The Costume Designer - Spring 2007

Rich in History

Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna

West Coast Scott Anderson 323-650-8875 East Coast 201-708-1600 Toll Free 800-227-1724 sales@gladsonltd.com

vol. 3, issue 2

FEATURES A Profile

The remarkable journey of Designer Maria Schicker .

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Research This!

. . . . . . . . . . . . . . . . . . . . . . . . 16 Ladies Who Launch Explore your inner entrepreneur . . . . . . . . . . . . . . . . . . . . . 18 Defining Elegance CDG–designed gowns, benefiting The Actors’ Fund . . . . . . . . . . . 20 Sources everyone can use

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report Labor Report The Actors’ Fund includes you

The Costume Department . . . . . . . . . . . . . . . . 22 Meet the Illustrators History of Dress

What’s On/What’s Out . . . . . . . . . . . . . . . . . . . 24 In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Thank you to the volunteers and contributors of this Spring 2007 issue.

COSTUME DESIGNERS GUILD 4730 Woodman Ave., Suite 430 Sherman Oaks, CA 91423-2400 phone: 818.905.1557 fax: 818.905.1560 email: cdgia@earthlink.net

COVER Rich in History: The early days of the CDG, Local 892, Costume Designers.

Back row, from left: Bill Hargate, Sheila O’Brien, Michael Woulfe and Howard Shoup. Front row, from left: Burton Miller, Erté and Edith Head.

Sharon Day Marcy Froehlich Betty Madden Robin Richesson Jacqueline Saint Anne Maria Schicker Karyn Wagner Election Committee Beth Pasternak, Chair Deborah Feguson Marcy Froehlich Wendy Greiner Office Volunteers Anna Bae Roemehl Hawkins

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EDITOR’S NOTE

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ell, as you can see from this spring’s cover without labels, our request for “Calling all labels!!!” in the Winter 2007 issue went largely unanswered. I’ve heard many of you talking about wanting to finally make your labels and some of you still questioning the “why” of it. I’ve had designers say to me,“If I find a shirt in blue and make it in green, I’m not comfortable putting my name in it.” No one is suggesting that you claim authorship if you don’t feel the design originated with you. But I would remind you that these are the very same designers who have built entire shows from scratch and whose costumes are now out there being sold, traded, rented and collected and still remain nameless. I’ve also heard, “I’m not making anything on this show”—I say, perfect timing.

Now’s the time to make your labels because as soon as you are on a big “build” show, you won’t have the time. Remember, there is very little we can do to maintain our history as individuals and as a group. This is something we can do for the future.Yours and Ours.

That said, the photo on the cover is meant to remind us of our history. How far A pessimist we’ve come and how far we have yet to go. sees the difficulty History as a theme seemed appropriate in every since we opportunity; talk about An optimist sees the history the opportunity of one of our own in in every this issue. difficulty.

The life — SIR WINSTON CHURCHILL journey, of designer Maria Schicker, reminds us that if you can imagine an alternative future it’s never too late to change your destiny. I am grateful to Maria for having the courage to share this deeply personal experience and to Marcy Froehlich for bringing this story to life. How great is it to get to know each other not only as peers but as people. I also wanted to share years of research sources with you.

Whether historical or the great unknown, research is the first window past the script and into the characters that we create.I hope you find it useful.

“

”

Deena Appel dappel@costumedesignersguild.com

EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Sharon Day MANAGING EDITOR Cheryl Downey PRESIDENT Dr. Deborah N. Landis dlandis@costumedesignersguild.com

VICE PRESIDENT Pamela Shaw pshaw@costumedesignersguild.com

SECRETARY Barbara Inglehart binglehart@costumedesignersguild.com

TREASURER Mary Rose mrose@costumedesignersguild.com MEMBERS AT LARGE

Deena Appel dappel@costumedesignersguild.com

Hope Hanafin hhanafin@costumedesignersguild.com

Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

Carol Ramsey cramsey@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper vlavencooper@costumedesignersguild.com

Sharon Day sday@costumedesignersguild.com

Karyn Wagner kwagner@costumedesignersguild.com

Mary Malin mmalin@costumedesignersguild.com ASST. COSTUME DESIGNER REP.

Audrey Fisher afisher@costumedesignersguild.com COSTUME ILLUSTRATOR REP.

Robin Richesson rrichesson@costumedesignersguild.com COMMERCIAL COST. DESIGNER REP.

Susan Nininger snininger@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair pflaherty@costumedesignersguild.com

Cliff Chally cchally@costumedesignersguild.com

Marilyn Matthews mmatthews@costumedesignersguild.com

Shay Cunliffe, Alternate scunliffe@costumedesignersguild.com EXECUTIVE DIRECTOR

Cheryl Downey cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR

Rachael M. Stanley rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Suzanne Huntington shuntington@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

PUBLISHER The Ingle Group

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The Costume Designer Spring 2007

FOR ADVERTISING INQUIRIES CONTACT Dan Dodd 818.556.6300 dandodd@pacbell.net

UNION

LABEL

PRESIDENT’S LETTER The Year of Yes Dear Friends,

I

n 1969, I sat in the Goddard College cafeteria with Theater Arts Department Chair Paul Vela and my teaching assistant, David Mamet.We discussed the possibilities of a career in costume design.Very soon afterward it was clear that I made exactly the right decision.Thus began my year of yes. 2007 is uncannily mirroring 1969.

When I received the news that the Victoria and Albert Museum in London was reconsidering my rejected two-yearold proposal for a grand survey exhibition of international motion picture costume design, I was stunned. Now it is scheduled to run concurrent with the 2012 London Summer Olympics, and the museum expects more than 1 million visitors. The catalogue is due in 2010 and the exhibit is slated to travel to Beijing, Tokyo, Paris, New York, and perhaps even, Los Angeles. A watershed for the art of costume design, the exhibition will be told through the Costume Designer’s point of view.

Simultaneously, the University of the Arts London honored me with a professorship. Hilary Baxter, Costume Chair at Wimbledon College of Art, asked me to be the keynote speaker at the first-ever conference on the history of costume design last summer, 2006.

We are partnering to establish a field chronicling the designers’ creative process. As professor, I will supervise Masters and Ph.D.s of emerging historians entering this groundbreaking subject area. My confirmation at the Banqueting House,Whitehall, London, is on May 10. Come!

On April 1, director Gilles Jacob invited me to serve on the jury of the 60th Cannes Film Festival beginning May 16.The last Costume Designer to serve on any Cannes jury was Eiko Ishioka in 1996. I am one of only two Americans serving on this year’s jury.

Cinéfondation jurors include director Zhang Ke Jia, China, actress Niki Karimi, Iran, and writer J.M.G. Le Clezio and director Dominik Moll, France. My election recognizes and honors all Costume Designers.

Finally, on November 1, 2007, my magnum opus and 10-year research project, Dressed: A Century of Hollywood Costume Design, will be published by HarperCollins. Dressed showcases decades of costumes though first-person anecdotes (directors, actors, and Costume Designers), film stills, and costume illustrations, seen here for the first time. It is a costume manifesto, subversive, political, glamorous; a banana split and a hot fudge sundae put together.

It will now come as no surprise that as CDG Vice President Pamela Shaw and I are embarking on major professional projects, we have decided not to seek a third term in October. We strongly suggest that members hold the Executive Board accountable for a salary raise for staff and the unwise and imminent move of CDG offices. We urge members to demand a CDG Strategic Plan and insist that a timetable, benchmarks, and milestones for CDG progress are met and exceeded. Got Vision? Run! May you all be blessed with a Year of Yes,

“

Don’t complain people are sheep— lead them.

Deborah dlandis@costumedesignersguild.com

NEW MEMBERS Back row from left: Christopher Hargadon, Nicole Korzenik, Phillip Boutte Jr., J.R. Hawbaker, Christian Cordella Front row from left: Alix Hester, Christine Haag, Elizabeth Cashmore, Dina Cerchione, Alison Brooks, Luis Sequiera, Anna Bae, Tashiba JonesWilson, Katrin Hoffman, Alison Freer

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The Costume Designer Spring 2007

”

— H.L. MENCKEN

UNION

LABEL

From the Desk of the Executive Director Hello Voters!

P

resident Short has reviewed and signed our revised Constitutional changes that you approved by a 72 to 1 vote at our well-attended General Membership Meeting February 26.This will make for a one-time ballot wherein you will elect half the officers and Board members to a 112â „ -year term and half to a three-year term. Hereafter, all will run for threeyear terms and terms will be staggered, resulting in only half the Board being newly elected, with half remaining.This will give the Board valuable stability.

At the May 21 General Membership Meeting nominees were confirmed and may campaign between now and the September election.

Also up for election are the positions of Trustee and Delegate. Trustees constitute a body separate from the Board whose primary responsibility is checking the well-being of Guild finances.Trustees may attend monthly Eboard meetings (just as any one of you may do) where they have a voice but not a vote.

Delegates will attend annual IA District II meetings (this year will be in San Diego June 2, 3) and the IA Quadrennial in 2009. This Convention is held every four years for the purpose of electing the international’s leadership and conducting all manner of important union business. The Quadrennial will be held in Orlando, Fla., for one week in July 2009. Our Guild is entitled to send eight Delegates, one of whom is the President by virtue of the office.

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The Costume Designer Spring 2007

It is an absolutely fascinating learning experience, and I hope you are running.

We each owe a serious debt of gratitude to those who are running for office now and are willing to dedicate a significant amount of time and talent to the well-being of all of this Guild’s members. There is neither money nor glory in this service, but it is vital that our non-profit organization be helmed by those with its highest good in mind. Smart talk around the Board table is essential as we face a potential work stoppage in 2008 and negotiations for our next contract with the producers in 2009.

I have benefited from being elected or appointed to multiple Boards throughout my career. It is a constant learning experience. So do your part; inform yourselves, thank the candidates for caring about the future of Local 892. Tell the candidates your hopes and needs and then VOTE for leadership that will selflessly guide this great Guild through the challenges and opportunities ahead, while always striving to elevate the art of Costume Design and the level of respect for the Costume Designer.

IMPORTANT DATES 2007 EXECUTIVE BOARD MEETINGS 7 p.m., CDG Offices June 11 July 9 August 6 September 10 October 1 November 5 December 3

GENERAL MEMBERSHIP MEETING LOCATION TBD October 8

ELECTIONS June 11: Candidates’ statements & headshots due to CDG August 13: Ballots are mailed September 13: Votes due October 1: New officers & Board sworn in

In Solidarity, Cheryl cdowney@costumedesignersguild.com

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NBC Universal

UNION

LABEL

COSTUME UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK

Assistant Executive Director’s Report Designing?

Costume Rentals, Manufacturing, Alterations, Alterations, Fitting Rooms & Offices

818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION WWW.NBCUNI.COM/STUDIO

W

e are the Costume Designers Guild, Local 892. We design the costumes and the look of a project using our skills and talents that have brought us to this profession.

Our Local is made up of Costume Designers, Assistant Designers, Illustrators and Commercial Designers/Stylists.There is a growing trend by producers and actors to request that a “stylist” that is not a member of Local 892 be hired to work alongside our designers to help “set the look” of a show. Costume Designers beware! This is a troubling precedent. If that person is not a member of this Local, they are working illegally doing our covered work. They cannot review the script to help assess who the character is and what they should be wearing.They cannot do fittings with actors.They cannot send their alterations to a 705 seamstress or tailor. They cannot attend concept meetings, production meetings, or work on a script breakdown. In short, how can a stylist possibly “set the look” of a show when they cannot do the work of a Costume Designer? We have fought hard to carve out our place in this industry and this new trend is not only insulting to the talents of our members but chips away at our jurisdictional rights. If a producer wants to hire a second person to “help” the Costume Designer, then demand that they hire an Assistant Designer. Please call us immediately if you are being asked to work with anyone who is not a member of our Local. Don’t stand idly by out of fear of losing your job, call us and let us be the ones to contact the producers. We are members of the Costume Designer Guild, Local 892, IATSE, so when you are hired on a project please use the title of Costume Designer or commercial Designer/Stylist. Stand proud and claim your rights in the work field.

Remember, to call in all your work to the Guild office and if there is any question about a practice or policy you are being asked to implement, your first call should be to us. Help us keep our union strong!

Rachael Stanley rstanley@costumedesignersguild.com

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UNION

LABEL MCCORRISTON MILLER MUKAI MACKINNON LLP

Labor Report

I

submit this report to you from Sacramento where I represented the CDG, Local 892, and gave testimony during the April 2007 California Labor Federation Joint Legislative Conference. I participated in an intense afternoon of workshops, running from room to room including: • Working for a Healthy California—IT’S OUR HEALTHCARE. Senator Sheila Kuehl’s Universal Health Care Bill (SB 840) is the Gold Standard for Californians. If the bar is too high for SB 840, there are three other health bills pending. A healthcare bill will pass this legislative session. www.itsOURhealthcare.org • Workers’ Compensation Fixes. SB 942 (Migden) penalizes employers who discriminate against injured workers by refusing to put them back to work, prohibits employers from changing job requirements to prevent injured workers from returning and prohibits discrimination against workers for exercising their right to pre-designate a doctor.

• Film Commission Financial Assistance.

Runaway Production: About 30 other states have adopted measures including tax credits, to attract film production. This has resulted in films moving out of California and into other states and countries. Ask your assembly member to support AB1696. I spoke on your behalf saying it is a “win, win” bill for California and working families. Please be optimistic, supportive and let’s keep trying.

As your representative I saw dozens of legislators from the Assembly and Senate offering their support for our issues on healthcare, right to organize, workman’s comp reform, and film commission financial assistance.

Thank you for allowing me the pleasure to attend this conference as your CDG Labor Representative.

Betty Madden, CDG Labor Representative bmadden@costumedesignersguild.com

Robert Pafundi, Attorney At Law Lainie Miller, Production Specialist • • • • •

Contract Negotiations, individual/company Labor/Management Relations Employee Relations Formation of LLCs/Partnerships Litigation

We can address all of your entertainment legal needs.

1900 Avenue of the Stars, Suite 1900 Los Angeles, California 90067 (310) 201-7477

COSTUME DESIGN CENTER

Costume Rentals • Manufacturing • Prep Spaces

Tel: 818.954.1297 • Fax: 818.954.2667 © and ™ 2006 Warner Bros. Entertainment Inc. All rights reserved

Spring 2007 The Costume Designer

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UNION

LABEL

THE ACTORS’ FUND

T

he Actors’ Fund of America, founded in June 1882, is a nonprofit, nationwide human services organization providing programs that support the unique and essential needs of all who work in the entertainment industry, both on-stage and off, in theater, film, television, radio, music, dance, opera and circus. The Actor’s Fund is no longer just for actors, it’s for you too.

The Fund’s broad spectrum of programs embraces the critical needs of entertainment professionals by providing comprehensive social services, healthcare services, employment and training, and housing. In addition, financial assistance can be granted for essential living expenses such as rent, utilities or medical costs.The Fund also contracts with entertainment industry unions,health plans,employers and other organizations to facilitate member/employee assistance.

The Fund recognizes that entertainment industry professionals need employment that not only helps pay the bills but also feeds the soul. For that reason the Fund supports its members who want to deepen their understanding of their artistic careers, offering workshops, panels, groups and seminars, including an ongoing “Money Matters” series. The Fund also reaches out with the Actors’ Work Program, a workforce development program providing career coun-

seling, training, and placement to help members find work while still in the industry or developing a new professional direction. Finally, the Fund offers a “Welcome to Hollywood” drop-in group for recently transplanted colleagues on the first Tuesday of each month.

To automatically donate a percentage of your online shopping to The Actors’ Fund, check out roadconcierge.com, a website with the mission to provide an online forum where members of the entertainment community can support, educate, and help each other: http://www.roadconcierge.com/

For more information http://www.actorsfund.org/

on The Actor’s

Audrey Fisher afisher@costumedesignersguild.com

Fund, visit

JOURNEY TO FREEDOM:

A profile of Maria Schicker

I

’m designing the costumes for the musical 1776, about the signing of the Declaration of Independence. While researching, I discovered that many lost their homes and families in the Revolutionary War, specifically because they had signed that paper. I sometimes feel we Americans take our freedoms for granted and have become complacent about what others have sacrificed for it.

My research brought to mind a friend and fellow Costume Designer, Maria Schicker. I knew that she had been imprisoned by the East German regime as a political prisoner, and wondered if her experience was like that in The Lives of Others, the recent Academy Award–winning German film. I asked Maria if she would be willing to share her story. What follows is a short excerpt of our conversation we had over dinner, filled with much emotion, occasional bursts of laughter, and some tears.

HOW DOES YOUR STORY BEGIN?

The Lives of Others really opened the door for me to talk about my life experience publicly, the feeling of repression that you could not escape in the former East Germany in 1976.

My first realization that I was being “observed” by the Secret Service was when I came home one night. I could tell that someone had been in my apartment since I noticed a house key was missing. I became aware of being followed, and then I found a microphone.

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The Costume Designer Spring 2007

WHY HAD SOMEONE BUGGED YOUR HOME?

My group of friends would privately criticize the regime when we got together. Just speaking our minds.We were young and naïve (I was 21).We didn’t want to leave the East but desired more personal freedom and a chance to grow as individuals.

AND YOU WERE ARRESTED?

I went to work one day and just as I walked outside of my apartment, a car drove up, and four men got out and surrounded me, just like you see in the movies. I was taken to be interrogated, which was very brutal. They stripped me of my clothes and sprayed me with disinfectant.They gave me a uniform and took me to a bare cell.

I was in solitary confinement for two months.

HOW LONG WERE YOU IN CUSTODY?

Four months. I wondered, how I was going to get through it. There was a trial, but the jury and defense lawyer were of the Socialist Party (SED), so I had no chance. I was given a 21/2 -year sentence. They took me to Hoheneck, a high-security prison that was like a concentration camp. I was thrown in with murderers and thieves. The Commander hated me, mostly because I never gave up my pride.That was all that I had.

WHAT WAS YOUR EXPERIENCE IN PRISON?

There was a lot of violence.About 70 women died while I was there. I was lucky I guess. After about a year and a half, I didn’t think I would make it through so I went on

a hunger strike. My friends at home heard about it. My father was well known,and I think the West became interested in my case.It would have been embarrassing if I died, so they forcefed me. That was pretty much the low point of my life.

Coming from a small town in Germany I’ve been driving onto the Warner Bros. lot every morning for the last year.

They have a piece of the Berlin Wall on display. The sign reads: ‘This is a remnant of the Berlin Wall which stood as barrier against the free exchange of ideas, information and culture.’

I am a passionate Costume Designer, and I am very proud to be a member of this Guild.

SO THEN WHAT HAPPENED?

Marcy Froehlich marcyfro@aol.com

After I recovered some of my strength, I was interrogated for 14 more days.They asked me to become a spy in the West and I refused. Eventually the Foreign Affairs Department of West Germany and Amnesty International got together and bought me for 42,000 deutsche marks ($17,600). Between 1964 until the fall of the Wall in 1989 the West government bought 33,755 political prisoners from the former DDR. I was released to the West German Secret Service who gave me 200 deutsche marks ($84) of “greeting money.” I walked out the door very excited. All of a sudden I was free, scared, and felt newborn. I had no “luggage,” no things to take with me.The decision which road to choose was all mine.

I ended up in Munich, sewing for a boutique.And that’s where I got involved in film, meeting Costume Designers that would come into the shop. Eventually, I became a Costume Designer myself working in Europe for 15 years.

HOW DID YOU COME TO THE UNITED STATES, AND WHAT’S IT BEEN LIKE FOR YOU?

While working on a co-production in Europe in 1994, I met an American,who became my husband and I moved to the States.

Being a first-generation immigrant I often reevaluate my reasons for being here. It still is the land of opportunity like nowhere else.I got the chance to take my life in my own hands.

The most important things have nothing to do with money.

Clockwise from above: Berliners celebrate the fall of the Berlin Wall, 1989; the wall at Muehlenstrasse has become a famous open-air gallery; Ulrich Mühe from The Lives of Others/Sony Pictures Classics; The windows of Hoheneck Prison where Maria was held.

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this!

research

I LOVE RESEARCH. In fact, it’s one of the things I love most about what I do.What could be better (or more frightening) than getting a project about a subject you know nothing about and then, after delving into the details of an entirely new world, coming out the other side a mini-expert? Aside from the “periods” before I was born (or off into the distant future), I’ve had my share of projects on the completely unknown, to me. Hutterites, rodeos, Las Vegas showgirls, hockey, conjoined twins, the Devil!

Oh, what a wonderful world to explore.

In the interest of sharing the wealth, here are some ideas about how you can become your own detective of the details with a variety of sources to help you find your way.

I used to credit Warner Research at the Burbank Library with my career.

Before every interview, I would pour through their incredibly extensive clip files discovering the project while hovering over the copy machine myself.

The hands-on experience always seemed to bring the script to life for me.

Warner Research was then folded into Warner Bros. Research Library and while you can no longer do your own copying, they still have the most amaz16

The Costume Designer Spring 2007

ing clip files. By appointment, Linda or Steve will pre-pull files for you and color-copy your selections.

Established in 1915, Western Costume Research Library was the first of its kind, and today remains one of the most frequented by Costume Designers. The collection consists of more than 15,000 volumes and is a priceless resource for authenticity and accuracy.There are bound issues of Vogue from before 1919 and more than 54 years of Peterson’s and Godey’s Lady’s Books; extensive research materials for U.S. and international uniform regulations and Wild West & American Indian collections.

Life magazine from 1937, National Geographic from 1906, “contemporary” publications such as Vanity Fair and People and even a collection of continuity photos from the 1930s to the 1970s.

High school & college yearbooks and of course, files upon files documenting specific apparel clippings. They’ve been reorganizing by decade for easier handson access or have Bobbi pull materials specific to your project.

Established in 1978 in Los Angeles, Lucasfilm Research Library now makes its home at the Skywalker Ranch in Northern California. When they’re not

swamped researching George Lucas’ projects like Indiana Jones 4 (they began research for the script in 1993), they will happily take requests. Staffed by professional librarians, they are extremely helpful and knowledgeable and use their imagination to help you on your quest.

They will put together a packet of color copies from their collection of 27,000 titles and more than 600 file drawers of clippings dating from the 1800s to present day, and send it to you within days.

When I think I’ve seen everything on a subject, they always seem to have fresh material. I’ve used them for everything from 1960’s fashions to George and Martha Washington. There is no subject they can’t handle.

American Zoetrope Research Library serves as Francis Ford Coppola’s/American Zoetrope’s exclusive library, however, like Lucasfilm, they do provide research for other projects as time allows. Director of Research Anahid Nazarian tells me their strengths are in 1880–1955, World War II and U.S. military, New York City (period & current), England, France, Germany, architecture and interior design. The collection also includes 50,000 books on all subjects, complete sets of magazines including Life, Look, Newsweek, Time, Vogue, Harper’s Bazaar, Sears catalog to name a few and 45 file cabinets of photo & illustration files.

Peter Dervis of Dervis Historical Resource describes himself as an historical detective, who finds information that falls through the cracks. As well as finding out what something looked like, he relishes in the discovery of why and how it came to be. He delves into the kind of detail that gives you the utmost confidence, whatever the project. I first worked with Peter on the Austin Powers trilogy (funny movies, serious research).

When I found myself in London for reshoots on another film, Peter Dervis helped me ferret through conflicting

information until I was completely confident in my Civil War–era choices. Dervis is obsessed with uniforms of all sorts and is currently writing a book on the subject. His work however,spans countless periods,genres and projects such as The Last Samurai, Catch Me If You Can, Ali, O Brother, Where Art Thou?, The Quick and the Dead, X-Men, The Patriot, Sleepy Hollow,Beloved,Star Trek: Generations, Pleasantville, The Cider House Rules, The Legend of Bagger Vance, and Spider-Man to name a few. He works by phone and Fed-Ex seamlessly.

Do you need to re-create a piece of old Hollywood? What were they wearing in the ’30s, ’40s and ’50s? Just as it is today, fashion of the Golden Age was dictated by the costumes worn on the silver screen. The Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library maintains a world-renowned reference and research collection devoted to the history of the motion picture. It is the most complete collection of film-related materials ever assembled including more than 650 costume sketches on permanent loan from the Costume Designers Guild.

Many of their clipping files and periodicals are available on microfiche and microfilm cards and you may make unlimited copies yourself from these materials.Their staff will photocopy (in black & white only) from the collection of photographs and books with a 20-page limit per patron, per day at 25 cents a page.

The Museum of Television & Radio has more than 120,000 programs and advertisements, covering more than 85 years of television and radio history. The collection spans all genres: comedy, drama, news, public affairs, performing arts, children’s, sports, reality, animation, and documentary, and includes a significant international presence, with 7,000 assets from 70 countries.The same collection is also available in their New York location.

When you visit the museum, you can view episodes from a

recent era of television gone by with headsets on private televisions. From shows like The Brady Bunch and That Girl to educational and news programs, children’s programming and even September 11th coverage.

WWW:Oh,the wonderful world of Google, a.k.a. the Internet, in the wee hours—how great is it, when you can’t sleep because your mind is racing with design challenges, you can get so much information for free on your computer (and in your pajamas). The choices are endless but here are a few of my favorites that are really easy to use.

Corbis: With the click of your mouse, you’ll find an endless array of photos of any subject or topic you can think of—start with a general topic or be very specific, the amount of easily accessible content is mind blowing. Here’s a tiny example: suspenders (13 pages), fashion of the 1920s (11 pages),high school basketball (7 pages), lederhosen (4 pages).

Getty Images: Extensive photos, very easy to use.

Library of Congress, American Memory: Takes a bit of effort and patience to navigate.

N.Y. Public Library Digital Gallery: The search engine is a little more easy to use but then the contents aren’t very deep.

Lastly, here are a couple of retail stores for research material.A favorite of Costume Designer Shay Cunliffe, Book Castle’s Movie World carries back issues of Life, Time, Newsweek, Saturday Evening Post, N.Y. Times 1927–1953, L.A. Times 1895–1968, 1976 to date.They also have a huge stash of vintage magazines and catalogues in their basement.

Chic-a-Boom specializes in ’20s–’80s collectibles and memorabilia.They have everything from vintage postcards and posters to magazines, pins and toys.The shop’s been around nearly 30 years. I’ve found everything from vintage GQ, Ebony, Playboy, fashion magazines and TV Guide to Sears catalogs there.

Deena Appel dappel@costumedesignersguild.com

resources

contact information AMPAS/MARGARET HERRICK LIBRARY Library Director: Linda Harris Mehr 310.247.3000 ext. 201 333 S. La Cienega Blvd., BH 90211 Open Mon. & Tue., Thu. & Fri. lmehr@oscars.org AMERICAN ZOETROPE RESEARCH LIBRARY Director of Research: Anahid Nazarian 707.963.9230 1991 St. Helena Highway P.O. Box 208, Rutherford, CA 94573 anahid@zoetrope.com BOOK CASTLE’S MOVIE WORLD 818.845.1563 212 N. San Fernando Road Burbank, CA 91502 CHIC-A-BOOM 323.931.7441 6817 Melrose Ave., Los Angeles 90038 CORBIS pro.corbis.com DERVIS HISTORICAL RESOURCE Peter Dervis 617.277.0745 60 Longwood Ave., #402 Brookline, MA 02446 dervhistory@aol.com GETTY IMAGES gettyimages.com LIBRARY OF CONGRESS, AMERICAN MEMORY www.memory.loc.gov LUCASFILM RESEARCH LIBRARY Librarians: Jo Donaldson, Robyn Stanley, Carol Moen Wing 415.662.1912 P.O. Box 2009, San Rafael, CA 94912 rlibs@lucasfilm.com MUSEUM OF TELEVISION & RADIO 310.786.1000 465 North Beverly Drive Beverly Hills, CA 90210 Open: Wed.–Sun. N.Y. PUBLIC LIBRARY DIGITAL GALLERY digitalgallery.nypl.org WARNER BROS. RESEARCH LIBRARY Librarians: Linda Cummings, Steve Bingen 818.977.5050 by appt. only Warner Bros.

2777 N. Ontario St., Burbank, CA 91504 WESTERN COSTUME RESEARCH LIBRARY Librarian: Bobbi Garland 818.760.0900 11041 Vanowen St. North Hollywood, CA 91605

westerncostume.com Spring 2007 The Costume Designer

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Ladies

who

A

Launch

t our February General Membership Meeting, Deborah Landis and the E-Board invited Sarah Shaw of LadiesWhoLaunch.com to introduce the organization to the membership. Sarah Shaw is a former Costume Supervisor (Star Trek: First Contact, The Craft, Dick) who now works for Ladies Who Launch (LWL) as an “Incubator Leader.” Deborah felt that many designers might face a cash crunch in light of the possible industry strikes that loom on the horizon.

LWL began six years ago in New York and now spans 36 cities across the country. The concept creat-

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The Costume Designer Spring 2007

ed by Victoria Colligan and Beth Schoenfeldt was created as a way to “Live your dreams and love your life.”The philosophy behind Ladies Who Launch is that women have an intuitive and feminine way of launching, which means getting an idea off the ground and into motion.

As creative people, Costume Designers are very used to doing this. The question they love to ask is this… Are you doing exactly what you want to do or are you contemplating a shift in your career, the launching of a side business, a transition into your own gig, or some other project in your life?

So, after hearing Sarah’s presentation, I signed up

right away for the “Incubator Intensive,” and have benefited enormously! A small group of six of us met once a week for four weeks where we were given a very supportive and safe environment to explore our potential business ventures. Since we all came from different backgrounds and careers, it was amazing how well the networking worked. Almost every member was able to offer and receive business advice, resources, connections, and information from each other.

The process encourages you to really focus on defining your vision, to learn to articulate it, to expand and clarify it the way you might not if it were still in dormant form in the brain. Incubating your idea with other people is amazing!

I have moved forward from “thinking about” my business venture, to actually taking specific steps toward making it happen. I owe a grateful nod of thanks, no, make that a big hug, to Sarah and the women in my group, and to the CDG for setting up the connection.

For more information, check out: www.ladieswholaunch.com/ Diana Eden diana.eden@passions.tv

Spring 2007 The Costume Designer

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Costumes

Defining Elegance Above: Mary Vogt’s original design; and finished gown and jacket for Brunschwig & Fils’ “Designing Elegance.”

Right: George Mitchell’s sketch; and the designer with his corseted creation.

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The Costume Designer Spring 2007

Opposite page: Randy Gardell’s sketch; the designer with his brocade gown.

Left: Luke Reichle’s sketch; and his mitered stripe gown with ruffled train.

“Defining Elegance” debuted as a traveling exhibit of evening gowns designed by eight award-winning Costume Designers in collaboration with Brunschwig & Fils’ fabric house.The costumes will tour the United States and Europe before they will

be auctioned at a gala benefit for The Actors’ Fund on December 13, 2007. Our fellow CDG Designers who participated in the charitable showcase were Cate Adair, Sharen Davis, Randy Gardell, George T. Mitchell, Luke Reichle and Mary Vogt.

Spring 2007 The Costume Designer

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THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS

P

hillip Boutte Jr. resides in Carson, Calif. He’s a Los Angelino with film in his life from the age of 2 when he became a child actor. He loved drawing in his trailer while awaiting his “set calls” and became a proficient artist. Phillip pursued acting from ages 2 to 15 until he decided that he wanted to experience a “normal life” and attend regular high school.

Upon graduation, Phillip attended Cal State University Long Beach and enrolled in the Illustration Program where he met and was mentored by Executive Board member Robin Richesson. Phillip was impressed by Robin’s enthusiasm for and enjoyment of her career as an Illustrator and determined that this was the way for him to incorporate his two loves of drawing and film.

Phillip attended seminars which the Costume Designers Guild gave at Comic-Con last year and met several renowned Costume Designers. Michael Wilkenson, Isis Mussenden, and Judianna Makovsky were speaking and afterward reviewed his portfolio on the spot and told him that his broad style lent to working with many different designers. They encouraged him to join the Guild.

Phillip Boutte joined the Costume Designers Guild in January 2007 and on Valentine’s Day, Sonia Hayes asked him to illustrate for her in collaboration with his colleague Christian Cordella on The Mummy 3.And he says that calls are picking up!

Phillip has a blog site which is his visual journal where he posts his work.

Website: www.modusmaleficium blogspot.com E-mail: uphilme@gmail.com

I

llustrator Christian Cordella, born in Copertino (Lecce), Italy, is the seventh generation of a family of Fashion and Costume Designers and Illustrators dating back to 1783.

He studied in Milan at the Brera Academy of Fine Arts and at the Marangoni Institute of Costume and Fashion Design before working for the Vatican doing portraiture of newly canonized saints.

In lieu of mandatory military service, Christian chose civil service working and living with gypsy families and absorbing their culture. At the request of the Vatican, he produced an illustrated novel of gypsy life called Uomini Liberi (Free Men), which is currently being filmed in Italy.

In 1995, Christian won a competition to represent Italy at the 50th anniversary commemorating the bombing of Hiroshima.

Christian’s painting was chosen as the “Sign of Peace” and currently hangs in the Hiroshima Holocaust Museum. This international recognition attracted the attention of the Walt Disney Co. who sponsored him to come to America where he illustrated the Italian Pavilion for Epcot.

After many exciting assignments in the commercial world, Christian decided to move to Los Angeles and reenter the world of film and television. He met Bob Mackie and Ret Turner who encouraged him to join the CDG. Christian’s personal style is hyper realistic but he loves adapting his style to suit the project. He is currently working with Sanja Milkovic Hays, illustrating her designs for The Mummy 3.

Website: www.christiancordella.com E-mail: christiancordella@hotmail.com Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

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The Costume Designer Spring 2007

HISTORY OF DRESS A-Z

G

abardine: Originally an outer garment worn by Jews in the Middle Ages, it later came to refer to woolen cloaks popular in Spain. It is now the name of a popular cloth with a raised diagonal weave. It is often used for uniforms and suits and may be made of wool, cotton or rayon.

Gaitor: Elastic-sided leather boot, popular in the 19th century.

Gamashes: Popular in the 15th–17th centuries, these are leggings of cotton or velvet cloth that laced up the side. They were worn over fine leather shoes or boots as protection.

Gambeson: A stuffed and quilted pointed doublet made of leather or cloth that often had matching sleeves that could be laced on. Originally developed to wear under heavy armor as padding, it was adopted at civilian dress and worn by men, women and children.

Geta: A Japanese clog worn in all kinds of weather. It is worn with the divided Japanese sock, the tabi.

Gibson Girl: Immortalized by Charles Dana Gibson, the Gibson Girl became the standard beauty for American women at the turn of the 20th century. The style included a high-necked white linen blouse with leg-o-mutton sleeves and a full-length gored skirt with a simple silhouette; completed by a white, Ascot and a loose bun gathered on top of the head.

Although her tiny waist was corseted, the Gibson Girl was active and athletic. Prints often depict her riding bicycles and horses and walking in the great outdoors.

Gown: The original Saxon word was Gunna and referred to a long, loose garment worn by all Anglo-Saxon women for centuries. It was also often referred to as a cote, surcoat or robe. From the 14th–17th centuries the gown was any long, loose robe worn by either sex. In modern times besides being a woman’s evening dress, the word still refers to academic and clerical garments.

Greaves: Ankle-to-knee leg armor worn with sandals by Greek and Roman soldiers. They were made of leather-lined bronze or brass or were simply of leather.

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

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Spring 2007 The Costume Designer

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WHAT’S ON Costume Designer:

The Closer

EMILY DRAPER

Costume Designer:

Assistant Designer:

GREG LAVOI

SHANA ELLINGSENN

Deal or No Deal

Dirt

Costume Designer:

Costume Designer:

DINA CERCHIONE

LUELLYN HARPER

House

Jericho

Costume Designer:

Costume Designer:

CATHY CRANDALL

NICOLE GORSUCH

Notes From the Underbelly

Justice My Boys Costume Designer:

Costume Designer:

KATHLEEN DETORO KERI SMITH

SABRINA ROSEN

One Tree Hill Costume Designer:

Costume Designer:

CAROL CUTSHALL

GIOVANNA MELTON

The Riches Costume Designers:

MINKA DRAPER & INGRID FERRIN

24

Raines

The Costume Designer Spring 2007

The Tudors Costume Designer:

JOAN BERGIN

The Bill Engvall Show Turner / Danny Feld, The Closer Turner / Andrew Eccles, Deal or No Deal NBC / Trae Patton, Dirt FX / Jeremy Cowart, House NBC / Paul Drinkwater, Jericho CBS / Cliff Lipson, My Boys, Turner / Andrew Eccles, Notes From the Underbelly ABC / Bob D’Amico, One Tree Hill The WB / Nigel Perry, Raines NBC / Mitch Haaseth, The Riches FX / Prashant Gupta, The Tudors Showtime / Jonathan Hession.

The Bill Engvall Show

Pirates of the Caribbean: At World’s End Disney Enterprises, Inc. / Peter Mountain, Blades of Glory Paramount / Suzanne Hanover, Georgia Rule Universal Studios / Ron Batzdorff, Lonely Hearts Samuel Goldwyn Films, Knocked Up Universal Studios / Suzanne Hanover, Mr. Brooks Element Funding LLC / Ben Glass, Lucky You Warner Bros. / Merie W. Wallace, SMPSP, The Ex TWC / Demmie Todd, Nancy Drew Warner Bros. / Melinda Sue Gordon, The Wendell Baker Story ThinkFilm, Ocean’s Thirteen Warner Bros. / Melinda Sue Gordon.

WHAT’S OUT Pirates of the Caribbean: At World’s End Costume Designer:

PENNY ROSE

Blades of Glory

Georgia Rule

Costume Designer:

Costume Designer:

JULIE WEISS

GARY JONES Assistant Designer:

Assistant Designer:

JESSICA PEEL

MICHAEL CROW

Lonely Hearts Knocked Up

Costume Designer:

JACQUELINE WEST

Costume Designer:

Illustrator:

DEBRA MCGUIRE

JUDE ORLANDO

Mr. Brooks

Lucky You

Costume Designer:

Costume Designer:

JUDIANNA MAKOVSKY

MICHAEL KAPLAN

Nancy Drew The Ex

Costume Designer:

JEFFREY KURLAND

Costume Designer:

JOHN A. DUNN

Assistant Designer:

TERRY ANDERSON

The Wendell Baker Story Costume Designer:

ESTEE STANLEY

Fur

Ocean’s Thirteen

Costume Designer:

MARK BRIDGES

Costume Designer:

LOUISE FROGLEY

Spring 2007 The Costume Designer

25

IN FOCUS

BOLDFACE NAMES BOLDFACE HONORS Executive Board member (representing our Illustrators), Robin Richesson received an award for Distinguished Alumni from her alma mater, Long Beach State University, in April. Diana Eden has been nominated for a daytime Emmy for Outstanding Achievement in Costume Design for a Drama Series for her work on NBC’s Passions. Bob Mackie will be on full display through May 6 at the Museum of Television & Radio. More than 400 pieces of the Emmy-winning Costume Designer’s creations for Mitzi Gaynor will be showcased as part of a special exhibit entitled “Mitzi by Mackie.” Sharen Davis will be honored by NY Women in Film and Television on June 18 at their “Designing Hollywood” event, hosted by People magazine.

DFACE BOLDFACE PRESS CD B.J. Rogers’ work on Criminal Minds was featured in a new behind-the-scenes show on the TV Guide Channel. TV Guide magazine is showcasing Randall Christensen’s weekly “Costume Miracles” for Dancing With the Stars. Elena Baranova was on the experts panel for the Boston University Film School with production designer Jeanine Opewall and DP Misha Suslov. E! Entertainment is readying a segment on designer Erin Lareau’s Pavé Crystal Art and Accessories for “Extreme Bling.” Julie Weiss’ designs for Blades of Glory were featured in the Entertainment Weekly piece ‘Spandex — In All Its Glory.’ The final episodes of The Sopranos were recently profiled in Variety including an interview with CD Juliet Polcsa. CD Mary Rose’s “Cinema Fashion & Hollywood Designers” exhibit was a huge success and was widely publicized in Tokyo.

Mary’s tireless efforts help bring maximum exposure to the art of costume design in the global market.The exhibit will make its way to Kyoto before closing in September.

“Cinema Fashion & Hollywood Designers” program and gallery 26

The Costume Designer Spring 2007

BOLDFACE AT WORK Jacqueline Saint Anne designs and Sharon Day assists on Miss Lonely Hearts circa 1932 for director Kenneth Cazan at the Bing Theatres’ West Coast premiere. Allison Leach designed the costumes for The Actor’s Gang’s stage production of 1984 directed by Tim Robbins. Erin Lareau is designing High School Musical on Ice. She also recently designed a commercial and a Microsoft project with director Christopher Guest. CDG Illustrator Robert Cron sketched for Joseph Porro on the movie The Laundry Warrior and for Mary Jane Fort on the pilot Football Wives. Costume Designer Janie Bryant and Asst. CD Allison Leach are working on a period TV series, Mad Men premiering on AMC. Keri Smith designs the new series My Boys on TBS. Jill Ohanneson has been busy this season designing three pilots; Eli Stone and Sam I Am for Touchstone and The Man for CBS. Mark Bridges recently wrapped the CBS/Paramount pilot Swingtown set on the Fourth of July 1976. Wendy Greiner designed the NBC pilot Life, a onehour detective drama. Dan Lester designed the untitled Akiva Goldsman pilot for Fox. Danielle Launzel designed and Jessica Torok assisted on The Wedding Bells. Tricia Gray is designing On the Lot for reality maven Mark Burnett and Steven Spielberg. Bravo to those who appreciate the necessity of a Costume Designer on a reality TV show!

Deborah Scott is designing the feature adaptation of Get Smart starring Steve Carell and Anne Hathaway based on the popular ’60s TV series. CD Susie Desanto is on location in Shreveport, La., filming Mad Money for director Challie Khouri, and starring Diane Keaton, Queen Latifah and Katie Holmes. Inanna Bantu is designing Fast Glass shooting in Los Angeles in May. Titanic by Deborah Scott on Kym Barrett is back at display in Kyoto work with the Wachowski Brothers (The Matrix) on the live-action version of Speed Racer. Before heading on location to Germany, Barrett started her prep here in Los Angeles with Asst. Designers Stacy New York, New York by Caballero & Michelle Theadora Van Runkle, Kyoto

Miss Lonely Hearts

NBC pilot Life

Harper and Illustrator Felipe Sanchez. Valerie LavenCooper is designing Poor Things starring Shirley Maclaine and Olympia Dukakis, right here in Los Angeles! Bonnie Stauch designed The Last Word starring Ray Romano,Winona Ryder and Wes Bentley. Aggie Rodgers is thrilled to be designing the horror/comedy Pig Hunt at home in Northern California. CD Laura Jean Shannon is collaborating once again with director Jon Favreau to bring Marvel Comic’s character Iron Man to the big screen and Rebecca Bentjen is the Assistant Designer. Abigail Murray is designing and Nanrose Buchman and Nora Pederson are assisting on the 1950’s film The Express; about Ernie Davis, the first black football player to win the Heisman Trophy.

CD Molly Maginnis is finishing up The Bucket List for Rob Reiner, starring Jack Nicholson. The Mummy is back for a third installment with Sanja Milkovic Hays designing, Irena Stepic-Rendulic assisting and Christian Cordella & Phillip Boutte Jr. illustrating.

Marlene Stewart has started to prep Tropic Thunder for director and actor Ben Stiller. Albert Wolsky is designing the new Sam Mendes film Revolutionary Road which re-teams Leonardo DiCaprio and Kate Winslet for the first time since Titanic. Mary Zophres will design the long-awaited Fourth Installment of the Indiana Jones Adventures. Longtime Assistant Designer Jenny Eagan will collaborate once again.

BOLDFACE ENTREPRENEURS CD Marianne Parker has opened Ma Parker’s Antique Portrait Emporium on Catalina Island for customers to dress up in Victorian thru 1920s costumes and have their sepia photo taken—Local 892, Local 705, Local 399 members get at 10% discount! Wendy Greiner is creating team gear for the Lexus Newport to Ensenada Spring 2007 The Costume Designer

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IN FOCUS

BOLDFACE NAMES Laguna Beach called STANzA which is a gallery of one-of-akind fashion and functional art (949) 376-6455. Bob Mackie’s latest iconic Barbie-doll creations feature two memorable Cher ensembles: 1970’s “Half Breed” and 1980’s “Turn Back Time.” Both will be available from Mattel this June.

Viridis Luxe

Race, 2007. Ellen Falguiere is opening up a boutique in Orlando, Florida, called Elle Jolie (407) 898-8010. Ellen will handle the buying and marketing and her mom will run the store so Ellen can continue to design costumes in Los Angeles.

Website to follow. Costume Designer Hala Bahmet and producer Amadea West’s eco-friendly clothing line Viridis Luxe was featured in the May issue of Vogue magazine! Commercial Costume Designer Sally Rice has opened a boutique in

“Half Breed” Barbie

“Turn Back Time” Barbie

IN FOCUS

BOLDFACE FESTIVALS & EVENTS The CDG Film Festival Committee, chaired by Executive Board members Mary Malin and Susan Nininger, continues to develop opportunities for CDG Designers to showcase their work at film festival Q&As and panels, alongside their collaborating directors, cinematographers, and production designers. Upcoming events: LA Film Festival Comic-Con San Diego 2007 Telluride Film Festival Scottsdale International Film Festival Hollywood Independent Film Festival AFI Film Festival

June 21-July 1 July 26-28 Aug. 31-Sept. 3 October 5-9 October 17-22 November 1-11

If you are interested in participating in any of these events, e-mail Mary: mmalin@costumedesignersguild.com or Susan: snininger@costumedesignersguild.com. They would love to hear from you.

Designer Valerie Laven-Cooper’s film comedy The Grand, set in the world of professional poker, will premiere at the LA Film Festival June 21-July 1.The costume design of Mark Bridges is part of the installation “On Otto” at the Prada Foundation in Milan, Italy, from April 20 to June 6, 2007.

Mary Rose continues her role as the curator of costume design with the 2nd Annual FIDM and ATAS Outstanding Art of Television Costume Design 2007 which opens to the public on July 31 and runs through September 29. In addition, she is also curator at a new costume exhibit titled “Star Struck: Hollywood Costumes and Designers From 1932 to 2006.” It will debut Sept. 29–Nov. 4 in Dallas, Texas, at the Women’s Museum, an affiliate of the Smithsonian.

If you are not mentioned in BOLDFACE NAMES, remember to send us your news and photos. boldfacenames@yahoo.com

Spring 2007 The Costume Designer

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SCRAPBOOK

Costume Designer Julie Weiss, circa 1980 30

The Costume Designer Spring 2007

Costume Designers Guild Local 892窶的.A.T.S.E. 4730 Woodman Avenue, Suite 430 Sherman Oaks, CA 91423-2400

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