The Costume Designer - Winter 2006

TWENTIETH CENTURY FOX PROUDLY CONGRATULATES

ARIANNE PHILLIPS COSTUME DESIGNERS GUILD AWARD NOMINEE

walk the line

© 2006 Twentieth Century Fox

vol. 2, issue 1

FEATURES Collaborations . . . . . . . . . . . . . . . . . . . . . . . 14 Gale Anne Hurd: Producer, Writer Q&A with a distinguished collaborator

Award Nominees . . . . . . . . . . . . . . . . . . . . . 16 Q&A with this year’s nominees

CDG Presidents Award . . . . . . . . . . . . . . . . 24 International President Thomas C. Short

DEPARTMENTS Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 President’s Letter From the Desk of the Executive Director Assistant Executive Director’s Report

The Costume Department. . . . . . . . . . . . . . . . 27 Meet the Illustrators Designers Express History of Dress A-Z

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Boldface Names

In Remembrance . . . . . . . . . . . . . . . . . . . . . 38 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: The work-of-art silver statuettes were designed by Costume Designers Guild member David LeVey and created in sterling silver by Bulgari. A woman’s form draped in silver fabric, these beautiful awards convey the magical creation of costume.

Cover image by Line 8 Photography

GENERAL MEMBERSHIP MEETING: February 13 at 7 p.m. at the Studio City Library, 12511 Moorpark St. at the corner of Whitsett.

Winter 2006 The Costume Designer

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EDITOR’S NOTE Member Rewards ow do we love thee? Let me count the ways!

During the Awards Season,Costume Designers are front and center and being taken seriously. Receiving free seats at screenings is just one of the many perks we receive during the most wonderful time of the year.

The subjective With the benefit of a actress thinks of vigilant executive board, this union is zooming into the new millennium. Our clothes only President, Dr. Landis, and her officers are hard at work and delighted to present all members with as they apply our latest achievement—this publication! to her; the But the CDG is honored to provide members with other, truly exceptional benefits, which affect objective actress our everyday lives. thinks of them 1. Medical benefits for members and family 2.A retirement account safe from the hands only as they affect of politicians others, as a tool 3. Fair wages and safe working conditions 4. Handling work-related grievances, such as for the job. pay disputes, health and safety concerns, discrimination, and harassment – Edith Head 5.The IATSE provides representation at the (1897–1981) state and national level by professional union lobbyists who advocate for workers’ rights The CDG is proud to bestow the Presidents Award to IATSE International President Thomas C. Short. Please join us on Saturday, February 25, at the Beverly Hilton Hotel to honor the man who fights for our dignity and protects our future every single day.

Sharon Day

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

VICE PRESIDENT Pamela Shaw vicepresident@costumedesignersguild.com

SECRETARY Barbara Inglehart secretary@costumedesignersguild.com

TREASURER Mary Rose treasurer@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 Laura-Cooper VLCooper@costumedesignersguild.com

Sharon Day SDay@costumedesignersguild.com

Karyn Wagner KWagner@costumedesignersguild.com

Mary Malin MMalin@costumedesignersguild.com

Corrections Fall 2005: THE CHRONICLES OF NARNIA — Associate Designer: Kimberly Adams MEMOIRS OF A GEISHA — Assistant Designers: Colleen Kelsall & Christine Cantella, Illustrator: Felipe Sanchez

ASST. COSTUME DESIGNER REP

Anette Czagany Asst.CostumeRep@costumedesignersguild.com COSTUME ILLUSTRATOR REP

Robin Richesson IllustratorRep@costumedesignersguild.com COMMERCIAL COSTUME DESIGNER REP

Susan Nininger CommercialRep@costumedesignersguild.com LABOR REP

Betty Madden bmadden@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair PFlaherty@costumedesignersguild.com

Cliff Chally CChally@costumedesignersguild.com

Marilyn Mathews MMathews@costumedesignersguild.com

Shay Cunliffe, Alternate SCunliffe@costumedesignersguild.com

Swarovski is pleased to invite you to attend our 2nd Annual Crystal Inspiration and Application Workshop! We are happy to announce three workshops for your convenience: Sunday, February 26, at 2 & 5 p.m., and Monday, February 27, at 2 p.m. at Ace Gallery Beverly Hills located at 9430 Wilshire. We are extremely enthusiastic about returning as the Presenting Sponsor of the Costume Designers Guild Awards, and look forward to seeing you at one of our workshops.

For more information or to RSVP, please contact Brianne Walker at 212-935-4200 x192 or brianne.walker@swarovski.com.

EXECUTIVE DIRECTOR

Cheryl Downey cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR

Rachael Stanley rmstanleycdgia@earthlink.net

PUBLISHER The Ingle Group FOR ADVERTISING INQUIRIES CONTACT Dan Dodd 818.556.6300 dandodd@pacbell.net

Walt Disney Pictures and Walden Media thank the Costume Designers Guild and congratulate our CDG nominee

Isis Mussenden EXCELLENCE F O R

buenavistapicturesawards.com

Y O U R

IN

FANTASY FILM

C O N S I D E R A T I O N

THE CHRONICLES OF NARNIA, NARNIA, and all book titles, characters and locales original thereto are trademarks and are used with permission. ŠDISNEY ENTERPRISES, INC. and WALDEN MEDIA, LLC. All rights reserved.

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PRESIDENT’S LETTER Going for the Silver Dear Friends, ompetition is not for me. Whether it’s tennis or scrabble, I’m there for the fun of it.The CDG Awards is first and foremost a joyous celebration of the art of costume design and a cheerful appreciation of Costume Designers. It is a party held annually in your honor. Leaving with a prize is nice, but come to relax and enjoy the evening with friends and colleagues.We are all lucky winners on February 25.

We have expanded our Award categories, yet again, to split fantasy and period film and television. As all of you already know, there is a vast difference between the two. Designing any period, whether in the near or distant past is most often based in historic or primary dress research. Our collaborators, directors, actors and production designers have expectations based on a general knowledge of the time. Fantasy can be anything, a director’s heart’s desire. The invention required for fantasy film and television requires a designer with a broad understanding of history, art, international culture, and a boundless curiosity of the world. The inspiration for the best designs comes from any and everywhere.

Ironically, the most difficult period for a Designer to create is modern. Contemporary subjects demand authentic characters.

Producers, directors and actors find modern dress painfully confusing, perplexing and bewildering. Costume Designers are caught in a web of mixed messages from collaborators hoping to be stylish (when stylish is not appropriate for the character) or expensive (when Mervyn’s would serve the story better than Barney’s). Fashion can kill characters. Modern productions are a minefield with executives, print stylists, wives, daughters and girlfriends weighing in on every accessory, while sabotaging the characters and ultimately the story.

People think everyone gets dressed in the morning, so why is this so hard? Our message to our producers and the press is; whether the costumes are period, fantasy, or modern, the Designer’s pivotal role is the same—to support the story by creating truthful characters, and to balance the frame with color, texture and silhouette.

“The soul of a man is in his clothes.” –William Shakespeare

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In Solidarity and Good Luck, Deborah Landis president@costumedesignersguild.com

NOTEWORTHY EXHIBITIONS “Carnaval!” November 6, 2005, through April 23, 2006, UCLA Fowler Museum of Cultural History, Los Angeles, (310) 825-4361. ”Explore the revelry of Carnival festivals as they are enacted today in eight different geographic and cultural regions.

This lavish exhibition presents approximately 50 elaborate costumes and numerous masks reflecting a range of masquerade and performance themes that represent traditions in these sites: Laza, Spain; Venice, Italy; Basel, Switzerland; Oruro, Bolivia; Tlaxcala, Mexico; Recife/Olinda, Brazil; Port of Spain, Trinidad and Tobago; and New Orleans.” http://www.fowler.ucla.edu

The 14th Annual Art of Motion Picture Costume Design Exhibition, February 6 through April 29.

FIDM Museum, (213) 624-1200, 919 South Grand Avenue, Los Angeles. In cooperation with the Costume Designers Guild, Local 892, costumes from the 6

The Costume Designer Winter 2006

work of our members and recent motion pictures will be on display. Openingnight cocktails for CDG members and guests only, Saturday, February 4, from 5 to 8 p.m. www.fashionmuseum.org

“Fashion in Colors” Cooper-Hewitt National Design Museum, 2 East 91st Street, Manhattan, through March 26, (212) 849-8400.

“For a ravishing, eye-bending, mindaltering experience of color as color, try ‘Fashion in Colors’ with its superbly selected and presented array of 68 garments and ensembles. Each design is a standout in one regard or another, and each rewards extended study… This show transcends the usual fashion exhibition because color has been allowed to reign supreme. Rather than style, technique or chronology, the installation is ordered according to the spectrum.”

“Sartorial Brilliance Before All Was Black” By Roberta Smith, The New York Times, December 9, 2005. The fabulous

— Winter 2006 catalogue is available on Amazon. http://ndm.si.edu/

“A Perfect Fit: The Garment Industry and American Jewry, 1860–1960” Yeshiva University Museum, through April 2, 15 West 16th Street, (212) 294-8330.

“JEWISH immigrants who arrived in the United States in great numbers in the middle of the 19th and 20th centuries did so, by coincidence, at moments of major advancement in apparel manufacturing. As an exhibition that opened at the Yeshiva University Museum in Manhattan this week demonstrates, it was a convergence that shaped both the fashion industry and the Jewish experience for more than a century.”

“Stitches in Time” Eric Wilson, The New York Times, December 8, 2005. This exhibit features gowns from such renowned designers as Arnold Scaasi (nee Isaacs, he spelled his last name backward), and Nutya Kotlyrenko, also known as Norman Norell. www.yumusum.org

F o r

Y o u r

C o n s i d e r a t i o n

“A serene luminescence surrounds Claire Danes...Dressed in breathtaking vintage ensembles while displaying a heart-crushing vulnerability.

Director Anand Tucker portrays the City of Angels as a haven of spare elegance and urbane stylishness.”

Susan Wloszczyna, USA Today

Buena Vista Pictures Distribution thanks the Costume Designers Guild and congratulates CDG nominee

NANCY STEINER Excellence in Contemporary Film buenavistapicturesawards.com © Buena Vista Pictures Distribution and Hyde Park Entertainment, Inc.

...MIRAMAX FILMS THANKS THE COSTUME DESIGNERS GUILD & PROUDLY CONGRATULATES OUR NOMINEE...

NINA PROCTOR

EXCELLENCE IN FANTASY FILM

Artwork © 2006 Dimension Films Corp. All Rights Reserved.

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

From the Desk of the Executive Director

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

opefully you heard the good news that in December the IATSE successfully concluded early negotiations for our next three-year contract, beginning August 1, 2006. International President Thomas C. Short led the charge to keep the producers from eroding our excellent health and pension plans. It is phenomenal what he achieved on behalf of all our IA Local members in these days of dwindling benefits for workers across the country. Among the triumphs President Short championed is the continuation of 13th- and 14th-month checks for our retirees! In addition, President Short and our negotiating team persuaded the producers not only to remove their take-back demand from our Local, but also to break the ice in recognizing the Costume Designers’ creative contribution to their films (details in our next newsletter). On behalf of all of our membership, thanks go out to President Short for his stellar efforts, to President Landis for her equally fearless leadership, and to James Acheson, Cate Adair, Ellen Mirojnick, eboard members and officers, whose presence impressed upon the producers the seriousness of our mission.

Speaking of raising our profile in the industry, the more designers, assistants and illustrators who attend the 8th Annual CDG Awards Dinner on February 25 at the Beverly Hilton, the more prestigious we will be perceived. Honoring the great President Thomas C. Short will bring a show of support from our sister locals and industry notables.

Our CDG member tickets are ever more affordable thanks to a generous subsidy by our outstanding event producer, JL Pomeroy.We look forward to seeing you all there—be bright and beautiful!

Cheryl

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

The Costume Designer Winter 2006

P.S. We thank you for the generous time our volunteers have given to our membership: Haley Terris-Feldman, Hope Hanafin, Wendy Greiner, Susan Nininger, and Mary Rose.

REGENCY ENTERPRISES PROUDLY CONGRATULATES OUR

COSTUME DESIGNERS GUILD AWARD NOMINEE

MICHAEL KAPLAN

EXCELLENCE IN CONTEMPORARY FILM

© 2006 Regency Entertainment, Inc.

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Assistant Executive Director’s Report

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t’s pilot time again. Please remember to protect yourself with the following advice.

• Every day, members call us because they do not receive what they were originally promised. Without a deal memo, there is no documentation of what was promised to you; and without documentation, Local 892 will not be able to help. Get a signed deal memo!

• No matter how much you would like to be the “good guy”by working yourself into the ground, remember that our weekly contract is a five-day contract. If you need to work a sixth or seventh day, email your UPM for overtime approval and keep a copy of their approval.

• Our contract provides that if you work any four days in a week, you’re automatically paid for the fifth day. This means if they start you on Tuesday and you work the rest of the week, then the production needs to pay a full five-day week. Likewise, if you work Monday through Thursday, the week cannot be prorated.

• Hire an Assistant Costume Designer to help support you on what is usually the hardest work in the industry.You don’t have to do it alone.

• Stand up for yourself and get the best possible deal. Don’t be bullied. Remember—they chose you to design their pilot.

• Work safely. Don’t go without meals or sleep. No job is worth dying for.

COSTUME DESIGNERS GUILD DUES RATES FOR 2006 Costume Designer $212/quarter $848/year Commercial Designer $212/quarter $848/year Assistant Costume Designer $173/quarter $692/year Rachael Stanley

Labor Report January 2006 The holidays were a little brighter for the lucky children who received toys generously donated by Local 892 members.Thank you for your time and your kindness. Union brothers and sisters left homeless after Hurricane Katrina found shelter in L.A. due to the great efforts of the construction unions who remade warehouse space into living units. One of our own members has taken his family home to New Orleans to put his children back in school.In 2006, an important election year, our votes present the choice of rebuilding our state’s infrastructure or continuing at risk with weakening levies, deteriorating highways and failing bridges. The LA County Federation of Labor COPE Committee interviewed the candidates and we can expect their recommendations for nominees later this year. The 892 Political Action Committee will get that important information to our membership as soon as it becomes available, so you can make an informed decision in the coming elections.

Betty Pecha Madden 12

The Costume Designer Winter 2006

FOR YOUR CONSIDERATION

BEST COSTUME DESIGN

EXCELLENCE IN CONTEMPORARY FILM

PAUL SIMMONS

WINNER

SUNDANCE FILM FESTIVAL

AUDIENCE AWARD

Copyright ©2005 by Paramount Classics, a division of Paramount Pictures. All rights reserved.

COLUMBIA PICTURES, DREAMWORKS PICTURES, SPYGLASS ENTERTAINMENT and REVOLUTION STUDIOS Proudly Support The Costume Designers Guild And Congratulate Our Nominees

Excellence in Period Film

Colleen Atwood

Excellence in Period Film

Aggie Guerard Rodgers

© 2006 Columbia Pictures Industries, Inc. and DreamWorks L.L.C. and Spyglass Entertainment Group, LLC. Motion Picture © 2006 Revolution Studios Distribution Company, LLC. All Rights Reserved.

Excellence in Film Period CAPOTE Costume Designer: Kasia Walicka-Maimone What was your most rewarding moment designing this project? After research, prep, fittings and discussions, actually filming was the moment when I stopped and thought—it’s coming to life, let’s hope it works. How did your costumes help define the characters and the story?

Costumes were part of the characters’ discovery. Process of elimination created a timeless language based in the late ’50s and early ’60s.We, the creative team, were discovering the nuances of our work, becoming responsible for a piece of the puzzle of each frame.

GOOD NIGHT, AND GOOD LUCK. Costume Designer: Louise Frogley How did your costumes help define the characters and the story? We had to really examine period photographs and film that existed and interpret it as accurately as possible to make sense to the audience. What do you love about being a Costume Designer? I love access to people and places that I wouldn’t otherwise have. I love the amount of information of every conceivable type that one has access to.The people and the actors I work with. I imagine how each character would feel and work from there.

MEMOIRS OF A GEISHA

Costume Designer: Colleen Atwood Assistant Designers: Colleen Kelsall & Christine Cantella Illustrator: Felipe Sanchez What was your most rewarding moment designing this project? The most rewarding moment was the first day of shooting. It was the spring dance scene and we had the elements of theatricality combined with all the background in formal kimono … amazing lighting and sets, it truly gave me goose bumps. How did your costumes help define the characters and the story? In a story about women who define themselves by their style and wit, we had an amazing time collaborating. We defined character through dramatic color and textural choices.

WALK THE LINE Costume Designer: Arianne Phillips Assistant Designer: Carlos Rosario How did your costumes help define the characters and the story? By defining the “on stage or public” persona juxtaposed with the “private life” of John and June.To provide intricate puzzle pieces to help create the “arc” of their lives; to “underscore” their emotional life onscreen, working in a subtle way to assist in the actors visual and visceral experience with their costumes, and hopefully, transport them and ultimately the audience. What do you love about being a Costume Designer? Being imaginative, making believe, making the seemingly impossible—possible.

RENT Costume Designer: Aggie Guerard Rodgers What was your most rewarding moment designing this project? The most rewarding moment was the opening number of the New York street scene shot in L.A. at Warner Brothers with over 300 dancers and specialty performers. What do you love about being a Costume Designer? I like the connection with the director. That is my favorite thing, the director is always “king.”

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The Costume Designer Fall 2005

Capote Attila Dory / UA / Sony Pictures Classics, Good Night, and Good Luck. Melinda Sue Gordon / Warner Independent, Memoirs of a Geisha David James / Sony Pictures, Walk the Line Suzanne Tenner / 20th Century Fox, Rent Phil Bray / Columbia Pictures

Assistant Designers: Cara Czekanski & Patti Handerson

Batman Begins David James / Warner Bros., Charlie and the Chocolate Factory Mary Ellen Mark / WB, The Chronicles of Narnia Phil Bray / Disney / Walden Media, Sin City Rico Torres / Dimension Films, Stars Wars III Lucasfilm Ltd. & TM

Excellence in Film Fantasy BATMAN BEGINS

Costume Designer: Lindy Hemming Asstant Designer: Guy Speranza & Gabriella Loria Illustrator: Simon McGuire What was your most rewarding moment designing this project? OK. There are two.

Christian Bale, Chris Nolan, and my other collaborators screen tested the new Batsuit and pronounced it beautiful in all respects. I was also moved to a teardrop as the “created from scratch” Himalayan village and costumes unveiled themselves from the Icelandic mists and snowstorms. What do you love about being a Costume Designer? I love the constant exploration of different situations and creation of different characters, and all the places that takes me.

CHARLIE AND THE CHOCOLATE FACTORY Costume Designer: Gabriella Pescucci Assistant Designer: Massimo Cantini Parrini What was your most rewarding moment designing this project? I have very beautiful memories of Charlie and the Chocolate Factory. I was so excited to see each new room especially the chocolate room. How did your costumes help define the characters and the story? Tim Burton’s casting was 80% of the work. I just helped the actors to enter into the characters. What do you love about being a Costume Designer? The thing that I love most about my job is that in every movie or lyric opera I’m in contact with different moments and times in history.

THE CHRONICLES OF NARNIA Costume Designer: Isis Mussenden Associate Designer: Kimberly Adams What was your most rewarding moment designing this project? When I sold the concept of the White Witch to the director, after 97 conceptual drawings that he had rejected prior to my arrival. That was the most challenging and rewarding moment, once accomplished.

What do you love about being a Costume Designer? The process. I love to see a costume go from concept to final product, to see it morph through fabric, fittings and the fine detailed finishes. It’s a beautiful thing.Then I love time off to regenerate.

SIN CITY Costume Designer: Nina Proctor What was your most rewarding moment designing this project? When I saw our character, Nancy Callahan (Jessica Alba) performing on stage, lit perfectly, I knew everything had come together beautifully. How did your costumes help define the characters and the story? Our goal was to stay true to Frank Miller’s Sin City. The choice of color, fabrics and textures helped refine my design, which was critical in defining the movement of the characters and the story.

STAR WARS III

Costume Designer: Trisha Biggar Assistant Designer: Michael Mooney Illustrators: Sang Jun Lee & Iain McCaig What was your most rewarding moment? The FIDM exhibition beautifully displayed many of the principle Star Wars costumes together for the first time. It was a great highlight, a really memorable and satisfying experience. How did your costumes help define the characters and the story? I had to visually connect the evolution of personal histories; like developing Padme Amidala’s character from reserved, regal, ceremonial queen in Episode 1, to the feminine, flirtatious, seductive mood of Episode 11 and the muted colors and secretive, darker times of Revenge of the Sith.

HUSTLE & FLOW Costume Designer: Paul Simmons What was your most rewarding moment designing this project? I enjoyed designing the whole job, and being in agreement the director. Once you sync up there, everything else is pretty smooth. How did your costumes help define the characters and the story? The fact that the story was based in Memphis, you could find the characters living there. What do you love about being a Costume Designer? I find joy in working with people, creating looks for characters, and the travel. Bringing “a look” into reality.

MR. & MRS. SMITH Costume Designer: Michael Kaplan Assistant Designer: Tim Wonsik What was your most rewarding moment designing this project? What? Besides getting through it? When Angelina jumps off a terrace wearing a coat, which I had to engineer with metal wires for a cobweb effect to prevent it from flying over her head. Angelina’s jacket, which had a pink lining, performed beautifully. How did your costumes help define the characters and the story? The characters were playing other characters so it was a bit more complicated: Mr. and Mrs. Smith had a particular look, then as spies they became darker, edgier.

SHOPGIRL Costume Designer: Nancy Steiner Assistant Designer: Christie Wittenborn What was your most rewarding moment designing this project? Every moment was a rewarding moment. I really loved working with the director Anand Tucker and the whole cast. And I LOVED dressing Claire in all the vintage clothes. How did your costumes help define the characters and the story? I think as a Costume Designer you are always trying to find the essence of the character … so if I did, I’m satisfied.

SYRIANA Costume Designer: Louise Frogley What was your most rewarding moment designing this project? In every country we portrayed different ethnicities of “Arab” to those we were dressing; middle-class Arab men in Dubai as Bedouin shepherds, others as Pakistanis and Moroccan women as Iranian. Researching and designing it was rewarding. How did your costumes help define the characters and the story? George Clooney’s character, Bob Barnes, was defeated by the system and the CIA, I felt his clothes should be crushed and beaten looking as well.

We distressed his clothes to match his state of mind.

TRANSAMERICA Costume Designer: Danny Glicker What was your most rewarding moment designing this project? When Felicity Huffman, dressed as Bree, entered a room full of real trans actors, and their collective response was familiar recognition! I exhaled for the first time in weeks. How did your costumes help define the characters and the story? The costumes provide a visual guide to the ever-changing locations as well as a counterpoint to the journey. Initially, Bree’s clothing is hyper-pseudo-feminine and armour-like. As the story progresses, this facade is gradually chipped away, presenting a more complex reality.

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Hustle & Flow Alan Spearman / Paramount Classics, Mr. & Mrs. Smith Stephen Vaughn / 20th Century Fox, Shopgirl Sam Emerson / Hyde Park Ent., Syriana Glen Wilson / Warner Bros., Transamerica Jessica Miglio / Weinstein Co.

Excellence in Film Contemporary

Excellence in TV Contemporary ALIAS Costume Designer: Laura Goldsmith

Alias Scott Garfield / ABC, Arrested Development Isabella Vosmikov / FOX, Desperate Housewives Ron Tom / ABC, Nip/Tuck Annie Leibovitz / FX, Six Feet Under Doug Hyun / HBO

Assistant Designer/Illustrator: Steven Lee What was your most rewarding moment designing this project? Designing for a sexy pregnant superstar provided me with my most challenging season yet. Keeping Jennifer Garner comfortable and glamorous was very rewarding. How did your costumes help define the characters and the story? The costumes are such an integral part of letting you know where and what the mission is. I used a cool palatte with a sleek modern edge for Iceland, and for Majorca, rich color and bohemian touches to heighten the storytelling.

ARRESTED DEVELOPMENT Costume Designer: Katie Sparks What was your most rewarding moment designing this project? In a production meeting, the executive producer asked how I was going to make a shirt match the intricate wallpaper, I smiled and said, “no problem.” Little did he know I had no idea how I would pull it off. What do you love about being a Costume Designer? I enjoy the spontaneity of working with so many different actors. It’s a tremendous high when the work is fluid and that collaboration produces something magical.

DESPERATE HOUSEWIVES Costume Designer: Catherine Adair What was your most rewarding moment designing this project? I have a rewarding moment every week; it’s on Friday when I know they cannot do more re-shoots, scenes, inserts, or changes before airing on Sunday. They’ve finally run out of time! It’s on to the next! How did your costumes help define the characters and the story? The clothes are expressions of each character’s personality. I spend time isolating colors, textures and silhouettes for each personality. It’s rewarding to hear, “Oh, that’s so Bree!” or “I love Susan’s look!”

NIP/TUCK Costume Designer: Lou Eyrich What was your most rewarding moment designing this project? When Ryan Murphy, the creator/director/producer, said, “It’s perfect. I love it!” How did your costumes help define the characters and the story? I design by using specific silhouettes and color palettes for specific characters, i.e. using strong, clean lines for a confident character. I also take into account what the character is going to go through in an episode when I make those choices.

SIX FEET UNDER Costume Designer: Jill Ohanneson Assistant Designer: Nadine Haders Illustrator: Jacqueline Wazir What was your most rewarding moment designing this project? Nate and Brenda’s wedding and the grande finale episode. Wait! I can’t forget the petunia costume! How did your costumes help define the characters and the story? My costumes help define the characters by revealing their physical and emotional state, both for the actor and the audience. What do you love about being a Costume Designer? When all the characters come together and you have individual stories going on and those stories are playing off each other.

Excellence in TV Period/Fantasy CARNIVALE Costume Designer: Chrisi Karvonides-Dushenko Assistant Designer: Devon Anderson

COLD CASE Costume Designer: Patia Prouty Assistant Designer: Erin Ellison What was your most rewarding moment designing this project? When a costume sparks a memory for an audience member. How did your costumes help define the characters and the story? Tom McKinley taught me the value of making up a back-story for a character. It is easy to make choices once the back-story is established. What do you love about being a Costume Designer? Everything but the politics.

DEADWOOD Costume Designer: Katherine Jane Bryant Assistant Designer: Beth Morgan What was your most rewarding moment designing this project? The first time I saw the cast and 200 extras all in costume on the set. It was a moment when it all came together.

My department and I just looked at each other and said,“Wow.” What do you love about being a Costume Designer? The process of creating characters through costume and then seeing the end result on screen is such a thrill. It is an amazing gift to work in a creative environment. I love it!

ROME Costume Designer: April Ferry What was your most rewarding moment designing this project? When Caesar drove his chariot into the forum and the thousand extras cheered. It was so real. How did your costumes help define the characters and the story? I think the audience is more qualified to answer that question. I hope the research and the choices I make define the characters in a clear way. What do you love about being a Costume Designer? Almost everything.

THAT ’70s SHOW Costume Designer: Melina Root Assistant Designer: Audrey Fisher What was your most rewarding moment designing this project? The pilot episode. I had to create believable 1976 characters that appealed to a contemporary audience. To this day I juggle the realism with palatability. What do you love about being a Costume Designer? I live for that moment when a character comes alive in the fitting room, when suddenly the costume has an added visual depth and a whole new emotional layer to the story. It’s magic and everyone in the room recognizes it.

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The Costume Designer Fall 2005

Carnivale Doug Hyun / HBO, Cold Case / CBS, Deadwood Albert Watson / HBO, Rome Franco Biciocchi / HBO, That ’70s Show Michael Yarish / FOX

What was your most rewarding moment designing this project?When our carnival encountered another carnival, it gave me the opportunity to create two competing carnivals by referring to their different ethnic origins and using different color palettes. How did your costumes help define the characters and the story? Every aspect of the costume helps to define the character.The Carnivale costumes are a patchwork of gathered and then distressed clothes that reflect the harsh conditions of the Dust Bowl in the ’30s.

Excellence in TV Movie of the Week ELVIS Elvis Monty Brinton / CBS, Empire Falls Demmie Todd / HBO, Lackawanna Blues Robert Greene / HBO, Their Eyes Were Watching God Vivian Zink / ABC, Warm Springs Robert Greene / HBO

Costume Designer: Eduardo Castro What was your most rewarding moment designing this project? With over 125 costumes for Elvis alone, many of them custom made, Johathan Rhys Meyers who played “Elvis” rewarded me by making me feel like a “King.” How did your costumes help define the characters and the story? By remaining as true to the research as possible, yet maintaining certain glamour that was always “Elvis.” What do you love about being a Costume Designer? It is exciting being in a career that offers so much diversity.

EMPIRE FALLS Costume Designer: Donna Zakowska How did your costumes help define the characters and the story? Costume is about choices; the characters’ clothes have to clarify those choices. Collaboration is the key to digging deeper into those subtleties in a profound way. What do you love about being a Costume Designer? Tuning in to the psychology of a person forces you to develop a sense of human psychology and develop the humanity of the character.

LACKAWANNA BLUES Costume Designer: Hope Hanafin Assistant Designer: Dana Woods Designer for Nanny & Pauline: Paul Tazewell What was your most rewarding moment designing this project? The “1940s” theme party set in the mid-1960s was tricky. I think we found a good mix of period reference, exuberance, invention and style. How did your costumes help define the characters and the story? The challenge was to design 34 recurring characters over a period of almost 30 years in a way that let them mature and evolve while visually connecting them to their past so that the audience could track them.

THEIR EYES WERE WATCHING GOD Costume Designer: Eduardo Castro What was your most rewarding moment designing this project? Gaining the total confidence of Halle Berry and director Darnell Martin. How did your costumes help define the characters and the story? The richness of the characters allowed me to explore many facets of social division, from the very humble and poor to the well heeled. Halle Berry’s character required that her costumes reflect not only her standing in society but more importantly, her expression of a woman’s journey.

WARM SPRINGS Costume Designer: Hope Hanafin How did your costumes help define the characters and the story? I hope the costumes helped a 21st-century audience understand the differences in class and region in the 1920s that so affected FDR’s outlook and policies. What do you love about being a Costume Designer? I love the spirit of collaboration and the dynamic between what our ideal of the work is and what is actually possible to accomplish.That seeming friction is the source of endless creative solutions.

Excellence in Commercials AMEX—KATE WINSLET Costume Designer: Tanya Gill How did your costumes help define the characters and the story? Finding a complimentary, authentic costume for Kate to sum up her classic, individual and ‘of the moment’ look was a key element of the commercial. What do you love about being a Costume Designer?

Taking a project from script to searching costume houses and markets for that perfect piece and final detail. Creating characters from reference or pure imagination, it’s always a challenge and a joy to bring a character off the page to life.

CAPITOL ONE Costume Designer: Christopher Lawrence Associate Designer: Lisa Tomczeszyn How did your costumes help define the characters and the story? For the spa, I designed uniforms and client robes/loungewear to be crisp, clean and tranquil; going darker and heavily aged for the Visigoths. The director shot in slow-motion so I added tied and hanging pieces so he would have greater movement for those shots.

What do you love about being a Costume Designer? Whether designing a Korean street gang, steel workers in Philly or teenagers in Florida, I love transporting the actors and audience to another place and time.

ORBIT Costume Designer: Mary Zophres Assistant Designer: Jenny Eagan What was your most rewarding moment designing this project? It was more a sense of relief than anything else. We designed and built the Orbit Gum Girl’s three ensembles and dressed about 20 principals in less than three days. What do you love about being a Costume Designer? I love those moments in a costume fitting when you know you helped the actor discover his character. I love a healthy collaboration with my fellow filmmakers and doing my part to help tell the story.

Revolution Studios Proudly Congratulates

Aggie Guerard Rodgers 2006CostumeDesigners Guild Nominee Excellence In Period Film

Costume Designers Guild Presidents Award International President Thomas C. Short As he would be the first to tell you, International President Short grew up in a union household in Cleveland, Ohio, and has been a member of the IATSE since 1968, when initiated into Stagehands Local No. 27.

His gift for leadership was impressive from the start of his career. In 1971 he was elected to the Executive Boards of Local 27 and Studio Mechanics Local 209, and was elected as Local 27’s President in 1978. Short served as International Vice President of the IATSE from 1988 until 1994 when the General Executive Board unanimously elected him to the position of General Secretary-Treasurer of the Alliance.That year, Mr. Short was elected to the position of International President, and continues to be re-elected to this office by the prudent delegates to each subsequent IATSE Convention.

Under his guidance, the union has been restructured, modernized, and streamlined to include five Divisions—Stage Craft, Motion Picture and Television Production, Organizing, Trade Show & Display Work, and Canadian Affairs—and his dynamic forward- thinking administration has seen a membership increase from 65,000 to more than 105,000. President Short is a member of the Boards of Directors of the Motion Picture Industry Pension and Health Plans and the Motion Picture & Television Fund and works tirelessly

to protect those benefits for all IATSE members. In the aftermath of Hurricane Katrina, the IATSE and President Short were quick to respond with financial assistance from the Walsh/DiTolla/Spivak Foundation to enable members and their families to get back on their feet after the tragedy. President Short exemplifies the spirit of solidarity in his care for each and every union member whether negotiating a contract or reaching out in times of crisis.

President Short also represents the IATSE as a Vice President on the Executive Council of the AFLCIO. His recent election marks the return of the IATSE to the Executive Council after a 31-year absence. International President Short declared, “We, in the labor movement, are facing some of the greatest challenges in our history and it is critical for us to take a strong, aggressive and united stand if we are to survive.” President Short’s many recent accolades include the Directors Guild of America “Honors Award,” the “Lew Wasserman Spirit of Democracy Award” from the Los Angeles Federation of Labor, and “The Actor’s Fund Medal of Honor” for his dedication and outstanding leadership throughout the entertainment industry and in the community. Concluding 2006 negotiations on the Hollywood Basic Agreement, the IATSE membership secured substantial wage and benefit gains including increases in the Individual Account Plan (IAP), and additional pension income for retirees including “13th and 14th” checks. In a political environment hostile to labor, expensive for health insurance, and precarious for pensions, President Short has once again proven himself to be our hero.

8TH ANNUAL COSTUME DESIGNERS GUILD AWARDS

Show Date Location Presenting Sponsor Hosted by

Saturday, February 25, 2006 Beverly Hilton Hotel Swarovski ANJELICA HUSTON

Executive Producer, JL Pomeroy at The jLINE Group For tickets, please call 310.601.3200 or email cdg@jlinegroup.com We hope you’ll be a part of the annual celebration of Costume Design!

24

The Costume Designer Winter 2006

Warner Bros. Pictures and

Warner Independent Pictures proudly congratulate our 2006 Costume Designers Guild nominees

LOUISE FROGLEY Excellence in Contemporary Film Syriana and

Excellence in Period Film Good Night, And Good Luck.

LINDY HEMMING Excellence in Fantasy Film Batman Begins

GABRIELLA PESCUCCI Excellence in Fantasy Film Charlie and the Chocolate Factory

2006 COSTUME DESIGNER AWARDS NOMINEE EXCELLENCE IN PERIOD FILM

Kasia Walicka Maimone

capote ©2005 SONY PICTURES ENTERTAINMENT INC.

THE COSTUME DEPARTMENT

MEET THE ILLUSTRATORS elipe Sanchez, self-made man, passionate artist and illustrator. Felipe was working the graveyard shift at a gas station when he won the “Designer of Tomorrow” scholarship to F.I.D.M. After graduating, Felipe had a hand in designing everything from jewelry to fabric colors but the fashion industry seemed creatively restrictive. The notice given his drawings compelled him to develop as an artist with a strong, clever design sense.

Switching over, Felipe began to illustrate films with his former classmate,Mona May (Clueless),followed by an impressive list of films with busy, creative designers, Deena Appel (Austin Powers), Ruth Carter (Four Brothers) and Colleen Atwood (Memoirs of a Geisha).

Designers squeeze creative time with an illustrator out of moments stolen from the swirling vortex of production, so Felipe packs those moments with exciting options, choices and directions gleaned from his understanding of the designer’s vision. He counts his success as a combination of proactive sketching and using his eye to unite the masculine world of the director with the feminine world of the designer.He suggests that a “dead on”visually impacting presentation that inspires with demonstrating the ability to relate, color balance and true art places the designer in a position of gaining the productions’ confidence there by freeing the designer to move forward,and often loosening the purse strings as well.

Currently, Felipe is illustrating Dreamgirls for Sharen Davis. You can see his illustrations at the Guild and on our website and you will be fascinated when you speak to him. 323-854-7409 maximoda@yahoo.com

F

P

ablo Borges was born in Caracas, Venezuela,

and educated in Miami, Florida, at the International Fine Arts College. He began his career as a Fashion Designer both in Miami and New York. After five years with Natori, Randolph Duke, Melinda Inge,The Gap and Old Navy in New York, Pablo designed wedding gowns with Monique L’huillier in Los Angeles. He took his first job in the motion picture industry as an in-house assistant with John David Ridge. Pablo then joined the Costume Designers Guild, Local 892, as a Costume Illustrator. For the last year Pablo has sketched and illustrated for Colleen Atwood for the Ringling Brothers’ Circus, for commercials,as well as for Ringwood’s Mission Impossible 2, for Ruth Carter for White Chick, and for Gary Jones’ Princess Diaries 2, and Lady Luck starring Lindsay Lohan.

Pablo feels that part of his talent is his capacity to understand what designers want,reading their minds about the cut and drape of a costume.Pablo feels lucky to have had so many different experiences to contribute to the creative process. He knows what it takes to make the costume actually happen.Currently,Pablo is in Mexico with Carol Oditz where he is working as the Assistant Designer on In the Tunnel. pabloborges74 @yahoo.com

Jacqueline K. Saint Anne Illustrated By PABLO BORGES Gary Jones costume design for Two Weeks Notice

Illustrated By FELIPE SANCHEZ Ruth Carter costume design for Four Brothers Winter 2006 The Costume Designer

27

THE COSTUME DEPARTMENT

DESIGNERS EXPRESS Joe Tompkins Interviews Grady Hunt

Illustration by Grady Hunt

G

rady Hunt was born on a farm in 1921 in Lone Oak, Texas.

He was a loner and average student in school and his first brush with show biz was receiving a Shetland pony from the circus. He briefly attended Southern Methodist University and recalls designing and building a period play for a costume project—the director of which was a young Aaron Spelling. Grady’s dream was to design costumes for the movies and after serving two years in the U.S. Navy during WWII, he opened his own couture shop in Dallas where he designed clothes for the city’s elite. But Hollywood was calling, and he moved to Los Angeles where he eventually found employment at NBC Studios. At NBC he designed many lavish variety shows including The Milton Berle Show and Grady fondly recalls the costume collections of Uncle Miltie. Berle stored all of his sketch comedy costumes in hundreds of different trunks but could always (off the top of his head) remind Grady which trunk number to pull and then ship from NYC to LA. With his impressive list of credits, Grady will be best remembered for his costumes on many classic TV series, including international favorites: Columbo, Ironside, Night Gallery, Fantasy Island, Police Woman, and for memorable TV movies such as The Other Side of the Mountain. His Emmy nominations include Fantasy Island (’80 and ’82), Beulah Land (’81), Ziegfeld: The Man and His Women (’78), The Quest (’77), and Columbo: Dagger of the Mind (’73).

Among Grady’s favorite actors are Dana Wynter, James Garner, Anne Baxter, Joan Crawford, and Eartha Kitt.

He has also designed numerous gowns for his dear friend, Ruta Lee. Among Grady’s greatest joys have been traveling, and remodeling his charming home in Studio City, where he has lived since 1958. Should he be met at the Pearly Gates by St. Peter—he hopes to hear the words, “I’ll give you a front-row seat.” Grady, you’ve come a long way from Texas and those farm chores!

Winter 2006 The Costume Designer

29

for your consideration

EXCELLENCE IN CONTEMPORARY FILM

DANNYGLICKER

Sydney: Try this one. It’ll be like “Showgirls” on the Ice Capades.

Bree: I’m a transsexual, not a transvestite.

Sydney: But it’ll really freak Mom out.

“DANNY GLICKER’s costumes are a major assist: at once fluffy yet proper.”

– Kevin Thomas, LOS ANGELES TIMES

TRANSAMERICA Artwork © 2006 The Weinstein Company. All Rights Reserved.

THE COSTUME DEPARTMENT

http://www.costumes.org/classes/fashiondress/byzantium.htm, http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/romanesque.htm

HISTORY OF DRESS A-Z

Beefeaters Costume: Created by

Balmacaan: Loose flaring overcoat of Scottish origin.Usually made of tweed, gabardine or water-resistant raincoat fabric.

Barathea: Fine, soft fabric, closely woven in small diaper or bird’s-eye design, often with silk warp and silk filling. Used for dresses, lightweight suits.

Batik: Method of resist dying with wax popular in Indonesia and around the world.

Beauty Patch: A small colored patch, usually of black velvet attached with glue applied to the face to enhance the beauty and complexion of the wearer, originally created to cover small pox scars.

S O N Y

Henry VII in 1485, the British Yoeman of the Guard still wear what is essentially the Tudor uniform. Today, Beefeaters guard the British Crown Jewels at the Tower of London.

Betsy: Named after Queen Elizabeth I, a small neck ruff worn during the early 19th century, originating in England.

Bloomers: Named after Amelia J. Bloomer who attempted women’s dress reform beginning in 1851, by introducing full gathered trousers tight at the ankle with a very short skirt.These met with some success in the 1880s when women began to ride bicycles.

Bois de rose: Dull shade of softly grayed red. French term for rosewood.

Bombards: Loose, baggy, padded breeches worn by American colonists.

Bouclé: Woven or knitted fabric with a looped, knotted or “nubby” appearance.

Bowler or Billycock: A hard round hat with a straight brim and low round crown was the product of new hat-making advances in the industrial age circa 1850.

Brogues: Heavy, trimmed oxford shoe often with a decorative tongue.

Broigne: Medieval garment consisting of metal rings or plates sewn on leather or fabric.

Worn as part of defensive armor.

Burnoose: Cloak with hood originating in Arabia.

Bustle: Pad or frame worn below the waist at the back of body to enhance the derriere.

Bolero Jacket: Short jacket originating in Spain, originally worn by the toreros in the bull ring.

P I C T U R E S

Karyn Wagner Illustrations by Robin Richesson

S T U D I O S

S T U D I O

W A R E H O U S E :

L O T :

3 1 0 . 2 4 4 . 5 9 9 5

3 1 0 . 2 4 4 . 7 2 6 0

• • • •

• • • •

Modern and upscale contemporary clothes Ethnic costumes Selections from various eras Accessories 1 0 2 0 2 N i c k

W E S T

W A S H I N G T O N

P o l l a c k ,

M a n a g e r

Full service workroom Made to order, fittings and alterations Washers, dryers, dyeing facilities Fitting rooms

B O U L E V A R D , •

C O S T U M E S

C U L V E R

C I T Y ,

C A

9 0 2 3 2

W W W . S O N Y P I C T U R E S S T U D I O S . C O M

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The Costume Designer Winter 2006

An Open Invitation to Join Us for a Cocktail and a Viewing of Our Collection

WA R D R O B E C LOTH I N G R E NTA L S E RVI C E

Wardrobe carries a range of designer wear that includes, but is not limited to: gowns, cocktail dresses, suits, jackets, blouses, shirts, sweaters, t-shirts, jeans, swimwear, handbags, shoes, and sunglasses.

Wardrobe is the only company that has built designer relationships facilitating receiving merchandise at the same time as department stores. We rent at approximately 10% of retail pricing.

2 1 2 4 3 0 5 0 8 3 • 9 17 3 6 5 70 9 9 W W W. WA R D R O B E - N YC . C O M • I N F O @ WA R D R O B E - N YC . C O M

IN FOCUS

BOLDFACE NAMES

Jean-Pierre Dorleac, Gloria Martell, John Saxon

Costume Designer/Novelist Jean-Pierre Dorleac has returned from the UK where he was honored at the 12th Annual Cult TV Festival as All-Time Best Costume Designer for his body of work: Battlestar Galactica, Buck Rogers in the 25th Century, Quantum Leap,

COSTUME DESIGN CENTER Costume Rentals • Manufacturing • Prep Spaces

818.954.1297 • 800.375.3085 wbsfcostumedesk@warnerbros.com

WARNER BROS. STUDIO FACILITIES 4000 Warner Boulevard • Burbank, California 91522 © and ™ 2005 Warner Bros. Entertainment Inc. All rights reserved

34

The Costume Designer Winter 2006

Max Headroom, Knight Rider and Somewhere in Time.With the recent release of his best-selling comedy caper novel, Abracadabra Alakazam,hundreds of fans queued for hours to receive an autographed copy.

Daily Variety’s January 16 publication included an article on the Costume Designers from the past year who are up for consideration for an Academy Award nomination.Aggie Rodgers was interviewed for her sexy 1980’s designs for Rent. Look magazine’s recent issue showcases the multi-era designs of Beth Pasternak, in Where the Truth Lies, and Denise Cronenberg’s designs in A History of Violence. The article “Dressing Egoyan and Cronenberg”includes photos and sketches highlighting each designer’s work. The San Diego Union Tribune recently ran an article about the lead players in the crime drama Veronica Mars,and spoke extensively with Sal Perez, the show’s versatile Costume Designer, about the characters’ bulging closets. Gilmore Girls designer Brenda Maben has an interview coming out in the March edition of Jane magazine.

April Ferry is back in Rome starting the second season designing the riveting costumes for the groundbreaking HBO hit drama, after spending the summer in L.A. on Richard Kelly’s gritty Southland Tales. Louise Frogley just finished The Good German, directed by Steven Soderbergh with Cate Blanchett, Tobey Maguire and George Clooney, set in WWII Berlin and filmed in gritty black and white.

On January 27, NBC’s daytime soap Passions, April Ferry & Ciaran Hines aired their big Bollywood on the set in Rome. production number.

Diana Eden’s designs are on the front page of the TV Guide website, and there will be an interview with her on the show’s website next month. Diana’s work on Passions is influencing fashion, and she is receiving international recognition for her part in the success of the show.

The Miss America Pageant aired on January 21 from Las Vegas, and Marcy Froelich designed the costumes. Niklas Palm designed Melanie Griffith’s gown for The Golden Globes as well as her gown for The Academy Awards. Awards season is definitely here!

Kimberly Adams boldfacenames@yahoo.com

E

I

A

S T

Courtesy Photofest

IN REMEMBRANCE

2006 CDG/Local 892 Gold Card honoree Moss Mabry & Lana Turner review sketches for The Sea Chase.

The Costume Designers Guild mourns the passing of our dear colleague, Moss Mabry, January 24, 2006 38

The Costume Designer Winter 2006

Dear Costume Designers,

I’M BACK! And ready to work for you.

Make your professional life a pleasure again by putting a wealth of experience to work on your next project. You don’t have to look for knowledgable cutters, tailors and fitters. My team is at your service with over 27 years of experience.

Whether it’s for television or film, our tailoring knowledge and proficiency with fashion from 1900 to 2006 is unmatched. Let us bring your designs to life for the world to see – let us work for you.

At Susanna Beverly Hills you’ll find our attention to detail, quality and prompt, professional service are unsurpassed.

SUSANNA BEVERLY HILLS 9647 Santa Monica Boulevard • Beverly Hills, CA 90210 (310) 276-7510 • fax (310) 275-8948 www.susannabh.com • susanna@susannabh.com

Costume Designers Guild Local 892–I.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