The Costume Designer - Summer 2008

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

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

vol. 4, issue 3

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FEATURES Emmy Nominees . . . . . . . . . . . . . . . . . . . . . . 12 Q&A with the nominated Designers

Reality TV Costume Design . . . . . . . . . . . . . 14 Exploring the organized chaos

Comic-Con 2008 . . . . . . . . . . . . . . . . . . . . . . 18 The CDG expands its presence

FIDM & ATAS TV Exhibit . . . . . . . . . . . . . . 20 Party pics

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

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

COVER Foxy Angel Farrah Fawcett Charlie’s Angels (1976) Costume Designer Nolan Miller

The Costume Department. . . . . . . . . . . . . . . 22 History of Dress My Favorite Things

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The Process: Sketch to Screen A Look Back at Charlie’s Angels Boldface Names

Photo courtesy The Kobal Collection

Summer 2008 The Costume Designer

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EDITOR’S NOTE

T

he Television Issue. As if the Designers who work in TV don’t work hard enough, now they’re doing it LIVE. Like in the old days but not. Not “live audience” but L I V E ! Racing against the clock week after week in a frenetic competition known as reality TV. Never knowing the genre or which cast is staying or who’s going, going, gone. It’s like Project Runway for professionals. Explore the organized chaos and see just how they hit the ground running on page 14.

I’m so excited to be launching a new section known as “The Process.” We’ll be tracing costume illustrations from the first pencil sketch to color rendering to the final costume on screen. Many Designers do their own sketches, while others (myself included) rely on talented CDG Illustrators to realize their God gave designs on paper. A behind-the-scenes look at an art form that is critical to our success women intuition and yet completely taken for granted. Sales and femininity. pitch, blueprint and fine art wrapped up in Used properly the one. Civilians will be surprised at all the combination steps that go into completing one design sketch for a single costume. This will be an easily jumbles the ongoing section, so over time, you’ll see a brain of any man wide range of styles and mediums from I’ve ever met.

Designers, Assistants and Illustrators alike.

Stay tuned and enjoy!

— FARRAH FAWCETT And “A few of my favorite things.”

Another new section that I hope will also become a favorite. What can’t YOU live without on the job?

A loving “Look Back” at Nolan Miller’s designs for Charlie’s Angels (page 29).

Miller single-handedly gave Aaron Spellings’ shows a style that defined the era.

Still hoping to be able to print another cover emblazoned with new Costume Designers’ labels. Have you been making (and using) your labels? If so, send samples to the Guild office to my attention.

“

”

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

VICE PRESIDENT Hope Hanafin hhanafin@costumedesignersguild.com

SECRETARY Ann Somers Major asomersmajor@costumedesignersguild.com

TREASURER Karyn Wagner kwagner@costumedesignersguild.com EXECUTIVE BOARD

Sharon Day sday@costumedesignersguild.com

Salvador Perez sperez@costumedesignersguild.com

Deena Appel dappel@costumedesignersguild.com

Cliff Chally cchally@costumedesignersguild.com

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

Dana Onel (Illustrators) donel@costumedesignersguild.com

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

Valerie Laven-Cooper vlavencooper@costumedesignersguild.com

Susan Nininger snininger@costumedesignersguild.com

Van Broughton Ramsey vramsey@costumedesignersguild.com

Helen Butler hbutler@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair pflaherty@costumedesignersguild.com

Jacqueline Saint Anne jsaintanne@costumedesignersguild.com

Enjoy the rest of your summer!

Deena Appel dappel@costumedesignersguild.com

Marilyn Matthews mmatthews@costumedesignersguild.com LABOR DELEGATE

Betty Madden bpmadden@aol.com EXECUTIVE DIRECTOR

Cheryl Downey

What’s On & What’s Out Corrections

cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR

Rachael M. Stanley

Miss Guided, ABC Costume Designer: Melina Root

rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Suzanne Huntington shuntington@costumedesignersguild.com

Indiana Jones and the Kingdom of the Crystal Skull Costume Designer: Mary Zophres Harrison Ford’s costumes designed by: Bernie Pollack Co-Costume Designer: Jenny Eagan

RECEPTIONIST/SECRETARY

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

PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236 Advertising@IngleDodd.com

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The Costume Designer Summer 2008

Contributors

AUDREY FISHER

SUZANNE HUNTINGTON

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

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

(Boldface Names) came to the Guild in 2005 as the Administrative Assistant after two years with the Editors Guild as their project event coordinator. Educated and working in fine arts and entertainment keeps Huntington in the creative environment she enjoys. She stays busy with member inquiries, managing special projects, administrating the CDG website, among other duties.

“It’s a pleasure to stay in touch with the members and make a contribution to the magazine.”

JR HAWBAKER

PHILLIP BOUTTE JR.

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

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

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

COSTUME DESIGN CENTER Costume Rentals • Manufacturing • Prep Spaces

Tel: 818.954.1297 • Fax: 818.954.2667

© and ™ 2007 Warner Bros. Entertainment Inc. All rights reserved

Summer 2008 The Costume Designer

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UNION

LABEL The Costume Designer would like to thank

PRESIDENT’S LETTER Dear Members,

T

he July issue of our first color newsletter came out with a bang! Didn’t you just love it? The feedback I heard was all good. Sharon Day, our newsletter editor, requested (or rather begged) for more space to print CDG Local 892 internal news and now with Cheryl Downey’s help, she’s made the member-oriented newsletter a reality.

Now we have the beautiful CDG magazine edited by Deena Appel, that has wide appeal in every issue, and an equally handsome and effective newsletter for our union business. All thanks to IngleDodd Publishing. Not only did they agree to add color to our newsletter, but they will now be publishing a third installment to enable us to bring you more member and union news more often.

For those who don’t know, The Costume Designer magazine is published by IngleDodd Publishing and is completely cost-free to us. It is paid for by revenue from the advertising that they sell. The newsletter is fully subsidized by IngleDodd as a gesture of support since there are currently no ads to finance it.

Wait, there is more! With all the excitement regarding the return of the CDG Directory, I should point out that it will also be published by … YES, IngleDodd Publishing. Like the magazine, it is fully financed by ad sales at NO COST to the Guild. This arrangement, just as with the magazine, was orchestrated by our very own Cheryl Downey with her usual diligence. Bravo! Cheryl!

As CDG President, I feel a few words of gratitude to Jeff and Jody Ingle, Dan Dodd and their respective team is long overdue.

On the subject of other institutions financing on our behalf, don’t forget the FIDM/ATAS 2008 Outstanding Art of Television Costume Design Exhibit. Two years ago, I thought about doing a TV costume exhibition tied to the Emmys, with my nose for Emmy nominee prognostication. Although this event is actually the Academy of Television Nominees’ Reception, FIDM continues to invite all CDG members so that we can honor our own. By the time this magazine is in your hands, the opening gala will be history, but I hope that you’ll still be talking about the evening (including the delicious Grey Goose Bar). The exhibition is open until September 27.

Having said all that, I must stress that none of the financing and sponsorship could succeed without our CDG volunteers sweating over editing, writing, researching, gathering material, dressing mannequins, and a mountain of other unseen work. It just would not be possible.

On a final note: a big congratulations to Elizabeth Courtney Costumes celebrating its 40th anniversary! It began as a partnership between Elizabeth Courtney, Ray Aghayan, and Bob Mackie. Ret Turner joined a few years later and although Elizabeth is now gone, the three greats continue to create beautiful costumes. Their success is part of our history. Here’s to many more years to come.

Phillip Boutte Audrey Fisher JR Hawbaker Suzanne Huntington Robin Richesson Karyn Wagner & The Kobal Collection for their generous support

IMPORTANT DATES EBOARD MEETINGS: September 8 October 6 November 10 December 8 GENERAL MEMBERSHIP MEETING:

Have a wonderful summer!

Mary Rose MRose@costumedesignersguild.com

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The Costume Designer Summer 2008

October 20

Summer 2008 The Costume Designer

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UNION

LABEL

From the Desk of the Executive Director

Assistant Executive Director’s Report

Dear Members,

W

hile economic news is sobering way beyond this industry’s woes, it is heartening that many of our members are working, especially out of state. Not surprisingly, overall contributions to our health and pension plans were down 28% from the first quarter of 2007 mainly due to the writers’ strike. But there is good news: contributions based on IATSE residuals were up 7%. IA residuals come from film sales in supplemental markets such as DVDs and are a major source of income for our Plans.

Here are some other rays of hope: • President Bush at last signed an extension of unemployment benefits. Check your eligibility at the EDD’s website www.edd.ca.gov or call 800.300.5616.

• Musicians Interguild Federal Credit Union is continuing to offer our members signature loans (liberalized because of the strike) and competitive refinancing. A first-year line of credit, or HELOC loan, is available to our members at 50 basis points below prime, currently 4.75%. One member shares,“I refinanced my house because the credit union is so good and so fast, and the rate is so low, I couldn’t resist.” www.musicianscu.org or call Kevin Wyart 888.386.3795.

• The CDG website now houses up to 10 of your credits as well as your illustrations, so producers and directors can view an up-to-date resume without having to rely on the often inaccurate IMDb. The minute you sign your next contract, go to www.costumedesignersguild.com and add your new credit!

• The printed CDG Directory will be in hand late this fall after a five-year hiatus. It will make contacting an Assistant Designer, Illustrator, or fellow Designer easy to access when you’re not near a computer and our website.

• Remember to list yourself on our website’s Availability List which includes Designers willing to work as Assistants or Illustrators.

Don’t forget to re-list at the first of every month.

Are you registered to vote this fall?! Grab a form from the post office or our Guild office and do so NOW. It’s sobering to realize Bush got 35% of Labor’s vote in the last election.To summarize the pithy comments of Art Pulaski of the CA Federation of Labor at the IATSE District 2 Convention,“Bush’s cowboy capitalism, characterized by a fast ride to fast profits through aggressive deregulation, has been disastrous for Labor and the middle class.” The reason the AFL-CIO has endorsed Senator Obama is that he has a 98% voting record on working families’ issues, compared to Senator McCain’s 16%. Stay informed and get ready to vote for change!

In Solidarity, Cheryl cdowney@costumedesignersguild.com

COSTUME RENTALS CORPORATION 11149 VANOWEN STREET NORTH HOLLYWOOD, CA 91605 TEL: (818)753-3700 FAX:(818)753-3737

CONTACT: MEL SABINO

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The Costume Designer Summer 2008

Budgeting Your Project

B

udgeting a project is one of those areas that falls under the jurisdiction of Local 705 but is generally considered by most productions to be the responsibility of Costume Designers. For instance, when a project is over budget, the producer always looks to the Costume Designer for answers.This can be a difficult area to maneuver through so here are some suggestions.

• Since Designers are usually on a project before any crew, most CDs will be asked by the production company to make a budget.When you do so, be sure you are clear that this is simply a preliminary budget that you will review and refine with the Costume Supervisor. Once the Supervisor is on board, compare their budget with yours and refine them into one workable budget that you both sign off on.

• If there are any changes to the budget during production, be sure to memo the UPM why there will be increases. This is an important step that should not be skipped. Either you or your Supervisor must inform production of overages no matter how slight they may seem.

Over a period of weeks those many small overages can quickly become a big overage.

• Overages can be caused by adding stunts, adding photo doubles, adding new scenes, late casting, re-casting, cleaning accidents, re-scheduling of scenes, lack of proper crew, actors or producers changing their mind on a costume, just to name some of the reasons. More than ever, production companies are cutting back on budgets.

• Several companies have tried to hold our Designers liable for budgetary overages and not reimburse their credit card purchases and petty cash. Always add the phrase that “all reasonable expenses incurred on behalf of the production will be reimbursed.” If you have added that clause and informed them of overages, you will be protected.

In Solidarity, Rachael rstanley@costumedesignersguild.com

Sirius 7 Jewelry Handcrafted custom designs

Amy Cousin www.sirius7jewelry.com amy@sirius7jewelry.com 1120 India Hook Road Rock Hill, SC 29732 803-448-6431 skype: amycousin

Elizabeth Courtney Costumes proudly announces

40 WONDERFUL YEARS IN BUSINESS July 8, 1968 – July 8, 2008 OUR WORKROOM REMAINS OPEN TO ALL DESIGNERS INTERESTED IN BUILDING EXQUISITE COSTUMES 4019 Tujunga Avenue Studio City, California 91604 818-763-8615

Summer 2008 The Costume Designer

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BERNARD AND DORIS

UGLY BETTY

Costume Designer: JOSEPH AULISI Assistant Designer: AUTUMN SAVILLE

Costume Designer: EDUARDO CASTRO Costume Supervisor: MICHAEL CHAPMAN

(Joseph Aulisi was not available at press time)

Where do you get your inspiration? From everything around me. Given more time or money, what would you do differently? I would shop more often in NYC and Europe, which our producers encouraged! What costumes from another show impress you and why?

Pushing Daisies for its inventiveness, creativity and whimsy. Mad Men for its sharp, on-target vision of the advertising world. Entourage for the way characters are boldly defined with interesting choices.

Best piece of advice? Always trust your gut instinct.

COMANCHE MOON Costume Designer: VAN BROUGHTON RAMSEY Costume Supervisor: BETSEY POTTER Where do you get your inspiration? Fabric is one of the greatest inspirations, as well as a fantastic script with well-defined characters and casting. Fear also plays a role in the beginning! What would you do differently? Hire more crew and demand a longer prep. What TV costumes impress you? Ugly Betty! Each character is wonderfully visual, with incredible style and humor, week after week. Your best advice? Design every project as well as you can, knowing that some of your best work might go unnoticed except by a handful of appreciative peers.

CRANFORD Costume Designer: JENNY BEAVAN Costume Supervisor: MARK FERGUSON *Assistant Designer: CHARLOTTE LAW Where do you get inspiration? The script, characters, actors’ body language, and, of course, research. Given more time or money, what would do differently? Sleep better at night!

And, also try to design the costumes under less pressure for the benefit of my crew and myself. What is your best piece of advice? Approach the design in bite-sized chunks!

JOHN ADAMS Costume Designer: DONNA ZAKOWSKA Costume Supervisors: AMY ANDREWS HARRELL & CLARE SPRAGGE *Assistant Designer: MICHAEL SHARPE Where do you get your inspiration? From paintings, actual garments, and occasionally texts; and in this case, from interpreting the personalities of historical figures. Given more time or money, what would you do differently? Further explore the nature of 18th-century costume construction and crafts. What is your best piece of advice? Every designer follows his or her own path, evaluating research with a fresh eye and passion for detail. The journey is a puzzle, and the answer is never evident.

TIN MAN Costume Designer: ANGUS STRATHIE Costume Supervisor: SANDI BLACKIE *Assistant Designer: DEVON RENEE SPENCER Your inspiration? Contemporary popular culture and fashion help keep me grounded, especially when designing period costumes. Given more time or money, what would you do differently? People, time and money dictate a project’s design; more time and money would simply mean a different design. On Tin Man, I would have refined the finishing. What other costumes impress? Pushing Daisies. Mary Vogt and Robert Blackman’s beautiful designs walk the line between theatrical costumes and clothing, creating a style not seen in television drama before. Your advice? Costume Design is first and foremost about servicing character.

Ugly Betty/ABC/Ron Tom, Mad Men/AMC, Pushing Daisies/ABC/Bob D’Amico, The Tudors/Showtime/Jonathan Hession, Desperate Housewives/ABC/Ron Tom

Emmy Nominees: Outstanding Costumes for a Series

Bernard and Doris/HBO/Brigette Lacombe, Comanche Moon/CBS, Cranford/Masterpiece/BBC/Nick Briggs, John Adams/HBO/Kent Eanes, Tin Man/Sci Fi Channel/Art Streiber

Emmy Nominees: Outstanding Costumes for a Miniseries or Movie

MAD MEN (pilot) Costume Designer: JOHN DUNN Assistant Designer: LISA PADOVANI Your inspiration? A well-written, thoughtfully crafted script feeds, frightens and fascinates me. Given more time or money, what would you do differently? I’d take the audience further into each character’s complexity: the fine-tuning should never end. What TV costumes impress you? I live and die by Project Runway. Any working Costume Designer can relate to the time pressure, budgetary restrictions and insane hurdles placed before those Designers. Your best advice? Working with good writing and talented collaborators, Costume Designers can create costumes that will resonate.

PUSHING DAISIES (pie-lette) Costume Designer: MARY VOGT Costume Supervisor: STEPHANIE FOX KRAMER *Assistant Designer: DEVON RENEE SPENCER Where do you get your inspiration? From the tone of the project, which develops from conversations with the director, actors, art director and cinematographer. What TV costumes impress you and why? Mad Men’s costumes are very sharp and make the show work. Ugly Betty is fabulously creative with clearly defined characters. Heroes and Lost have great atmosphere. Other favorites are The Tudors, Desperate Housewives, Weeds and Battlestar Galactica. What is your best piece of advice? Try to relax and enjoy the process. Inspiration comes when you are open to it.

THE TUDORS Costume Designer: JOAN BERGIN Costume Supervisor: SUSAN O’CONNOR CAVE *Assistant Designer: GABRIEL O’BRIEN *Illustrators: KELVIN FEENEY & NATALIE CONATY Where do you get your inspiration? Everywhere: Paintings. Fashion advertising. Balenciaga! But above all, from the social history surrounding the period that I’m designing. Given more time or money, what would you do differently? Miraculously for once I was given enough time and money for The Tudors. Almost! What costumes from another show impress you and why?

Mad Men. I love how the show evokes the period in every detail. I want the whole look to come racing back into our lives! Best piece of advice? Fortune favors the brave.

DESPERATE HOUSEWIVES Costume Designer: CATE ADAIR Costume Supervisors: JOYCE UNRUH GOODWIN & KARO VARTANIAN *Assistant Designer & Illustrator: JACQUELINE WAZIR Where do you get your inspiration? Fabrics, vintage clothing, jewelry, books, magazines, and scripts, as well as sketching and observing people … all are wonderful springboards. Anything you would do differently? Sketch and build even more clothes than I do now! What TV costumes impress you? There is so much talent and wonderful work out there, and so much of it impresses me!

What is your best advice? Pace yourself! Designing is like running a marathon: sustain your vision by putting one foot in front of the other. *The Academy of Television Arts and Sciences does not include Assistant Designers (Los Angeles) or Illustrators in the Costume Design category.

reality design

TV

The world of reality TV is experiencing an “extreme makeover.”

Costume Designers! Ten-minute concept meetings, oneminute sketches, a smorgasbord of genres, zero prep time, millions of Swarovski crystals and all of it LIVE! Turns out the rapidly growing programming known as “reality TV” has gone from not using Costume Designers at all to employing some of the hardest working Designers in the business. Three shows come to mind and in fact, make the mind spin with all that they do in an average week. Dancing With the Stars, Designer: Randall Christensen. Deal or No Deal, Designer: Dina Cerchione. So You Think You Can Dance, Designer: Soyon An. All are CDG members and they all came to their respective shows from very different places.

RANDALL CHRISTENSEN, DWTS, was once a competitive ballroom dancer himself. He taught himself to cut and sew and opened a business in Phoenix, Ariz., in 1986. While designing for other ballroom dancers, he was hired to design the series Ballroom Bootcamp. He went on to work with Sophie Carbonell on Jennifer Lopez’s ballroom costumes for Shall We Dance. He has been designing DWTS since season two and they’re about to start season seven. Hold onto your hats because this is how Christensen describes his average workweek.

“Our week starts on Tuesday evening, after the results show. The couples come to wardrobe, music in hand. I get 10–15 minutes with each couple to conceptualize and nail their looks (while my phenomenal Assistant Designers, Steven Lee and Daniela Gschwendtner, pre-screen the waiting couples). The three of us stay until midnight or so, working out shopping lists and our rhinestone orders (which has to be emailed to Swarovski THAT VERY NIGHT!). A few hours sleep

Season six winners Mark Ballas & Kristi Yamaguchi (ABC/Kelsey McNeal)

Christensen check fits Marie Osmond

Karina Smirnoff & Mario

Host Howie Mandel with Santa’s Elves on the Christmas Show (NBC Universal/Trae Patton)

The Star Wars episode

DWTS’ Shannon Elizabeth & Derek Hough

(ABC/Kelsey McNeal)

Christensen’s quick jive sketch

(ABC/Kelsey McNeal)

“Ladies Please.” Purple dresses 26 times

(NBC Universal/Adam Taylor)

Dina Cerchione gets some lovin’

(NBC Universal/Trae Patton)

and we meet downtown by 10 a.m., where we shop fabric for the ENTIRE SHOW by the time the stores close. We deliver the goods back to my two cutter/fitters (and 11–15 stitchers) and go over the entire show’s designs as accurately as possible! They cut and sew on Thursday and we start fittings mid-afternoon on that same day! All-day fittings on Friday. Finishing, beading, stoning on Saturday, and a final fitting after camera blocking on Sunday.

Adjustments are done into the wee hours of Monday morning. Dress rehearsal is 2 p.m. on Monday (aka Show Day) which is the VERY FIRST TIME these couples have tried on and danced in their costumes. Just an hour or so before the show goes LIVE! After dress rehearsal, while they’re loading the audience, our crew is doing alterations or adjustments. I have to say that the celebrities have so much trust and faith in us. Having never danced in 20 yds of glass bugle bead fringe, or 20–30 yds of chiffon, etc. gets to be quite nerve-racking, to say the least!

Thankfully, they appreciate my 22+ years of experience in the world of ballroom dance.”

The competition makes the show so unpredictable Randall explains, “you’ve got to go with the flow while exuding confidence to win over the inexperienced celebrity dancers” and “your crew is EVERYTHING.” All of Christensen’s crew has come

Contestants Chelsea & Thayne do jazz (Fox Broadcasting Co. /Michael Becker) 16

The Costume Designer Summer 2008

back for the past three seasons which he considers a “blessing.”

DINA CERCHIONE (Deal or No Deal) whose background is in fashion and PR and advertising, has a different set of problems.

Twenty-eight of them to be exact. Her main goal is to make the 26 on-camera models (plus two alternates) look identical from earlobes to toes for six shows shot within a week. She usually starts with a major hunt for 33 gowns that she restructures, changes necklines, adds or removes trims all on a very tight budget. She is able to work very closely with a number of manufacturers to keep the color palette of saturated jewel tones and the bling quotient high. Most dresses have to be ordered 4–8 weeks in advance to get the quantity needed (all in size 2 and 4). Each dress requires three fittings. Dina dresses the girls, Howie Mandel and often the contestants. She also has a couple of “specialty” shows in each cycle with only about four or five days’ advance warning. Her favorite to date was the Star Wars show and her 26 Princess Leias, but she’s looking forward to this year’s premiere!

Cerchione has been with the show from its start on ABC. She’s taken it from a stylized campy feel to more of a sexy glam look. Dina tells me, “My best compliment came from Martha Stewart. Howie was on her show and she asked about who did all the dresses because they were ‘perfect’!”

Watching So You Think You Can Dance was what spawned the idea for this article. Seeing so many different kinds of dance costumes from a very gritty hip-hop number to a classic Viennese waltz to the little known Bollywood Dance and knowing that this is all for a WEEKLY LIVE SHOW had me nauseous. There are dozens of different choreographers on the show who specialize in each genre but only one lone Costume Designer to pull off a design United Nations every week.

Kherington & Twitch perform the Viennesse waltz

SOYON AN (pronounced So-yun On) went to Otis College of Art and Design and FIDM to study fashion design. She assisted Jessica Paster, styling Mariah Carey, Kate Bosworth and Jewel to name a few major stars. Then in the summer of 2005, she assisted Gamila Fakhry-Smith on So You Think You Can Dance season two. She went on to design the “tour” for seasons two and three of the show and the American Idol season seven tour. This is her first season taking the reigns as the Costume Designer for SYTYCD. The season starts with 14 dancers and a mixed bag of 28 costumes per week.

An works seven days a week—“by choice” she says, “so that the quality of the work matches my aesthetic.”

An knows the dances a week early but doesn’t know WHO the dancers are until Thursday night’s results show. That leaves her only Friday and Saturday to design, shop, style, and fit everyone before Sunday’s dry blocking. She says, “I start by calling the choreographers for their themes and getting the music from the musical director, since the best way for me to design any given look is to listen to the songs and watch the dance numbers to get a sense of the emotion I want to bring out.”

Soyon builds as many of the pieces as possible, shopping the bits and pieces, accessories, trims and fabrics but then she has to wait until the dancers are picked on Thursdays.“Sounds crazy,” she says, “but I finish all looks in two days and then groom the looks on Sunday during the blocks.”

Then there are the group numbers. “I generally design the costumes on Mondays in between tapings and then we shop on Tuesday mornings. We start fittings in the afternoon and shop for the rest of the pieces on Wednesday morning. Then we do a sec-

Soyon An surrounded by Bollywood Dancers

ond and final fitting that afternoon. We get two days to shop, style, and fit for the group routines that we tape at 9 a.m. on Thursdays,” says An. Soyon’s best piece of advice,“BREATHE!! and be like water ... whatever shape the glass is, you can change with it.” Well said for this growing category of especially devoted Designers.

Deena Appel dappel@costumedesignersguild.com

Raven & Jamie perform a hip-hop number

An’s quick sketch Summer 2008 The Costume Designer

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Designing for Television Production

Comic-Con 2008

Moderator/Costume Designer Susan Nininger

Costume Designers Shawna Trpcic, Roland Sanchez, Amanda Friedland

“Art is not about finding yourself, art is about creating yourself.”

Costume Illustrators, Production Illustrators, and Concept & Storyboard Artists Moderator/Director and Storyboard Artist William David Hogan

Costume Illustrators Oksana Nedavniaya , Phillip Boutte Jr. Felipe Sanchez, Cristian Cordella

A

nd what better way is there to create yourself than to be surrounded by creative people; people who can be found once a year at an event called Comic-Con International: San Diego.

You may be asking yourself,“What is Comic-Con?” Comic-Con International is an annual multi-genre fan-based convention that showcases everything from comic book fanfare, to the best in science fiction, fantasy and anime film and television and much more. It’s a four-day event with a loaded schedule of activities, previews of upcoming shows & products, art tutorials, vendors, illustrators showcasing their work, and fans in costume. In recent years, the convention has expanded to include pop culture elements and the film industry comes to represent with tremendous force. In fact, Comic-Con has become a must stop for films looking to hit their target audience hard at the box office while cashing in on the merchandising.

I’ve been going to Comic-Con for a few years for the opportunity to meet potential clients, from comic book editors to video game companies to toy manufacturers and even film producers. I’d heard about the Guild from my teacher and Guild Board member, Robin Richesson so I was interested in joining as an Illustrator. But it was when I stumbled on a Costume Design panel at Comic-Con 2006 that I first understood what you actually do. I went with fellow Illustrators Oksana Nedavniaya and Brian Valenzuela to a panel discussion showcasing Costume Designers talking about their upcoming films. After the discussion, we joined the Designers as they signed paraphernalia and answered questions. Each of us, portfolios in tow, walked the line, talked to the Designers, and showed them our work.

We all received encouraging feedback but it was Oksana’s beautiful portfolio that got the attention. Designer Isis Mussenden was wowed by Oksana’s talent and hired her less

Clockwise from top: Phillip Boutte Jr. stands among the Terra Cotta Warriors, Judges’ Choice winner Hairspray, Best Young Fan winner X-Wing volunteers: Carrie Grace, Aimee McCue, Phillip Boutte Jr, Susan Nininger, Cristian Cordella, fans on the floor, Illustrator Felipe Sanchez, with CDG judges (l-r) Cordella, Grace, McCue, Vogt, Wilkinson, Dennison, Boutte Jr., X-Men fans on the floor, Film Costume Designer panel

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The Costume Designer Summer 2008

than a week later to start work in Prague on The Chronicles of Narnia: Prince Caspian.

Inspired by Oksana’s success, I joined the Guild shortly after. Almost a month later, I was hired by Sanja Hays to start work on The Mummy 3: Curse of the Dragon Emperor. Brian followed suit and was hired to start work with Michael Kaplan on the newest Star Trek installment.And this year the three of us are Co-chairing the Comic-Con Committee with veteran Chair, Designer Susan Nininger! A very fruitful venture all the way around.

The visibility of the Guild at Comic-Con is a big step in the right direction. It not only allows us to reach people like me, but it provides the general public and the industry a chance to understand how important Costume Designers are to creating characters. Most importantly, it shows the studios and networks, that the Costume Designers Guild is making strides to establish itself as a valuable commodity; one that’s recognized every year by hordes of fans re-creating the works of its designers with intricate detail, precision and passion.

In the Guild’s three short years of attendance, it has gone from having a single panel, to having three separate panels; One for Television Designers, Film Designers, and Costume Illustrators with members of Local 790.The Guild now also takes part in the prestigious Masquerade Ball in which our Designers judge the costumes made and worn by the fans.

I recommend that everyone visit Comic-Con at least once as you will truly be inspired by all that there is to see. Who knows, maybe while you are creating yourself, you will inspire others to do the same.

Illustrators and Artists From Local 790 Ricardo Delgado, Jeff Errico, Tim Burgard, Mark Moretti, Trevor Goring

Designing for Feature Films Moderator/Costume Designer Mary Vogt

Costume Designers Michael Wilkinson, Michael Dennison Isis Mussenden, Kym Barrett

Committee Volunteers Susan Nininger, Chair Phillip Boutte Jr., Co-chair Oksana Nedavniaya, Co-chair Brian Valenzuela, Co-chair Carrie Grace, Aimee McCue, Oneita Parker Local 790 panelists, Local 495 San Diego

Phillip Boutte Jr. uphilme@gmail.com

Girl, Illustrator Oksana Nedavniaya, TV panel Designers (front) Shawna Trpcic, Roland Sanchez, Amanda Friedland (back) CDG member Michael Dennison signs for a fan of The Spirit, CDG and Local 790 combined Illustrator panel, CDG and Best in Show Masquerade winner (l-r) Isis Mussenden, Michael Wilkinson, Kym Barrett, Michael Dennison.

Summer 2008 The Costume Designer

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FIDM & ATAS Co-sponsor The Third Annual Outstanding Art of Television Costume Design Exhibit Costumes past and present are on display at FIDM through September 27

(clockwise from top left) Joan Bergin’s The Tudors costumes on display/CDG President, ATAS Governor and Exhibit Curator Mary Rose in the Technicolor Entrance/CD Bob Mackie and FIDM President Tonian Hohberg/Costume Designer Nolan Miller, Ret Turner’s costumes from the Tim Conway Show, Greek CD Mandi Line surrounded by actress Spencer Grammer and producer Shawn Piller. Emmy-nominated Ugly Betty Designer Eduardo Castro with partner and costumer Hans Struhar/(center) Moonlight CD Salvador Perez flanked by actor Jason Dohring and costumer Angela Parrish.

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The Costume Designer Summer 2008

(clockwise from top left) Desperate Housewives Costume Supervisors Joyce Unruh Goodwin & Karo Vartanian flank Designer Cate Adair as they accept their Emmy nominations/Robert Nelson, Director FIDM Museum & Galleries, and Barbara Bundy, VP Education, FIDM/Mad Men ACD Allison Leach Haze and Designer Katherine Jane Bryant/Comanche Moon costume/the fabulous FIDM setting/Comanche Moon’s Emmy-nominated Supervisor Betsy Potter and Designer Van Ramsey/Scrubs CD Carey Bennett with actors Sam Lloyd and Ken Jenkins/(center) Pushing Daisies Designer Robert Blackman.

Summer 2008 The Costume Designer

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THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z

L

-85: This 1942 decree “L-85” from the War Production Board forbade men’s suits from having cuffs or pleats for the duration of WWII. Under the law, vests with double-breasted suits and suits with two pairs of pants were forbidden. Amended in 1943 to include restrictions for women such as maximum hem circumference, maximum two pockets on jackets, simple sleeves (no dolman, leg-o-mutton, etc.) and dresses couldn’t have hoods, capes, fichus or shawls. French cuffs were forbidden and ruffles restricted. Films had exclusions for historical costumes in theatrical productions!

Last: Form or mold used in shoe construction. It gives the shoe its shape. Dimensions are based on measurements for the ball, waist and instep of the foot.

Lawn: A fine, soft, sheer fabric, plainly woven and usually made of cotton. Often starched for body. Commonly used for handkerchiefs, blouses, baby clothes and curtains.

Lederhosen: Knee-length shorts made of leather (leder) with attached suspenders. Traditionally, lederhosen were worn by men throughout the Tyrol area; the German-speaking part of Italy, Austria and Switzerland. By the 18th century, they had become known as “a Bayaroise,” the Bavarian style.

Liberty Bodice: While still tight, the Liberty Bodice was an underIllustrations by Robin Richesson robins.nest@verizon.net

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The Costume Designer Summer 2008

garment championed by the Victorian Dress reform movement of the late 1800s because it was a step away from the traditionally restrictive corset.

Strapping replaced the boning of the corset while still encouraging good posture. As women were emancipated, they became more active and sportive and needed clothing for greater movement. This was a simple sleeveless bodice, made of fleecy fabric or knitted cotton. It fastened with bone buttons in front and buttons at the hem to attach garters or drawers.

Livery: Coming from the French Livree (a gift of cloth or clothing from a lord to his vassel), the word has come to mean the uniform of the servants employed in a castle or estate.

Loden: Is a loose, warm, thickly woven wool coat of a particular dark green color.

Longyi (Burma)/Lungi (India, Bangladesh, Sri Lanka and Mayanmar). Its origin is Southern India but its use has spread across Asia. A piece of loomed cloth roughly two meters x 80 cm sewn into a tube. Depending on location, tradition and need, it can be worn by folding, knotting or fastening. The double knot is most common as it is most likely to hold. For formal situations men and women wear their best silks, for every day, women tend to wear calicos and florals, whereas men wear more plaids and solids.

Lorica: Roman breastplate made of metal scales, an early form of chainmail. Because of the high cost of production and maintenance, it was typically worn by high-ranking officers such as generals.

Karyn Wagner kwagner@costumedesignersguild.com

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

THE COSTUME DEPARTMENT

THESE ARE A FEW OF MY

FAVORITE THINGS

Cate Adair I’m sitting with Tami (Eldridge) and she’s laughing.

She says my Blackberry, a latte, and tea plus a cookie at 4 p.m.

Ruth Myers My varied collection of butterflies. I have not left the house without a butterfly on some part of my body for the last two decades and would be terrified to do so now. This means apart from the beautiful jewelry, I also probably have the biggest selection of butterfly underwear and socks in the world.

My late husband Richard Macdonald’s 6B pencil.

WORK IN STYLE

But I would say, a work space with good light (I hate feeling like a mole).

My art supplies, inspirational art books, research, photos and fabric swatches. A nice big desk that I can spread out on and a little music is a nice bonus.

People around me with a sense of humor!

I guess most of all, the opportunity to be creative!!!

My Millia Davenport costume books.

Aquarelle drawing paper, which I neurotically believe is the only paper that I can draw on My sense of humor!

Eduardo Castro My iPhone is so handy for contacts, appointments, pictures and e-mails all easily synced with my computer— especially with so many script re-writes and producer approvals.

Jill O’Hanneson The new changeable rack dividers Collapsible rolling racks with bottoms that fit in my car My voice recognition Bluetooth earpiece for my cell phone

My Filofax, to carry little sketches, fabric swatches and business cards and in it, my Montblac pencil for all my drawings.

Ellen Mirojnick

Designer line sheets & runway photographs which I refer to constantly for looks I want to incorporate into the show.

love all black sunglasses music the beach

Costume & fashion books, designer biographies and photo journal publications, not to mention all the magazines I need for daily research.

Zappos Target

One of my favorite things is music to set tone and mood in my office. Rebecca Romijn especially likes it during fittings, it helps her “pose.”

costume department High-End Contemporary Clothing & Accessories s Men’s and Women’s Vintage thru Modern

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The Costume Designer Summer 2008

- Women’s Couture Room - Men’s Couture Room - Costumes & Uniforms - Jewelry - Fitting Room - Designer Rooms

545 Circle Seven Drive Glendale, CA 91201 818.553.4800 (p) 818.545.0468 (f) Monday - Friday 8am-6pm

IN FOCUS

THE PROCESS: SKETCH TO SCREEN WILD BILL 1995 Designer: Dan Moore Illustrator: Lois DeArmond Moore: In this scene,Wild Bill Hickok appears as an extremely theatricalized version of himself in his friend Buffalo Bill Cody’s Wild West Show.The costume was made of butter-soft, cream-colored glove leather, with directly embroidered panels and was only worn in this scene.

Once we all established the character, Walter Hill and I were in a high decree of accord on most of Jeff Bridges’ costumes. Of course, Lois’s renderings help facilitated that accord because Walter could always see exactly what he was going to get.

DeArmond: 15x20 is the most comfortable size for me to work on, as I can make the head just big enough to get the likeness and the size reduces well for 11x17 color copies.

I did a few headshots of Jeff, but found that this one was generally the best and kept using it. I probably did 80–120 pencil drawings and over 40 paintings of the principles’ costumes; including most of Jeff’s 15 or so changes.

DeArmond also did paintings of John Hurt, Ellen Barkin, Jim Gammon and a Plains Indian character (see DeArmond’s gallery on the CDG site).This drawing and painting were done before the costume was made. Finding a photograph in the same pose as the illustration was a happy accident.

Materials (painting):Watercolor, gouache and colored pencils on 100% rag surface, 15x20 illustration board.

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IN FOCUS

A LOOK BACK

Divine Design: A Look Back at Nolan Miller ’s Angels

O

“

Spelling-Goldberg / The Kobal Collection

nce upon a time, there were three little girls who went to the police academy…” So begins each famously campy episode of Charlie’s Angels, Aaron Spelling’s hugely successful lady detective drama which ran from 1976 to 1981 on ABC. As we all know, mysterious millionaire Charles Townsend hires three gorgeous policewomen as his operatives, and in every episode his “Angels” must go undercover as race car drivers, models, saloon girls, strippers, ballroom dancers, truckers, cocktail waitresses or inmates (to name just a few!) to aid in their investigations.

Legendary Costume Designer Nolan Miller was handpicked

by Aaron Spelling to create the stylish and playful costumes for Charlie’s Angels. Miller, a 6’5” Texas charmer and grandson of a Comanche, came to Hollywood in the mid-’50s, got his degree at L.A.’s Chouinard Art Institute, and then worked part time at a flower shop between commissions for gowns.

Regular customer Barbara Stanwyck introduced Miller to Spelling one day, saying:“Nolan’s a terrific designer.You've got to use him.” With this chance meeting, a heavenly match was made. Lasting 33 years, their fruitful collaboration would be the trademark of some of TV’s most memorable shows. In the ’80s, Miller earned four Emmy nominations for Outstanding Costume Design for couture costume drama Dynasty alone.

Nolan Miller’s costume design for the delicious original trio of Kate Jackson, Jaclyn Smith and Farrah Fawcett embraced the exciting dynamic between the Angels’ business wear and their risqué undercover disguises. In the Townsend office, the

Angels’ costumes are sophisticated, modern and idealized, each befitting the star’s on-screen persona. The “smart”Angel, Sabrina (Kate Jackson), wears sleek turtlenecks, proper suits, and favors bold red. Kelly, the “sweet” Angel (Jaclyn Smith), is dressed luxuriously in more fashion-forward ensembles, often in white. Golden-maned “sexy” Angel Jill (Farrah Fawcett) bounces around in the most revealing outfits, always braless, usually in light blues. When the Angels go undercover, their disguises are a perfect blend of fantasy stereotypes, sometimes naughty but always naïve. A winning combination: sweet, smart, sexy ladies, resplendent in red, white and blue, often in seductive ensembles, with nary a bra in sight!

In November 1976, Kate, Jaclyn and Farrah graced the cover of Time magazine in beaded gowns under the heading “TV’s Super Women.”The glowing article announces that the show is not just a winner, but a phenomenon, and Spelling is quoted as saying: “The people out there love it, and we have the numbers to prove it.” Spelling’s recipe of gorgeous actresses and undercover hijinks delighted audiences. By infusing the cultural currency of Nolan Miller’s trend-setting costumes into the mix, Charlie’s Angels was destined to be a hit that lived on through new Angels (Cheryl Ladd, Shelley Hack and Tanya Roberts), decades of reruns, and the two blockbuster film sequels in part inspired by Miller’s foxy Angels.

Audrey Fisher afisher@costumedesignersguild.com

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4yyears ear ea arrss

IN FOCUS

Countdown To Our Centennial ... and Counting

BOLDFACE NAMES BOLDFACE AT WORK CD Agata Maszkiewicz is taking the reigns of the CDG-nominated The Starter Wife starring Debra Messing and Judy

Maszkiewicz, Messing as Cinderella and actor David Alan Basche

Interpretation of

The Japanese Mikado Opera

by Ivan Marquez

Western Costume Company would like to thank the Costume Designer’s Guild for 96 years of successful collaboration.

We look forward to celebrating our centennial with the best guild in the industry!

.

.

.

11041 Vanowen Street North Hollywood CA 91605 P 818.760.0900 F 818.508.2190 www.westerncostume.com

Davis. TSW moves from miniseries to a full season this year.

Debra McGuire will be designing the new 90210 series on the CW while she continues her work for Heroes, Season 3.

She recently wrapped Year One, a biblical comedy shot in Louisiana, directed by Harold Ramis and produced by Judd Apatow. This June, Marie France wrapped her second pilot of the season, Bad Mother’s Handbook for ABC, with fellow CD Pat Welch supervising.At Universal, CD Dorothy Amos with CD Barbara Inglehart supervising are back to work on Season 4 of Ghost Whisperer. CD Mandi Line is designing costumes for the second season of Greek on ABC Family, and her costumes are featured in a behind-the-scenes spot on abcfamily.com. CD Yolanda Braddy is designing her first full season of Lincoln Heights for ABC Family, and she’s happy to have Tashiba Jones-Wilson as her ACD.This July, CD Jenni Gullet designed a CBS mid-season series called Harper’s Island, a murder mystery about wedding guests stranded on a secluded island off the coast of Seattle. CD Pam Withers Chilton is designing the new Lifetime series Rita Rocks about a frazzled working mother who starts a garage band. Jenny Gullett is designing the CBS drama series Harper’s Island set to air in 2009. Florence-Isabel Megginson is designing the Worst Week. The series is based on the BBC show in which a young couple quickly get acquainted with their soon-to-be in-laws. Jill Ohanneson is prepping the new Ray Romano pilot Men of a Certain Age.

Down in San Diego, Rachel Sage Kunin is designing the series The Ex List for Fox about a woman who revisits her former boyfriends after a psychic says she’s already dated her future husband. Michael T. Boyd wrapped his New Mexico shoot Sex & Lies in Sin City, a Sony/Lifetime TV movie about the true story of Horseshoe Casino owner Ted Binion’s death. CD Amy Stofsky is designing the new TV series Crash in Albuquerque until October. CD Kathleen Detoro is back in New Mexico designing the second season of Breaking Bad for Sony/AMC. Bonnie Stauch recently designed Mostly Ghostly for Universal starring Noah Cyrus and Ali Lohan. Stauch also wrapped the video game Need for Speed 2 and is Stauch’s design for Noah Cyrus now prepping the film People Magazine Rogue’s Gallery. CD Dana Campbell, along with CD Craig Anthony as costumer, are working locally on Janky Promoters, a comedy written

Cast of Greek, CD Mandi Line

Summer 2008 The Costume Designer

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IN FOCUS

BOLDFACE NAMES BOLDFACE AT WORK

by Ice Cube. CD Roemehl Hawkins is winding up her design work on the comedy Labor Pains with ACD Brigitta Romanov, and reports that Lindsay Lohan, who plays a woman who fakes a pregnancy to avoid getting fired, is amazing. CD Ariyela Wald-Cohain designed a bloody sex-soaked biker tale of revenge and retribution called Hell Ride for Tarantino Productions, to be released in August.

dream! This July in New Orleans, Carol Ramsey finished designing the comedy Mardi Gras; star Carmen Electra’s Queen of the Parade costume was built by Hargate Costumes. Alexis Scott is off to Knoxville, Tennessee, to design I Hate to See That Evening Sun Go Down, starring Hal Holbrook as an elderly man who escapes his retirement home. CD Catherine Thomas is heading to Minnesota & Texas for Whip It, Drew Barrymore’s feature film directorial debut.

In between designing Race to Witch CD Roland Sanchez had an amazing time Mountain in Las Vegas, CD Monique in Detroit with his Lost crew while deLong participated with CDG Board Delsigning the pilot for the ABC show The egates at the IATSE District 2 ConvenPrince of Motor City and returns to Lost tion in San Jose. Long also designed for for Season 5. Also in Detroit, Sara Jane The View From Las Vegas, shot live from Slotnick just completed work on the feaCaesar’s Palace. Sharon Day designed ture The Job, and she has the scoop if anytwo indies this summer: first the thriller one needs places to shop. Judy Truchan Captive Audience around the L.A. area, just finished designing the Hallmark then she was off to Utah for the Western Christmas film Moonlight and Mistletoe The Desperate Ones.After filming in Tucin Chester,VT, about how a father and his son, Phoenix, Miami and throughout daughters mend their relationship while Connecticut, Emmy-nominated CD John Wald-Cohain's bikers for Hell Ride they save Santaland. CD Ane Crabtree and Dunn has wrapped Sam Mendes’ FarACD Rahimah Yobah recently wrapped landers, written by Dave Eggers and starring John Krasinski the untitled Nicole Holofcener project, a comedy about relaand Maggie Gyllenhaal. CD Mary Zophres has just started The tionships between the residents of a New York apartment Serious Man for longtime collaborators, the Cohen Bros. Prepping in L.A., Zophres will head to Minnesota with ACD Jenny Eagan.

Truchan’s Santa for Hallmark

News from the Big Easy and beyond: CD Christine Peters just wrapped the feature Who Do You Love in New Orleans; the film is about Chess Records and spans 1930 to 1955, a design

ACD Yobah and CD Crabtree

building.Working in NYC and New Jersey, CD Melissa Meister is designing a Spike Lee film about the early ’90s rock scene called The Perfect Age of Rock ’n’ Roll.This July, CD Shay Cunliffe headed to Vancouver to design an apocalyptic disaster movie inspired by the Mayan doomsday prophecy entitled 2012. Francine Lecoultre is in Hungary designing the musical Xayron; the Hungarian cast will be filming at the new BK Studios in Budapest.

BOLDFACE PRESS CD Susanna Puisto is featured in a Finnish documentary series about Finns with interesting careers living internationally called Jaakko and the Conquistadors. Her episode will air primetime in October on the Finnish network YLE. Entertainment Tonight’s CD Anya Sarre has been busy: she was recently featured in LA Confidential Magazine, honored with a summer soiree at the DVF Puisto on the cover boutique on Melrose and apof Oho! bottom center peared on the TV Guide Channel’s The Fashion Team.This September, CD Mary Zophres will be featured in an L’Uomo Vogue article with glam photos shot at Bill Hargate’s workroom. Zophres’ latest, Burn After Reading, which she designed last fall, is premiering at the Venice Film Festival, and the September L’Uomo Vogue is dedicated to the artists involved with films screened at the Festival.

CD Bernie Pollack was featured in the cover story of Classic Style (Summer 2008) “Bernie Pollack: 40 Years of Styling Redford, Hoffman and Ford for the Big Screen.” Check out: Anya Sarre

continued on page 34 32

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BOLDFACE NAMES BOLDFACE PRESS www.classicstylemag.com. The New York Times DVD review of Mad Men “Jacket Required” singles out CD Janie Bryant claiming that the DVD extras include “The wardrobe genius Janie Bryant explaining her secrets for dressing the firm’s alpha dog Don Draper.” Variety’s style editor and CDG fan, Caroline Ryder, wrote a story that ran in Variety’s Comic-Con issue, July 24 (based on a pitch by publicity chair Deena Appel).

The article detailed the lack of compensation to and acknowledgment of Costume Designers in the merchandising of dolls, Halloween costumes and toys based on our designs.

BOLDFACE HONORS CD Isis Mussenden is a proud new member of the Academy of Motion Picture Arts and Sciences. CD Ane Crabtree is currently in Pennsylvania at Soaring Gardens for a painting and writing fellowship, and has been accepted to the Vermont Study Center for painting as well. CDG Designers and partners, Ray Agahyan, Bob Mackie and Ret Turner, celebrate the 40th anniversary of Elizabeth Courtney Costumes!

Movieline magazine will honor Bob Mackie with a “Lifetime Achievement Award” and Janie Bryant with “Most Stylish TV Show: Mad Men” at their Hollywood Style Awards on October 12. Movieline will also partner once again with Hamilton Watches for the Behind the Camera Awards, November 9.

This year, they are acknowledging Designer Albert Wolsky for his work on the upcoming feature Revolutionary Road.

ion Design Class, a two-week intensive on the fashion design process, which culminates with a fashion show. UCLA has been pledged an unprecedented gift of $6 million from newspaper publisher and philanthropist David C. Copley to endow a chair and an innovative new center for Costume Design.The new center will be the first of its kind anywhere in the world. Stay tuned…

BOLDFACE ENTREPRENEURS Illustrator and ACD Lois DeArmond has an online shop, DeArmond Costume Art, on Cafe Press, which features her unique art deco fashion illustrations on notecards, mugs, tote bags and other items. For great gifts, including charming Christmas cards, check out: www.cafepress.com/dearmond. CD Sherry Thompson has been collecting aboriginal fine art from Australia for five years, and is now selling a stunning selection of contemporary paintings: www.ochredotgallery.com.This June, Thompson had a successful art opening featuring her Aboriginal pieces at Haziza H1 Gallery/Art 48 in Sun Valley, Idaho.

CD Shelley Komarov started a line of travel-friendly apparel with her son in 1997, and Virgin America will be featuring Komarov’s fashion tops in an upcoming U.S. ad campaign.

After 31 years, Shelley will soon be returning to Moscow to finally show her collection! Check out: www.komarov.com.

COME CHECK OUT OUR NEWLY IMPROVED RENTAL OFFICES AND STAR FITTING ROOM

BOLDFACE ACADEMICS This fall, CD Tina Haatainen-Jones will be the new assistant professor of costume design at USC’s School of Theatre.

Maria Shicker will lead the Teen Studio Project 2008 Fash-

Rental offices include: • High-speed wireless internet access with wireless printing and faxing • Digital camera and printing to use with your fittings • Keyless 24-hour entry • In-office refrigerator and coffee maker • Full service workroom led by master tailor Gilberto Guzman

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DeArmond’s art deco gift line

Shelley Komarov travel wear

www.EasternCostume.com

continued on page 36 34

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BOLDFACE NAMES BOLDFACE ENTREPRENEURS CD Luke Reichle has launched a new interactive website Secrets of the Red Carpet that offers everything from free style tips to personal styling by the hour, a day with Luke and a head-to-toe makeover. www.secretsoftheredcarpet.com.

JIMMY AU’S FOR MEN 5’8” AND UNDER A full collection of tailored clothing & sportswear in shorter sizes.

Our clothing has been used in wardrobe on over 20 Primetime TV programs this 2006/2007 season.

Jimmy Au is personally available for private fittings.

Suits, Sportcoats and Blazers in Short and Extra Short Sizes 34sh to 50sh including odd sizes to 43sh, for men 5’5” to 5’8” 34xs to 48xs including odd sizes to 43xs, for men under 5’5”

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Short Rise Dress Slacks and Casual Pants in a flat front or pleated style, and a huge selection of jeans in a true short rise (not a regular low rise) 28w to 46w including odd sizes to 35w

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Can You Guess How Tall Our Models Are? No Camera Tricks, Clothing Alterations, or Digital Editing in these photos.

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Show Talk vers o Make me! o Welc

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Costume Designer Susan Nininger returns for the third straight year as Chair of the Comi-Con Committee.Thank you Susan! For Co-chairs and Designers who participated in the three panels at Comic-Con 2008 see page 18. This year at CineVegas 2008, Dark Streets, a fevered noir drama about seduction, murder and the blues, with costumes by CD Maria Schicker, was given a Special Jury Award. Dark Streets will make the Festival rounds throughout the fall. While vacationing in France this June, CD Marie France was invited to join former CDG President Deborah Landis at the Festival International Cinema et Costume in Moulins-Sur-Allier. This lovely Cote d’Azur city hosts an amazing museum, the Centre National Du Costume De Scene (www.cncs.fr), which since 2006 has presented three costume exhibitions each year.The current one was inspired by A Thousand and One Nights.

CD April Ferry’s latest film, The Edge of Love, directed by John Maybury, opened the Edinburgh International Film Festival. Stars Keira Knightly, Sienna Miller and Matthew Rhys attended the festivities.

compiled by Suzanne Huntington shuntington@costumedesignersguild.com Audrey Fisher afisher@costumedesignersguild.com Deena Appel dappel@costumedesignersguild.com

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SCRAPBOOK MUSIC & ENTERTAINMENT MEMORABILIA Janis Joplin’s Knit Dress

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Photofest

To receive a complimentary book or

In memory of Adele Palmer 1915–2008

catalog of your choice, register online at HA.com/CDG14737 or call 866-835-3243

Costume Designer Adele Palmer and Myrna Loy, The Red Pony, 1949

and mention reference #CDG14737.

BID NOW! Doug Norwine, 800-872-6467 ext. 1452 (DougN@HA.com) WE PAY FINDERS’ FEES

38

The Costume Designer Summer 2008

14737

Annual Sales Over $600 Million 375,000+ Online Registered Bidder-Members

3500 Maple Avenue, 17th Floor • Dallas, Texas 75219-3941 • 800-872-6467 TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Mike Sadler 16129; Andrea Voss 16406. • This auction is subject to a 19.5% Buyer’s Premium.