-nominated work on Walk the Line. In November, CD Shawna Trpcic was on a panel discussion “Creating Characters With Costumes” at the Comikaze Expo, touted by organizers as the ComicCon of Los Angeles. The convention brings together the comic, anime, gaming, sci-fi, fantasy and horror genres under one roof at the L.A. Convention Center. During a twoday event in late October, veteran CD Ann Roth exhibited illustrations and drawings from her films and theater works in the Crossley Gallery at the Ringling College of Art + Design in Sarasota, FL. A screening of The Hours, for which she received a 2002 Oscar nom, was held the next day followed by a Q&A moderated by Roth’s Julie & Julia producer Amy Robinson.

Compiled and written by: Suzanne Huntington shuntington@cdgia.com Gina Silverstein gsilverstein@cdgia.com

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Fall 2011 The Costume Designer

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Colleen Atwood (Johnny Depp) courtesy Twentieth Century Fox

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Trish Summerville (models) courtesy of H&M, Lucas Culshaw (Wasteland) courtesy of Lucas Culshaw, Tashiba Jones-Wilson courtesy of ZMJ, Delphine White courtesy of TIFF, Ane Crabtree courtesy of Ane Crabtree

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CD Colleen Atwood spoke on a panel discussion at the L.A. County Museum of Art (LACMA) as a key contributor to director Tim Burton’s exhibition there. The

CD Tashiba JonesWilson and her sister Zakiya Jones, have expanded their plus-size (14-24) ZMJ line from denim into T-shirts.

The siblings have been successfully tapping into the big and beautiful women’s market since 2007. http:// www.zmjdenim.com

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WHAT’S ON Revenge

Costume Designer:

Costume Designer:

EDUARDO CASTRO

JILL OHANNESON

Pan Am

Ringer

Costume Designer:

Costume Designer:

ANE CRABTREE

EMMA TRASK

Assistant Designer:

Assistant Designer:

CAROLINE QUIROGA

DAVID OCHOA

Up All Night

Boss

Costume Designer:

Costume Designer:

KIRSTON MANN

JULIET POLCSA

American Horror Story

Enlightened

Costume Designer:

Costume Designer:

CHRISI KARVONIDESDUSHENKO

NANCY STEINER

Suburgatory

Prime Suspect

Costume Designer:

Costume Designer:

MYNKA DRAPER

AMY STOFSKY

Assistant Designer:

Assistant Designer:

SARA JANE SLOTNICK

Whitney Costume Designer:

LORI ESKOWITZ CARTER

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The Costume Designer Fall 2011

ERIKA WALTHALL

2 Broke Girls Costume Designer:

TRAYCE FIELD Illustrator:

MAIRI CHISHOLM

The Descendants/Fox Searchlight/Merie Wallace; The Artist/La Classe Americane/uFilm France 3/The Kobal Collection; J. Edgar/Warner Bros./Keith Bernstein; War Horse/DreamWorks SKG/The Kobal Collection; Jack and Jill/Broken Road Productions/The Kobal Collection; The Girl With the Dragon Tattoo/Columbia Pictures; Extremely Loud and Incredibly Close/Warner Bros.; We Bought a Zoo/Twentieth Century Fox Film Corp.; I Melt With You/Magnolia Pictures; We Need To Talk About Kevin/BBC Films/The Kobal Collection; Carnage/Sony Classics; New Year’s Eve/Warner Bros./Andrew Schwartz

Once Upon a Time

Once Upon a Time/ABC; Revenge/ABC; Pan Am/Shoe Money Prods/Jack Orman Prods./Sony Pictures TV/The Kobal Collection; Ringer/CW TV; Up All Night/NBC; Boss/Starz Entertainment; American Horror Story/20th Century Fox TV/The Kobal Collection; Enlightened/HBO; Suburgatory/ABC Karen Neal; Prime Suspect/Universal Media Studios/The Kobal Collection; Whitney/Universal Media Stdios/The Kobal Collection; 2 Broke Girls/CBS

WHAT’S IN The Artist

The Descendants

Costume Designer:

Costume Designer:

MARK BRIDGES

WENDY CHUCK

Assistant Designer:

PAMELA SHAW J. Edgar War Horse

Costume Designer:

DEBORAH HOPPER

Costume Designer:

Assistant Designer:

JOANNA JOHNSTON

TERRY ANDERSON

Assistant Designer:

Illustrator:

JEREMY TURNER

LOIS DE ARMOND The Girl With the Dragon Tattoo

Jack and Jill

Costume Designer:

TRISH SUMMERVILLE

Costume Designer:

Assistant Designer:

ELLEN LUTTER

SYSTA MORGENSEN

Illustrator:

Illustrators:

FELIPE SANCHEZ

Extremely Loud and Incredibly Close

CHRISTIAN CORDELLA, RUSSELL DAUTERMAN

We Bought a Zoo

Costume Designer:

Costume Designer:

ANN ROTH

DEBORAH LYNN SCOTT

Assistant Designers:

MICHELLE MATLAND We Need to Talk About Kevin

I Melt With You Costume Designer:

Costume Designer:

PATIA PROUTY

CATHERINE GEORGE

Assistant Designer:

Assistant Designer:

LESLIE SUNGAIL

CAMERON FOLAN

Carnage

New Year’s Eve

Costume Designer:

Costume Designer:

MILENA CANONERO

GARY JONES

Assistant Designer:

Assistant Designers:

OLIVER LIGEN

SUE GANDY

Fall 2011 The Costume Designer

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Costume Designer Ray Aghagan 1928–2011

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The Costume Designer Fall 2011

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Costume Designer Theadora Van Runkle 1929–2011

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The Costume Designer Fall 2011

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