Michaela’s (Julianne Moore) silhouettes and palette were designed to evoke an ethereal, sensual, and classically Grecian reference. This creates tension where the viewer questions if she has supernatural goddess powers, or if she is just an eccentric millionaire whose costumes are curated to intim-
idate her inner circle and set her apart from their rulebook of heavily printed apparel. Wherever she exists, whether the private spaces of her home, the town of Port Haven, or as the hostess of a party, she floats as if she can divide the space.
- Caroline Duncan
®
Tron : Jeff Bridges as Kevin Flynn.
Photo: courtesy of the Norton family.
Janelle Monáe at The Met Gala. Photo: courtesy of Thom Browne. Photorapher: Heather Sten.
COMMUNICATIONS & CREATIVE DIRECTOR
Anna Wyckoff awyckoff@cdgia.com
CREATIVE DIRECTORS
Allana Johnson allana@yokcreative.com
Turner Johnson turner@yokcreative.com
MANAGING EDITOR
Gary Victor Foss garyvictorfoss@gmail.com
ASSOCIATE EDITOR
Bonnie Nipar bnipar@cdgia.com
PRESIDENT
Terry Gordon tgordon@cdgia.com
VICE PRESIDENT
Ivy Thaide Ithaide@cdgia.com
EXECUTIVE DIRECTOR
Brigitta Romanov bromanov@cdgia.com
ASSISTANT EXECUTIVE DIRECTOR
Doug Boney dboney@cdgia.com
MEMBER SERVICES DIRECTOR
Suzanne Huntington shuntington@cdgia.com
SECRETARY
Michelle Liu mliu@cdgia.com
TREASURER
Nanrose Buchman nbuchman@cdgia.com
EXECUTIVE BOARD
Catherine Adair cadair@cdgia.com
Phillip Boutté pboutte@cdgia.com
Salvador Pérez sperez@cdgia.com
Nancy Steiner nsteiner@cdgia.com
ACD REPRESENTATIVE
David Matwijkow dmatwijkow@cdgia.com
COSTUME ILLUSTRATOR
REPRESENTATIVE
Oksana Nedavniaya onedavniay@cdgia.com
LABOR REPRESENTATIVE
Dana Woods dwoods@cdgia.com
BOARD ALTERNATES
Michelle R. Cole mcole@cdgia.com
Julie Weiss jweiss@cdgia.com
Daniel Selon dselon@cdgia.com
Ami Goodheart agoodheart@cdgia.com
BOARD OF TRUSTEES
Cliff Chally cchally@cdgia.com
Jacqueline SaintAnne jsaintanne@cdgia.com
Barbara Inglehart binglehart@cdgia.com
Mikael Sharafyan msharafyan@cdgia.com
CDGA EXECUTIVE PRODUCER
Kristin Ingram kingram@cdgia.com
BOOKKEEPER
Aja Davis adavis@cdgia.com
ADMINISTRATIVE ASSISTANT
Sydney Breithaupt sbreithaupt@cdgia.com
PUBLISHER Moontide www.moontide.agency
ADVERTISING
Ken Rose 818.312.6880 kenrose@mac.com
Rita Rose ritarose@afmla.com
COVER PHOTOGRAPHER
Kameron Lennox and Seth Rogen
Photo: Getty Images. Photographer: Emma McIntyre
Communications & Creative Director
Anna Wyckoff Associate Editor
Bonnie Nipar
Turner Johnson Creative Director
Coleen Scott Contributor
Gary Victor Foss Managing Editor
Allana Johnson Creative Director
Fawnia Soo Hoo Contributor
Salvador Pérez Contributor
Yet another monumental awards year! As we prepared our celebration, fires devastated our community, throwing us into chaos and the unknown. But we persevered. And because we are production, we know how to turn on a dime. We did exactly that. Celebratory in every way, attendees were truly excited to take a breath, share with each other, and cheer another year of spectacular costume designs and productions.
The event was held at the iconic Wilshire Ebell, which is on the National Register of Historic Places. Not even rain could quell the energy and excitement. We were blessed to have amazing honorees and presenters—their joy and enthusiasm permeated the evening.
Our nominees’ artistry continues to astound and enthrall. True visionaries and distinctive storytellers, their contributions to production are unequaled. They’re found on red carpets, at the Met Gala and everywhere inspired design springs to life. Vogue World: Hollywood spotlights costume design through the eras on October 26 at Paramount Studios. Save the date!
Kudos to our 892 team who worked diligently with Propstore to auction more than $120,000 for the Emergency Relief Fund. Dee Graham, Ivy Thaide, Kristin Ingram, and Anna Wyckoff reached out to members and secured some amazing pieces for the auction. Thank you to all the members, studios, and businesses who donated. A special thank-you to Chuck Costa and his team at Propstore for supporting and contributing to our fundraiser so elegantly.
As of this writing, I’m thrilled to reshare news that thanks to IATSE’s dedicated lobbying, member activations, and the perseverance of our 892 leadership our California state tax incentive campaign to bring production back to California was successful.
That is what union can do. Stay involved!
In solidarity,
Terry Ann Gordon
Terry Ann Gordon tgordon@cdgia.com
Photo: Kelly Serfoss
OUTSTANDING CONTEMPORARY COSTUMES
Marylin Fitoussi
Chloé Bartonio, Herehau Ragonneau “The Grey Area”
You know the question: “What does my union do for me?”
My answer has always been: “What do you do for your union?”
But this past year, we did something extraordinary, together.
We raised our voices in unison. We stood shoulder to shoulder. We reminded the world, and each other, what collective power looks like when it’s fueled by purpose, passion, and pride.
We brought our industry home.
With the passing of AB 132 (the tax credit expansion) and AB 1138 (the program modernization), California is once again claiming its rightful place as the home of motion picture production.
This win didn’t happen overnight. It happened because you showed up. You made calls. You sent letters. You told your stories. Every voice added momentum. Every action mattered. We organized. We advocated. We reminded Sacramento that this industry is not just motion pictures, it’s livelihoods, families, and our futures. This is what your union does—organizes collective action for the good of all.
Let’s take a moment to thank those who stood with us: Governor Gavin Newsom, for championing this program. Assembly member Rick Zbur and Senator Ben Allen, for their leadership. And to every California legislator who voted YES, thank you for believing in us and recognizing how deeply this industry fuels California’s economy and identity.
To our CDG members: This win belongs to you. You reminded the world of what we already knew—that California is, and must remain, where stories find their voice, speak across time, and shape the world we see.
This is just the beginning. There’s more work ahead to ensure we stay competitive and keep our industry thriving. But today, we celebrate a major victory for jobs, for creativity, and for community.
Thank you, CDG members. You made this happen. Hollywood is home.
Let’s Keep California Rolling!
In solidarity,
Brigitta Romanov
Brigitta Romanov bromanav@cdgia.com
Photo: Stephanie Romanov
KEEP CALIFORNIA ROLLING
As costume designers, assistant costume designers, and illustrators, our artistry is not just seen, it’s felt, woven into every frame, every movement, every moment of the story. Our hands design and shape not just costumes, but the very texture of the world on screen, layering identity, time, and feeling into every thread.
And now, with this legislation passed, our work and our jobs have a stronger future right here in Hollywood, where it all began.
On the cover, we celebrate the immensely talented Kameron Lennox and The Studio co-creator, writer, director, and actor, Seth Rogen—a perfect snapshot of why our industry is worth fighting for. As this legislation passed, we were already showing the world that Los Angeles is still the premier place to film. What beautiful timing. What perfect proof that we are still the gold standard, the place where imagination meets infrastructure, where craft meets culture.
Illustration: Ariel Boroff
Working on location you realize how much you have at your fingertips in LA. It’s harder when you’re not here.
The Studio lives in the space between art and commerce, idealism and vanity, actuality and image. All the characters balance along that tightrope. The characters are immediately recognizable, particularly to anyone who has worked on a set. Clearly drawn from personal experience from show creators, the series is inhabited with fictional characters drawn so close to life that actual celebrity cameos fit in like jigsaw puzzle pieces. Additionally, as a streaming show about a movie studio in the era of streaming shows, it is the world we all inhabit.
BN: What was the pitch from cocreators-directors Seth Rogen and Evan Goldberg?
KL: They wanted to create a studio within its own world based on the Golden Era of Hollywood—the way the studio system started and then where we are today. They used filmmaking tropes creatively to shoot a film within a streamer television show. It was very meta in that we created something to bridge the two together. The tension lies in the clash between art and commerce and how streaming has diminished filmmaking.
BN: The creators said they would either write a scene for a specific celebrity in hope they would do it, or would recruit and then write the scene. Was that as nerve-racking as it sounds?
The Studio: Seth Rogen as Matt Remick, Bryan Cranston as Griffin Mill, Chase Sui Wonders as Quinn Hackett, Ike Barinholtz as Sal Saperstein, Kathryn Hahn as Maya Mason, Catherine O’Hara as Patty Leigh, Zoë Kravitz as herself . Photos: Apple TV +.
KL: We had scripts from day one. Many ended up unused because the actor or director they had in mind was unavailable. I would reach out to Evan and Seth with little texts like, “Hey, any rumblings of who these actors are going to be?” Just so I could start wrapping my head around it.
BN: Obviously, with casting celebrities for the cameos, the big job was to keep production in Los Angeles. How did you feel about being one of the few new shows that’s working in town?
KL: I couldn’t be happier. Especially being at Warner Bros. because it’s one of L.A.’s iconic studios. Working there felt like the Golden Era of filmmaking, where everything was on the lot: costume shop, fitting rooms, offices, and a workroom with skilled tailors. Los Angeles has all the resources, most of which offer studios services. Working on location you realize how much you have at your fingertips in LA. It’s harder when you’re not here.
BN: Your palette struck me as unusual. What made you decide on that singular look of browns and burnt oranges with pops of teal?
KL: Seth and Evan wanted me to home in on a specific palette. I chose to simulate the romantic tones and textures from both the 1940s and 1970s eras. Since Seth personally wears fall and neutral tones, I had everyone who worked at Continental Studios dress in similar shades, while “the suits” from other studios were in dark blues and grays. It creates a clear division when everyone is on stage.
BN: How did you envision Seth Rogen’s character, Matt Remick?
KL: I’ve had many costume conversations with Seth on quite a few other projects: Pam & Tommy, Platonic, and Craig Gillespie’s film Dumb Money. He was very clear he wanted Matt to always be in a relaxed, double-breasted suit with soft shoulders, and no necktie. I have a fascination with suiting from the 1930s and 1940s, and envisioned an old-fashioned gentleman look of the shirt tucked in with a belt and belt loops showing. We talked about wide lapels versus the thin lapels that Sal Saperstein (Ike Barinholtz) would wear. I pulled swatches for all of his shirts, including formal options that were custom-made by Anto Distinctive Shirtmaker. That enabled us to control the palette and textures. We tailored about 30% of his suits in Don Hook’s workroom at Warner
The rest we ordered and altered so you’re not quite sure what era it is.
Bros.
The Studio: Seth Rogen as Matt Remick, Bryan Cranston as Griffin Mill, Chase Sui Won -
ders as Quinn Hackett, Ike Barinholtz as Sal Saperstein, Kathryn Hahn as Maya Mason, Catherine O’Hara as Patty Leigh, Ron Howard as himself, Martin Scorsese as himself, Anthony Mackie as himself . Photos: Apple TV +.
BN: Sal Saperstein was almost the complete opposite.
KL: Sal wears slimmer, single-breasted suits, and always with a tie. He’s a little slimy. The first time I read the script I thought about Christian Bale’s character in American Psycho, (designed by Isis Mussenden). Sal wore taupe, burgundies, maroon, and plum. Everything was a little darker, a little more menacing. There’s even a dark Burberry plaid in there.
BN: Tell us about designing for the queenly Catherine O’Hara.
KL: She’s such a classy, sophisticated person, and she brings that into her character, Patty Leigh—loosely based on Amy Pascal, but we didn’t want to 100% recreate a real person. I put her in rich, saturated rusts, bronze, and golds, like Hollywood royalty. My first thought was Max Mara from the ’70s and ’80s, all very glamorous with a little Network, (designed by Theoni V. Aldredge), vibe in there—always pulled together, always in control.
BN: I loved Maya Mason’s (Katherine Hahn) look. She was street-style-rocker.
KL: It’s funny you say that because as the show has aired, I’ve had so many friends ask me if her character is based on someone we know. Either a publicist, a manager, or an agent. Women in general all seem to know someone who is so strong-willed and focused, where there’s a lot going on. She takes chances and she’s showing it.
BN: Quinn Hackett (Chase Sui Wonders) is more buttoned-up-business.
The Studio: Seth Rogen as Matt Remick, Catherine O’Hara as Patty Leigh, Zoë Kravitz as herself, Olivia Wilde as herself . Photos: Apple TV +.
EMMY ® NOMINEE OUTSTANDING CONTEMPORARY COSTUMES
MELISSA TOTH
COSTUME DESIGNER
CAROLINE QUIROGA
ASSISTANT COSTUME DESIGNER
KENN HAMILTON
WARDROBE SUPERVISOR
CHRIS RUMERY
ASSISTANT COSTUME DESIGNER
DAVID BURNETT
ASSISTANT COSTUME DESIGNER
EARLY HALLOWEEN EXCLUSIVELY AT WESTERN
Here at Western Costume Company, we’ve spent over a century helping Costume Designers bring their visions to life. Now, we’re proud to announce the addition of the renowned Early Halloween collection, direct from New York City. This extraordinary acquisition of sartorial treasures brings thousands of rare, archival-worthy pieces into our rental inventory, giving you access to
new silhouettes, historic labels, and pristine vintage attire. Alongside the expansion of The Collection, this addition is part of our ongoing commitment to raising the bar. With expanded stock, expert workrooms, and full-service support, we’re here to meet your every costuming need. We’ve come a long way since 1912. And we’re just getting started.
KL: She came in as Matt’s assistant, then got bumped up to creative executive. She gets brushed off, like they’re not taking her seriously, but she wants to be seen as an equal. I used some unique pieces from my stash, like vintage ties. We used jewelry with empowering animals like a horse, a lion, or panther to show different stages of her development. Within the soft subtlety of her palettes, there is a fierceness to her. She may be an assistant now, but she’s definitely going to be something one day.
BN: I thought that wide shot at the Golden Globes was spectacular.
KL: It was very important to Seth and Evan that the Golden Globes looked real. We knew they were shooting everything 360, so every detail had to be dialed in. My incredible crew worked very hard to make sure everybody looked good head to toe, because you never knew when they were going to be on camera.
BN: What was your biggest takeaway designing The Studio?
KL: I always try to do my best. On each job, I learn more and more about myself as a designer and what I can do. With this one, I challenged myself to trust my instincts, do what I like, and allow a little more of my own personality to come out in my work. Seth and Evan are so great to work with—they gave me all the freedom in the world, and they trusted me.
BY ANNA WYCKOFF
The world’s most rarified runway isn’t associated with a heritage fashion house—it is the carpet that annually ascends the steps at the Met Gala. From the early days of Hollywood, costume has always inhabited the intersection of couture and fashion. But recently, costume designers are not only visible,
they command the spotlight. 2025’s Met Gala theme “Tailored for You” complemented the “Superfine:Tailoring Black Style” exhibit, recognizing Black dandyism. Legendary costume designers Paul Tazewell and Ruth E. Carter not only created several pieces for stars in attendance, they also walked with them.
The Met Gala: Courtesy of Thom Browne. Photoraphy
by Heather Sten
Tazewell accompanied Janelle Monáe, who was dressed as a time traveler in a series of looks nested within each other. The collaboration between Tazewell and Thom Browne started with a rectangular trompe l’oeil silk overcoat, which peeped a geometric image of the look and briefcase beneath. Tazewell assisted her in shedding this shell like a cocoon on the carpet. This revealed a whimsical, deconstructed pinstriped and color-blocked skirt suit beneath, completed with a René Magritte bowler, a monocle that was also a clock, and a tequila diamond brooch created by jewel-
ry designer Jonathan Raksha for 1800 Tequila. Clad in a custom Thom Browne tailcoat, long pleated skirt, and vintage Fred Leighton jewelry, Tazewell observed, “Exploring the beautiful and important theme of the Black dandy—it was essential that tailoring be front and center.”
For singer-songwriter Chappell Roan, Tazewell immediately “thought of her audacity, theatricality, and advocacy.” He sourced vintage materials from eBay and worked with Genesis Webb,
Photo: Getty Images. Illustration:
Paul Tazewell
fabricating a fantastical upcycled suit and the most maxi of maxicoats trimmed with feathers and glitter. He explains, “This look celebrates Chappell’s voice and honors the tradition of Black tailoring as protest, presence, and pride. We wanted to channel that same spirit through the language of Black style— pulling from the boldness of 1970s Blaxploitation, funk, and disco icons like Parliament-Funkadelic and Sylvester, who used fashion as cultural power.”
Singer, songwriter, and actress Teyana Taylor reunited with two-time Academy Award-winning costume designer Ruth E. Carter—whom she previously collaborated with on Coming 2 America—to bring her hit song “Rose in Harlem” to life at this year’s Met Gala-themed Tailoring Diasporic Identity. Carter coauthored the look: a rose-and-gray three-piece zoot suit draped in a sharply pleated cape with bold shoulders, paired with crimson gloves and a red walking stick. Every detail, from the pocket
Photo: Getty Images.
Illustration: Keith Christensen
chain to the feathered hat layered over a durag, was chosen to honor Harlem’s legacy and express pride in Black style and self-possession.
For supermodel Jasmine Tookes, Carter designed a luminous white tuxedo with an asymmetrical cape—a silhouette that nodded to the elegance of Harlem nights and the sartorial grace of Black social life in the 1930s. “My look was everything,” said Tookes. “Ruth doesn’t just design clothes—she weaves history into fabric. Wearing her creation made me feel like I was embodying a legacy.”
The 2025 Met Gala exhibit, “Superfine: Tailoring Black Style,” set the stage for a powerful exploration of Black excellence
and expression through fashion. Carter’s contributions weren’t just on theme—they elevated it. “This year’s theme is something I’ve been doing my whole career,” Carter shared. “I don’t approach costume with trends—I start with memory, pride, and the cultural signatures of the Black Diaspora. We’ve always used style to say, ‘I am here. I matter.’ Whether it’s Malcolm X, Dolemite Is My Name, or Black Panther, I use costume to reflect who we are, where we’ve been, and where we’re going.”
Honored the night before the Gala at the People’s Ball in Brooklyn, Carter added: “Our ancestors didn’t always have access, but they found ways to shine. I’m proud to continue that legacy.”
BY FAWNIA SOO HOO
To depict the epic chronicle of the 18th-century unification of the Hawaiian Islands in the Apple TV+ miniseries Chief of War, costume designer Caroline Eselin faced an unparalleled challenge.
“None of this had been done before—and never on this scale,” she says.
In the sweeping historical drama, cocreator, executive producer, director, and writer Jason Momoa leads a predominantly Polynesian cast as the former Maui war chief Ka‘iana, who strives for unity amid impending Western colonization.
“It was such a great responsibility to do this as authentically, truthfully, and accurately, as possible,” says Eselin, who previously built an expansive world in frequent collaborator Barry Jenkins’s The Underground Railroad. “So research was first and foremost to honor Hawaii: the culture, the people, the history, and its customs.”
Her monumental research endeavor began with studying Arts and Crafts of Hawaii, Sir Peter H. Buck’s comprehensive, foundational resource on traditional Hawaiian craftsmanship and cultural practices. “That was our bible,” says Eselin.
Chief of War : Brandon Finn as Prince Kupule.
Photos: Apple Studios
In the beginning and throughout production, she and ACD Marina Reti immersed themselves in fieldwork at Honolulu’s Bishop Museum, the Museum of New Zealand Te Papa Tongarewa, and the Merrie Monarch Festival, celebrating Hawaiian culture. Eselin also valued constant collaborations with cultural experts including aesthetics advisor Kauila Kawelo and the Bishop Museum’s cultural advisor, Marques Hanalei Marzan. Eselin also worked closely with Huihui Kanahele-Mossman and Kaumakaiwa Kanaka‘ole, members of the Kanaka‘ole family, who are celebrated preservationists of Hawaiian culture and arts for generations.
In the late 1700s, the ali‘i—men and women chiefs and chiefesses—and ali‘i nui—the highest chiefs and chiefesses—wore bold and commanding ‘ahu ‘ula (capes) and mahiole (helmets) adorned with colorful patterns crafted with feathers from rare and now-extinct birds. The saturated red and yellow designs symbolized strength, power and divine bloodlines. To make upward of 155 capes for the series, Eselin and her team intensely studied the meticulous steps of cape making with renowned kumu hulu nui (master featherworker) Rick San Nicolas. With today’s materials and animal byproducts, they developed a method to recreate the traditional bundling of precious feathers into sturdy olonā plant fiber netting.
Chief of War : Sisa Grey as Vai. Luciane Buchanan as Ka’ahumanu.
Photos: Apple Studios
Illustration: Ariel Boroff
“We also had to give an identity to each island,” which Eselin did by differentiating the royal feathered regalia of the represented islands— especially for high-octane battle sequences. Eselin assigned a dominant color: yellow for Hawai’i, red for Maui, and green for Kaua’i. “The ornamentation for each island was specific,” explains Eselin, referring to regal accents, such as lei (necklaces) and kā‘ei (belt.) “If we could find a shell on Hawai’i, or a nut on Maui, that was taken into consideration.”
She also needed to find authentic-looking but performance-ready material to emulate kapa, the bark cloth traditionally pounded into varying weights and consistencies for clothing such as the men’s malo and women’s pā‘ū (skirts).
“It was months of R&D,” says Eselin. She and her team discovered Evolon, a versatile, high-tech microfilament textile offering similar textures and weights as kapa. “It’s dyeable, moisture-wicking, and washable. It truly was a miracle fabric for us,” says Eselin, considering the maintenance required by extreme stunts and costumes for thousands of extras.
Simulating 18th-century weather and battleworn kapa demanded even more arduous efforts. Eselin worked with kapa advisor Dalani Tanahy to understand how ancient kapa was made and decorated—or not, depending on the wearer. She and her team then developed a multistep process including the ancient stamping methods but also adding texture, shellac, and aging to the Evolon to make it look authentic.
Symbols representing ’aumakua (family gods) adorn the kapa of the ali‘i. For example, the pā‘ū worn by chiefess and powerful politician Ka’ahumanu (Luciane Buchanan) features water motifs and “bird of feathers,” the meaning of her name. Eselin and her team created around 350 stamps that simulated the traditional process of carved bamboo symbols pressed onto kapa. “I never stopped studying traditional printing on kapa,” she says. “Everything was hand-stamped or hand-screened by our textile departments.”
In precontact Hawai’i, women customarily remained barebreasted, wearing only a pā‘ū. Yet Ka’ahumanu’s pā‘ū resembles what today’s eyes would see as a strapless, empire-waist dress. Eselin found evidence of the silhouette through the Kanaka’oles and by diving deep into historical paintings, manuscripts and translations of ancient chants. Eselin notes, “They were very fashionable.”
As her influence rises, Ka’ahumanu’s pā‘ū evolve into elaborately detailed shapes, with intricate pleats and flourishes, such as asymmetrical bows and blooming flowers at the back. “The more kapa you have, the higher your status,” explains Eselin, who with Heather Vandergriff (head pattern maker) perfected the art of wrapping, tying, belting, braiding and binding the material during fittings with Buchanan. “There were no precious metals on the island for sewing or fastenings. Maybe some bone needles, but everything had to be applied to the body and tied,” adds Eselin, who did “rig” and secure the finalized pā‘ū for filming. Looking back, she treasures the allencompassing commitment essential to bring Chief of War to the screen—and the experience remains with her. “It was extremely deep, intensive and nonstop,” says Eselin. “I am still researching.”
BY COLEEN SCOTT
THE COSTUMES OF
This book is dedicated to the art of costume design, and exists because of Larry McQueen’s admiration of the process, detail, and psychoanalysis inherent in this work. As coauthor, I document and celebrate Larry McQueen’s creation—a legacy devoted to preserving part of Hollywood history while advocating for the significance of the costume designer.
Film costumes are created to be viewed on-screen. McQueen has collected costumes he believes were meant to be seen, even if out of context, because they demonstrate exemplary craftspersonship and dynamic or cultural relevance. This philosophy relates his work to collecting couture fashion or historical dress.
The portion of the collection in the pages of The Costumes of Hollywood highlights many treasured pieces and demonstrates some of Larry and his business partner Bill Thomas’ dream exhibitions. We hope the attention this publication receives leads to longevity of the physical collection and raises awareness of the significance of Hollywood costumes as historical artifacts. The larger future goal is keeping The Collection of Motion Picture Costume Design together as one curated set that is meant to be seen, researched, and celebrated the way Larry and Bill intended it.
“The newness and excitement of seeing what I had done through Coleen’s eyes inspired me to tell these stories of many years of dedicated work.” —Larry McQueen
Do You Have Our Next Blockbuster Costume?
Do you own a piece of Hollywood history? Propstore is looking for classic, valuable costumes from legendary films and stars. Whether it’s a dazzling gown, a legendary suit, or a wardrobe piece worn by a silver screen legend, we want to hear from you.
From the Golden Age of Hollywood to modern classics, we are interested in rare, authentic pieces that capture the magic of cinema. If you have a costume that you want to sell in our upcoming Entertainment Memorabilia Auction - reach out today!
Sell your collection to our global network of passionate buyers who appreciate the timeless allure of Hollywood fashion.
Titanic (1997) Rose DeWitt Bukater’s (Kate Winslet) ScreenMatched Sinking Coat
Grease (1978) Danny Zuko’s (John Travolta) “Greased Lightnin’” T-Birds Jacket
Superman III (1983) Evil Superman’s (Christopher Reeve) Costume
sold for $220,500* sold for $132,300* sold for $126,000*
ROSANNA NORTON
We have lost a legend. My dear friend and mentor Rosanna Norton passed away in May. I met Rosanna early in my career when I was a stitcher. She took me under her wing and let me shine. I worked with her on The Flintstones, Casper, Operation Dumbo Drop, The Brady Bunch Movie, and I joined the CDG as her ACD on Barb Wire. She not only guided me in costume design, but in life. She taught me how to work with actors and producers and how to lead a team. She gave me my love of silver jewelry. She was such a light in my life. Her film career was iconic. She designed Carrie, The Experts, Phantom of the Paradise, Airplane, Ruthless People, and Frankie and Johnnie, and was nominated for an Oscar for Tron. She was also an amazing artist and spent her retirement painting. Her legacy is her passion for creativity and the many people she touched and inspired. Rosanna was a very special artist. She will be missed, but never forgotten.
including
FEATURING Screen-used Costumes & Props from Original TV
Series
Batman, Wonder Woman, The Honeymooners, Lost in Space, Star Trek, The Munsters, Gilligan’s Island, I Dream of Jeannie, Get Smart, Bewitched, and more!!
