Issuu

CELEBRATING COSTUME DESIGN

Costume Designers Guild AWARD NOMINEE

Excellence In Period Film Kate Hawley, cdg

11 BEST PICTURE 5 BEST PICTURE CR ITIC S CHOICE AWA R D NOMINATIONS

G O L D E N G LO B E AWA R D N O M I N AT I O N S

Best Costume Design K ate Hawley

Best director guillermo del toro

including

“The romantic, beautiful costumes by Kate Hawley could fill a museuM.”

DISCOVER HOW KATE HAWLEY BROUGHT THE COSTUMES TO LIFE

(DRAMA)

including

“The best picture of the year.”

A film by

Guillermo del Toro FILM.NETFLIXAWARDS.COM

ONE OF THE YEAR’S BEST PICTURES G O L D E N G L O B E AWA R D ®

BEST ACTOR Jesse Plemons

M U S I C A L / C O M E D Y

BEST PICTURE BEST ACTRESS Emma Stone

M U S I CA L / C O M E D Y

NOMINEE

C R I T I C S C H O I C E AWA R D NOMINEE

BEST PICTURE BEST ACTRESS Emma Stone BEST ADAPTED SCREENPLAY Will Tracy

“A MODERN MASTERPIECE.” A Shot

“THE CRAFTS ON DISPLAY ARE ALL TOP-OF-THE-LINE.” Next Best Picture

Costume Designers Guild Award Nominee

EXCELLENCE IN CONTEMPORARY FILM

SSOCIATION WITH FREMANTLE ANDFOCUS CJ ENMFEATURES PRESENTS IN ASSOCIATION WITH FREMANTLE AND CJ ENM ITH ICTURES PITH ANDSQUARE FRUIT TREE PEG ENTERPRISES CJ ENM PRODUCTION “BUGONIA” IN ASSOCIATION A YORGOS WITH PITHLANTHIMOS AND FRUIT TREE FILM ENTERPRISES “BUGONIA” A YORGOS LANTHIMOS FILM ELBIS STAVROSEMMA HALKIAS STONEAND ALICIA JESSE PLEMONS SILVERSTONEAIDAN DELBIS STAVROS HALKIAS AND ALICIA SILVERSTONE JENNIFER JOHNSON, CDG MUSIC SOUND TUME COSTUME PRODUCTION PRODUCTION BURN DESIGNER TTIJENNIFER CSA BY JERSKIN DESIGNER JOHNNIE EDITOR YORGOS GNER JOHNSONFENDRIX MAVROPSARIDIS , ACE,JENNIFER BFE DESIGNERJOHNSON JAMES PRICEEDITOR YORGOS MAVROPSARIDIS, ACE, BFE DESIGNER JAMES PRICE

EXECUTIVE COPRODUCERS YOON KWON MARKMALIPAN BYRNE CHRISTIAN VESPER SANG HYUN SEB SHORR KHAN KWON JANG JOON MARKHWAN BYRNEHANDAE CHRISTIAN RHEEVESPER SEB SHORR JANG JOON HWAN aHANDAE RHEE PRODUCER KASIA film by yorgos lanthimos A ANDREW STONE, p.g.a.LOWEARI, p.g.a. ASTERYORGOS LARS KNUDSEN LANTHIMOS, p.g.a., p.g.a.MIKYEMMALEESTONE JERRY, p.g.a.KYOUNGBOUM ARI ASTER KOLARS KNUDSEN, p.g.a. MIKY LEE JERRY KYOUNGBOUM KO DIRECTED SCREENPLAY DIRECTED BY YORGOS LANTHIMOS BY WILL TRACY BY YORGOS LANTHIMOS FOCUS FEATURES PRESENTS IN ASSOCIATION WITH FREMANTLE AND CJ ENM AN ELEMENT PICTURES SQUARE PEG CJ ENM PRODUCTION IN ASSOCIATION WITH PITH AND FRUIT TREE ENTERPRISES “BUGONIA” A YORGOS LANTHIMOS FILM EMMA STONE JESSE PLEMONS AIDAN DELBIS STAVROS HALKIAS AND ALICIA SILVERSTONE SOUND COSTUME JENNIFER VENDITTI CSA MUSICBY JERSKIN FENDRIX DESIGNER JOHNNIE BURN DESIGNER DESIGNER JAMES PRICE JENNIFER JOHNSON EDITOR YORGOS MAVROPSARIDIS, ACE, BFE PRODUCTION EXECUTIVE DIRECTOR OF COPHOTOGRAPHY ROBBIE RYAN, BSC, ISC PRODUCER KASIA MALIPAN PRODUCERS YOON SANG HYUN KHAN KWON MARK BYRNE CHRISTIAN VESPER SEB SHORR JANG JOON HWAN HANDAE RHEE PRODUCED BY ED GUINEY, p.g.a. ANDREW LOWE, p.g.a. YORGOS LANTHIMOS, p.g.a. EMMA STONE, p.g.a. ARI ASTER LARS KNUDSEN, p.g.a. MIKY LEE JERRY KYOUNGBOUM KO SCREENPLAY ©BY WILL2025 FEATURES LLC. BY YORGOS LANTHIMOS TRACY DIRECTEDFOCUS CASTING BY

CUS FEATURES LLC.

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VOL. 21 Issue 2: Spring 2026

8 President

14 Vogue World: Hollywood

10 Executive Director

20 Career Achievement: Michelle Cole

13 CDGA Invitation Bvlgari at Vogue World. Angela Bassett as Queen Ramonda. Photos: Vogue. Hello Dolly! Irene Sharaff Photo: 20th Century Fox

FEATURED

IN FOCUS 38 Stranger Colors of Benetton: Collaboration With Amy Parris

53 Last Looks: Paule Drissi

46 I Love LA: Christina Flannery

29 Bvlgari CDGA Partnership 33 Movie Night: Deborah Lynn Scott

oode ola G c i N o: Phot

UNION

COMMUNICATIONS & CREATIVE DIRECTOR Anna Wyckoff awyckoff@cdgia.com CREATIVE DIRECTORS Allana Johnson allana@yokcreative.com

ACD REPRESENTATIVE Christine Cover Ferro COSTUME ILLUSTRATOR REPRESENTATIVE Barbra Araujo LABOR REPRESENTATIVE

Turner Johnson turner@yokcreative.com

Dana Woods dwoods@cdgia.com

MANAGING EDITOR

BOARD ALTERNATES

Gary V. Foss garyvictorfoss@gmail.com

Johnetta Boone

ASSOCIATE EDITOR

Samantha Kuester

Bonnie Nipar bnipar@cdgia.com PRESIDENT Terry Gordon tgordon@cdgia.com

Jackie Martinez Lyn Paolo BOARD OF TRUSTEES Jacqueline SaintAnne jsaintanne@cdgia.com Jennifer May Nickel

VICE PRESIDENT

Barbara Inglehart binglehart@cdgia.com

Ivy Thaide Ithaide@cdgia.com

Mikael Sharafyan msharafyan@cdgia.com

EXECUTIVE DIRECTOR

CDGA PRODUCING EXECUTIVE

Brigitta Romanov bromanov@cdgia.com

Kristin Ingram kingram@cdgia.com

ASSISTANT EXECUTIVE DIRECTOR

BOOKKEEPER

Doug Boney dboney@cdgia.com MEMBER SERVICES DIRECTOR Suzanne Huntington shuntington@cdgia.com

Aja Davis accounting@cdgia.com EXECUTIVE ASSISTANT Sydney Breithaupt cdg@cdgia.com PUBLISHER

SECRETARY

Moontide www.moontide.agency

Michelle Liu mliu@cdgia.com

ADVERTISING

TREASURER Nanrose Buchman nbuchman@cdgia.com EXECUTIVE BOARD Catherine Adair cadair@cdgia.com Daniel Selon Salvador Pérez sperez@cdgia.com

Ken Rose 818.312.6880 kenrose@mac.com Rita Rose ritarose@afmla.com COVER Costume designer Michelle Cole Grown-ish, black-ish, and In Living Color Illustration by Barbra Araujo headhuntrstudio@gmail.com

Ariyela Wald-Cohain

THE COSTUME DESIGNER | SPRING 2026

Anna Wyckoff

Communications & Creative Director

Fawnia Soo Hoo Contributor

Gary V. Foss

Managing Editor

Bonnie Nipar

Associate Editor

Allana Johnson Creative Director

Turner Johnson Creative Director

Spencer Williams Contributor

One year ago we experienced one of the most devastating and life-changing moments in our collective California lifetime. The Palisades and Eaton fires left unprec-

edented changes in every aspect of our lives. Homes and businesses were lost, set adrift.

Looking back, it’s astonishing to see how far we’ve come. We always talk about our resilience thanks to our production savvy, and that certainly cannot be denied. But to see it in action has been an illuminating and humbling experience for all of us.

We came together offering support and grace like no other time in our history. We had fundraisers, auctions, support groups, and banded together with our IATSE kin.

The Entertainment Community Fund and the IATSE Walsh/Di Tolla/Spivak Emergen-

cy Relief Fund led the way for people not only needing financial assistance but also emotional support. Thanks to outside recognition and support, families are rebuilding their homes and lives, receiving sizable financial benefits.

Kudos to Anna Wintour’s Vogue World event on October 26, a mere nine months after lives were upended. Wintour and her Condé Nast team rerouted their fashion world event into a financial juggernaut to benefit our costume community. We are forever awed and eternally grateful for the massive generosity this global event generated for our devastated members.

Thank you, CAA CEO Bryan Lourd, for contacting me at the CDG for assistance with member outreach. Working behind the scenes with the Condé Nast team, the Entertainment Community Fund team, and both locals was truly a rewarding experi-

ence. Creating this event was Herculean. Working alongside Wintour was a core group of outstanding costume designers presenting their iconic designs: Colleen

Atwood, Milena Canonero, Ruth E. Carter, Shirley Kurata, Catherine Martin, Arianne

Phillips, Sandy Powell, and Jacqueline West. Costumes were beautifully recreated and reimagined, given a second life, mirroring our community.

n o d r o G n n Terry A In solidarity,

Terry Ann Gordon tgordon@cdgia.com

THE COSTUME DESIGNER | SPRING 2026

Photo: Kelly Serfoss

landscapes changed forever, the economy came to a halt, families and friends were

The Costume Designers Guild IATSE Local 892 continues to represent and elevate the art of costume design, not just behind the scenes, but in the spotlight it deserves. For over seven decades since our founding in 1953, we have fought tirelessly for fair treatment, recognition, and creative respect. In doing so, we have worked to bring our art to the broader public, highlighting the power and impact of what we create. That is why I am thrilled by the renewed partnership with Bvlgari, who minted the original Adrian statuette based on the drawing by costume designer David Le Vey. Their return to support the Costume Designers Guild Awards (CDGA) symbolizes more than partnership; it is a reaffirmation of our legacy, our artistry, and our shared belief that costume design elevates all moving pictures. A heartfelt congratulations to Michelle Cole on her exceptional career and enduring contributions to our craft is also deeply deserved. We are fortunate to count her among our membership. I look forward to celebrating her Career Achievement Award at CDGA28. I want to extend sincere thanks to Vogue World: Hollywood for their recent event, a spectacular evening of fashion and film that raised vital support for the costume community affected by the recent wildfires. Their generosity reminds us of the power of solidarity when disaster strikes our creative family. A final farewell is due to Paule Drissi, whose renowned beading and artistry graced decades of productions. We honor her extraordinary legacy and the beauty she brought to our industry. The talent within our sister Local 705 continually supports and enriches our work as designers. Finally, a call to action for every member: Please continue to prioritize and employ illustrators, custom-made kin, and union signatories, both individual artisans and costume houses in Local illustrators, customers, custom-made, artisans, and shops. Without them, we risk losing not only jobs but the craftsmanship, community, and benefits that sustain our future. Every union hour worked strengthens the Motion Picture Industry Pension & Health Plan (MPIPHP) and our collective security. Let us move forward, together, stronger than ever. In solidarity,

Brigitta Romanov Brigitta Romanov bromanav@cdgia.com

THE COSTUME DESIGNER | SPRING 2026

Photo: Stephanie Romanov

705, on every project. Our strength lies in preserving the full costume design ecosystem: designers,

CRITICS CHOICE NOMINATIONS I N CLUDI N G

BEST PICTURE

BEST COSTUME DESIGN RU T H E . C A RT E R

F O R

Y O U R

COSTUME DESIGNERS GUILD AWARD N OM IN AT IO N S

EXCELLENCE IN

COSTUME DESIGN

COSTUME ILLUSTRATION

RU TH E . CARTER , C D G

F ELIPE SANC H E Z , CDG

PERIOD FILM

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

BEST PICTURE BEST COSTUME DESIGN R U T H E . C A RT E R , c d g

BEST COSTUME I L L U S T R AT I O N F E L IP E SANCHEZ , c d g “ RUTH E. CARTER’S DETAILED PERIOD COSTUMES ARE SUPERB.”

FOR SCREE NIN GS AN D SPECIAL C O NTENT PLEASE VISIT W W W. WBAWARDS.C O M

FEBRUARY 12, 2026 THE EBELL OF LOS ANGELES 4401 W 8th St, Los Angeles CA 90005

5PM CHAMPAGNE RECEPTION 6PM AWARD CEREMONY 8PM GALA CELEBRATION Attire: Evening Elegance

a s a d oo st d : oo w y oll H Vogue World e enduring significance of testament to th costume design.

THE COSTUME DESIGNER | SPRING 2026

BY SPENCER WILLIAMS

Set against the backdrop of Paramount Studios in Hollywood, this year’s Vogue World unfolded as a sweeping tribute that placed costume designers center stage. Vogue World: Hollywood proved to be more than a fashion spectacle; the event spotlighted the profound influence of costume design and showcased how characters, eras, and entire worlds reverberate through audiences and culture. Many of the creative forces behind the evening’s storytelling were such luminaries as Colleen Atwood, Milena Canonero, Ruth E. Carter, Catherine Martin, Arianne Phillips, Sandy Powell, Jacqueline West, and Shirley Kurata.

L to R: Kendall Jenner, Nicole Kidman, Kyle MacLachlan, Colin Jones, Anok Yai, Stella Hanan, Julia Garner. Photos: Vogue

Their work helped bring Vogue World: Hollywood to life in collaboration with fashion houses such as McQueen, Louis Vuitton, Miu Miu, Alaïa, Marc Jacobs, Valentino, and Balmain. Their collective vision brought film history into focus, celebrating costume through both archival pieces and newly imagined looks. The show unfolded across seven cinematic acts, each celebrating a distinct facet of movie history. “Hollywood Glamour,” conceived by Catherine Martin and Miu Miu, evoked the Golden Age with original costumes from Moulin Rouge! and The Great Gatsby. “The Renegades,” led by Colleen Atwood and McQueen, celebrated boundary-breakers with nods to Edward Scissorhands and Everything Everywhere All at Once. For “Historical Heroines,” Milena Canonero and Louis Vuitton drew from beloved period dramas, including Barry Lyndon and Marie Antoinette, blending historical silhouettes with modern movement.

THE COSTUME DESIGNER | SPRING 2026

Arianne Phillips and Marc Jacobs captured the free-spirited energy of the 60s and 70s in “Summer of Love,” featuring both original and inspired costumes from films such as Once Upon a Time in Hollywood and Walk the Line. Sandy Powell and Valentino pushed boundaries in “Avant-Garde” with looks inspired by Orlando and Velvet Goldmine. Ruth E. Carter and Balmain delivered a vibrant vision of “Afrofuturism,” referencing films from Malcolm X to Black Panther. The final act, “New World,” crafted by Jacqueline West and Alaïa, explored the vastness of cinematic frontiers through costumes from Dune and The Revenant. Then, in a moving finale, the participating costume designers were welcomed onto the studio lot runway for a standing ovation.

L to R: Levi Dylan, Cara Delevingne, Betsy Gaghan, Bodine Van Galen, Model, Hunter Schafer. Angela Bassett, Teyana Taylor. Photos: Vogue

Throughout the show, Shirley Kurata recreated iconic characters from Theadora Van Runkle’s Bonnie and Clyde to Mona May’s Clueless, using runway looks and coordinating with designers to create custom looks when needed.

Vogue World: Hollywood stood as a testament to the enduring significance of costume design, an art that continues to shape storytelling, inspire audiences, and define the cultural imagination. As decades pass and films become classics, it’s costume design that remains at the core of how we remember. 18

THE COSTUME DESIGNER | SPRING 2026

L to R: Ruth E. Carter, Arianne Phillips, Catherine Martin, Baz Luhrmann, Shirley Kurata, Jacqueline West, Colleen Atwood, and Sandy Powell. Photos: Vogue

Bottom, L to R: Ruth E. Carter, Teyana Taylor in Black Panther costume, Doja Cat, Colleen Atwood, and Sandy Powell. Photos: Vogue

Beyond the artistry, the evening carried profound purpose and monumental responsibility. Vogue World: Hollywood raised $4.5 million, with all ticket proceeds benefiting the Entertainment Community Fund to support members of the costume community impacted by the Los Angeles wildfires.

#blackAF: Rashida Jones as Joya Barris, Kenya Barris as himself, Gil Ozeri as Danny, Justin Claiborne as Pops Barris. Photos: Netflix

Grown-ish: Trevor Jackson as Aaron Jackson, Yara Shahidi as Zoey Johnson. Photos: Freeform

MICHELLE COLE CAREER ACHIEVEMENT HONOREE

THE COSTUME DESIGNER | SPRING 2026

Photo: Nicola Goode

Illustration: Gina DeDomenico black-ish: Jennifer Lewis as Ruby Johnson, Laurence Fishburne as Earl “Pops” Johnson. Photos: Disney-ABC

By Fawnia Soo Hoo Michelle R. Cole’s favorite tune, Van McCoy’s 1975 disco classic “The Hustle,” could be her theme song. The nine-time Emmy nominee often doubles, triples, up on her shows—she simultaneously designed Kenya Barris’s black-ish, its college-set spin-off grown-ish, and his autobiographical Netflix sitcom, #blackAF. “Here we go,” says Cole, excitedly. “Let’s do the hustle!”

The Angeleno went off to Eastern Kentucky University to graduate in 1979 with a bachelor’s degree in clothing and textiles. But Cole’s career actually began at 13 when she leveraged sewing skills taught by her grandmother, Katherine “my North Star,” for her first play. “I did the set design and the costumes,” says Cole. We charged $1 for admission.” 21

n, n Wayans Jr. as Damo Poppa’s House: Damo S CB s: Poppa. Photo Damon Wayans as

THE COSTUME DESIGNER | SPRING 2026

Grown-i

sh: Yara

Shahidi

as Zoey Jo

hnson. P hotos: F reeform

Cole’s late father, Marcellus, a University of Southern California alum and Los Angeles high school vice principal, galvanized her tireless work ethic and dedication to her craft. “He was one of the teachers who helped put Black history in the classroom,” says Cole. “My dad always said, ‘You’re going to have to work harder than the next person, then the next person, then the next person.” Cole’s indefatigable drive, resourcefulness, and sharp eye for style became apparent early on when she was an assistant to stylist Wendy Keller on ad campaigns. “Commercials are fast and furious, so they helped me with my endurance and taught me speed,” says Cole. Her early résumé became stacked with legendary TV ads, including Whitney Houston and Chuck Berry for Diet Coke, Miles Davis for Honda, Michael Jordan for Nike, and the famed “Bo, You Don’t Know Diddley” Nike ad. “Back then you had stars in commercials,” says Cole. “Somehow I was good at working with the stars.” Over her 43-year career, Cole has distinguished herself as a singularly instinctive costume designer with a talent for using pitch-perfect fashion to tell the story, and land the joke, in celebrated sitcoms like South Central, The Soul Man with Cedric the Entertainer, and The Bernie Mac Show. Cole also shattered barriers with producers Eileen Heisler and DeAnn Heline’s sitcom Three Sisters and executive producer Cindy Chupack’s 2011 romcom Love Bites, starring Becki Newton. In the early 90s, Cole earned her first four Emmy nominations designing Keenan Ivory Wayan’s groundbreaking variety sketch show In Living Color. Cole went on to design lead cast member (and the creator’s brother) Damon’s ensuing projects: Damon, My Wife and Kids pilot, and most recently, Poppa’s House. “Those Wayans, they keep you busy!” says Cole. “Their brains are constantly moving. That’s the thing about comedy.”

Cole black-ish: Deon lphy. Te lie as Char Photos: Netflix

Her friend Ruth E. Carter brought Cole to In Living Color. Carter designed the pilot and recommended her. She ultimately designed four seasons. “We’d work until 2 or 3 o’clock in the morning. It fascinates me, 37 years later, that we were able to do that,” says Cole. “It was such a fast show, and you didn’t get a package of nine sketches to design; you got 20.” Cole and her crew quickly learned to overprepare and anticipate pivots for sketches and characters rewritten at a moment’s notice. Cole also created sharply satirical, establishment-bucking characters whose impact on Black and broader pop culture endures. Damon Wayans’ Homey D. Clown still surprises decades later. His classic clown costume, with an exaggerated ruff and hefty, cartoonlike shoes, makes the angry, biting children’s entertainer even more subversive. “I didn’t want to do a ‘current’ clown,” says Cole, who referenced 30s and 40s costumes. “I tend to pick up pieces from the past, then incorporate them into the future.”

F O R

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I N

A L L

C AT E G O R I E S

INCLUDING

BEST PICTURE ADAM SOMNER SARA MURPHY PAUL T HOMAS ANDERSON

BEST COSTUME DESIGN COLLEEN ATWOOD, CDG

AWARD NOMINEE

COLLEEN ATWOOD , CDG

“Exquisitely detailed...an extraordinary richness of sensory and dramatic texture.” – THE NEW YORKER

FOR SCREE NINGS AND SPECIAL CONTENT PLEASE VISIT W W W.WBAWARDS.C OM

The show’s revolutionary dance collective, the Fly Girls, continues to influence global culture through Rosie Perez’s kinetic, innovative choreography, alumni Jennifer Lopez and Carrie Ann Inaba, and their high-performance wardrobe. “The thing about the Fly Girls was really about their fashion,” Lopez said in a 2024 Vogue interview. “She was really about giving them a couture look—not totally hiphop or street—having an essence of that and really elevating it.” Cole regularly scoured glossy magazines, frequented runway shows, networked with designers, and shopped at high-end department stores and boutiques. She channeled her early career designing for theater musicals to augment their high-energy dance moves. “The Fly Girls had four dance breaks, so we had to come up with four outfits for each dancer, per episode,” says Cole. “How did we do that?” Meanwhile she was designing Martin Lawrence’s eponymous sitcom, which In Living Color head writer John Bowman cocreated. Designing the pilot and first season of Martin gave Cole another opportunity to

harness her sketch comedy specialty for a rotation of outrageous characters. “He wanted to surprise the audience,” says Cole, who holds fond memories of creating the flashy, designer tracksuit-filled wardrobe for sketchy casino owner Jerome. For lovestruck neighbor and fan favorite Sheneneh, Cole crafted colorful, over-the-top, often midriff-baring outfits by pulling inspiration from real-life trendsetters long before their style was co-opted by the mainstream. When producers asked to cover up Lawrence’s stomach and arms, “I went, ‘That’s how women dress when they go grocery shopping. They look cute with a little scrunchie and mismatched socks, like what kids are doing now.’” Creator Kenya Barris clearly appreciates Cole’s acumen for translating top-notch fashion into comedy gold, calling her his “magic fashion elf” in Vanity Fair in 2018. “He respects costumes, and that’s what I’ve always admired about him,” says Cole. Writer-executive producer Larry Wilmore hired Cole to design the black-ish pilot.

ns as on Waya lor: Dam o x C o g F : in In Liv n. Photo D. Clow Homey

Diet Coke Commercial: Whitney Houston Photo: Coke

Michelle Cole with Yara Shahidi

She established the Johnsons, an upper-middle-class Black family navigating identity, race, success, and everyday family life with smart, heartwarming humor—and the best looks on television. She earned five more Emmy nods beginning with “Juneteenth.” The 2017 special episode about Juneteenth National Independence Day commemorates the emancipation of the last enslaved people in the U.S. two years after the Emancipation Proclamation. The Johnson family performs a Hamilton-inspired musical, backed by a gospel choir, to evocatively and honestly chronicle essential history left out of most schoolbooks. “Kenya wanted to make it look like a Broadway musical,” says Cole. A dramatic change from the Johnson family’s usual vibrant, contemporary designer fashion, “muted,” but “theatrical” and meticulously aged and dyed 19th-century costumes poignantly honor the story. “It was great to be part of history,” adds Cole. “We helped to make Juneteenth a holiday.”

black-ish: Anthony A nderson as Tracee Elli Andre ‘Dre s Ross as ’ Johnson, Rainbow Jo hnson. Ph otos: Disn ey-ABC

L to R: Lou Eyrich, Hala Bahmet, Michelle Cole, Allyson Fanger

THE COSTUME DESIGNER | SPRING 2026

Philanthropy also runs through Cole’s DNA, dating back to her enterprising childhood theater days. “My parents made us donate the money to charity,” says Cole, who also sits on the boards of St. Joseph’s Center, which provides resources to unhoused and economically disadvantaged families, and Children’s Hospital of Los Angeles. In 2021, along with friends, colleagues, and fellow groundbreakers Ruth E. Carter, Sharen Davis, and Francine Jamison Tanchuck, Cole established the Mildred E. Blount Scholarship Fund. The nonprofit creates opportunities for young Black talent in film, theater, and television costume design. “We’re all cheerleaders for the next generation,” says Cole. “My purpose in this business is training as many people who want to be trained,” she adds. “You have to want to do this—because it’s a lot of work.”

TESSA THOMPSON

FRO M

W R ITER

NINA HOSS

DIR EC TO R

NIA DACOS TA

CRITICS CHOICE NOMINATIONS INCLUDING

BEST SUPPORTING ACTRESS AMY MADIGAN

CDG AWARD NOMINATIONS EXCELLENCE IN

COSTUME DESIGN CONTEMPORARY FILM COSTUME ILLUSTRATION

GOLDEN GLOBE® NOMINATIONS INCLUDING

BEST SUPPORTING ACTOR FEMALE – MOTION PICTURE

AMY MADIGAN

F O R Y O U R C O N S I D E R AT I O N

BES T PIC T URE BES T COS T UME DESIGN TRISH SUMMERVILLE , CDG

BES T COS T UME ILLUS T R AT ION OKSANA NEDAVNIAYA , CDG

“one of the best films of the year, beyond any genre or trend.”

For screenings and special content please visit www.wbawards.com

Photos: YOK Creative, Turner Johnson

Illustrator: David Le Vey

Central to the identity of the Costume Designers Guild is the iconic Adrian statuette given at the yearly awards gala. Nearly 30 years after Bvlgari minted the original, the Guild is proud to announce a renewed global partnership with the Roman jeweler, commemorating a shared Hollywood heritage. To celebrate, Bvlgari will introduce a new edition of the original statuette, which was envisioned by designer David Le Vey for the first Costume Designers Guild Awards. Le Vey was inspired by the aesthetics of the 19th-century sculptor Canova and the surrealism of Dali. He wanted to capture the feeling of the moment from the Gene Kelly/Cyd Charisse dance sequence in Singin’ in the Rain, “Broadway Melody.” The costume designed by Walter Plunkett takes on a life of its own when the fabric streamer on Charisse’s dress billows to the ceiling in the climax.

The result has stood the test of time as one of the most beautiful awards of the season. “This partnership allows us to honor creativity in its purest form, celebrating the extraordinary artists who bring imagination to life on screen. We are proud to stand alongside them, united by a shared devotion to craftsmanship, beauty, and the enduring magic of cinematic artistry,” said JeanChristophe Babin, Bvlgari CEO.

Photos: YOK Creative, Turner Johnson

Vogue World Hollywood: Cleopatra cameo. Photo: Vogue

“By connecting the legacy of Hollywood glamour with the rich color combinations, including the Polychroma High Jewelry Collection, Bvlgari’s distinctive design sensibility aligns seamlessly with our work as costume designers,” said Mark Bridges, award-winning costume designer.

THE COSTUME DESIGNER | SPRING 2026

COSTUME DESIGNERS GUILD AWARD NOMINEE

EXCELLENCE IN PERIOD TELEVISION JANIE BRYANT, cdg & GABY ACOSTA, cdg

“Some of the

MOST REMARKABLE PERIOD DETAIL

of the streaming era.”

SCAN HERE TO WATCH

Costume designer Janie Bryant breaks down the historic looks seen in “1923”.

Back to the Future: Michael J. Fox as Marty McFly Photos: Universal Pictures

SCREENING + Q&A

Deborah Lynn Scott On October 23, CDG held Movie Night at the Steven Spielberg Theater on the Universal Studios lot, hosted in partnership with the Universal Costume House. Guests saw a screening of Back to the Future followed by a Q&A with costume designer Deborah Lynn Scott. After becoming the highest-grossing film of 1985, it has gone on to become part of pop history and has woven its way into the cultural zeitgeist. 33

The Q&A was moderated by film historian Justin Humphreys. Scott shared her insights and experience creating timeless designs, characters, and stories THE COSTUME DESIGNER | SPRING 2026

on the film as well as those from her voluminous catalogue, which includes E.T. the Extra-Terrestrial, Heat, Titanic, and most recently the groundbreaking Avatar series. The evening was an opportunity to not only celebrate the work of one of CDG’s Career Achievement Award honorees, but to learn from her some of the techniques and methods she continues to use to define some of cinema’s most beloved films.

Back to the Future: Michael J. Fox as Marty McFly, Claudia Wells as Jennifer Parker, Christopher Lloyd as Dr. Emmett Brown. Photos: Universal Pictures

L to R: Anna Wyckoff, Mikael Sharafyan, Terry Ann Gordon, and the Universal team. Photos: Courtesy of Paramount Studios L to R: Deborah L. Scott and Justin Humphreys Photos: Courtesy of Paramount Studios 34

It inspired two successful sequels, video games, an animated television series, theme park rides, and even a stage musical. In 2007 it was placed on the National Film Registry at the Library of Congress.

THE COSTUME DESIGNER | SPRING 2026

Stranger Things: Millie Bobby Brown as Eleven, David Harbour as Jim Hopper, Gaten Matarazzo as Dustin Henderson, Finn Wolfhard as Mike Wheeler, Caleb McLaughlin as Lucas Sinclair, Noah Schnapp as Will Byers. Photos: Netflix Studios

Stranger Things: Millie Bobby Brown as Eleven, Finn Wolfhard as Mike Wheeler. Illustration: Gloria Young Kim Photos: Netflix Studios

STRANGER COLORS OF BENETTON For decades, film and television have influenced fashion, toys, Halloween costumes, and cosplay without costume designers profiting from their creations. “That’s changing, thanks to the massive success of social media,” notes costume designer Amy Parris for hit series Stranger Things.

“Designers are attaining more recognition for their work and studios are realizing their followers bring more viewers to the show. Netflix is excited about my limited-edition capsule collection Stranger Colors of Benetton based on our series.” 39

Parris realized she was spending hours of her own time. She reached out to Linda Kearns at Matchbook, who encouraged her to speak up about what a costume designer contributes and be compensated for her extra work. The series was in prep when the writers strike forced the show to go down. Netflix knew they wanted to have collaborations for season 5 and surmised it was a good way to compensate Parris for the extensive Zooms and meetings she had attended to help culminate a possible deal. They asked her which brand would be a good match for the show. Guess was very close to committing when Netflix’s head of collaborations mentioned that Benetton had seen their sweatshirt on “the

Stranger Things: Sadie Sink as Max Mayfield, Nell Fisher as Holly Wheeler, Priah Ferguson as Erica Sinclair Illustration: Amy Parris. Photos: Netflix Studios

Parris joined the cult, 1980s-set series on season 3. Her biggest challenge: to come up with 10 multiples for each costume owing to its ongoing theme of a parallel, dark-underworld universe with monsters, black blood, and various levels of dirty goo. An impossible feat with vintage clothing, she resorted to her in-house workroom and local manufacturers. Levi Strauss was first to step up and make multiples using 80s patterns. Then Guess invited Parris to their offices in downtown Los Angeles to go through their archives. Culling several pieces, she said, “If you can recreate these times 10, then I will put them on the show.” Quicksilver was interested in a collaboration and scheduled several meetings, but nothing came to fruition. After a while,

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Stranger Things: Caleb McLaughlin as Lucas Sinclair, Jake Connelly as Derek Turnbow, Finn Wolfhard as Mike Wheeler, Winona Ryder as Joyce Byers, Calista Craig as Mary, Sadie Sink as Max Mayfield Photos: Netflix Studios

cute girl” in season 4 and were excited for a collaboration as part of their brand relaunch strategy for the European market. Even before a contract was signed, Benetton flew Parris to their headquarters in Treviso, Italy, to peruse their archives. “Being in the their archives was like looking through decades of creativity and originality. Benetton has been a leader in diversity and inclusion throughout the years, and it was so impressive to see their bold and bright colors in one place.” They offered the use of any of her chosen looks to be on camera, but the need for multiples made that undoable. They were able to recreate pieces, but not in time for filming. The three costumes Parris specifically designed for her principal actors were created in-house, and then Benetton made exact replicas for the collection. To recreate the knitwear, Parris used a company which has computerized knitting machines that can accomplish a fast turnaround and they recreated their own pieces to use on the show. 43

Illustration: Phillip Boutté Jr 44

THE COSTUME DESIGNER | SPRING 2026

help choose.” They ended up with a season of clothes that were a collaboration in color as well as style. Approvals over, Parris requested to be a fly on the wall during a Benetton/Netflix meeting. A graduate in fashion and merchandising, she found the experience invaluable. A wonderful surprise was a discussion of special-edition tags displaying Amy Parris’s signature for the Stranger Colors of Benetton capsule. “I felt so grateful for the experience. It resonates authenticity to have a costume designer’s fingerprint on the collection. Brands and studios are noticing shows have a following. Vewers get invested in their franchises. It’s a win-win.”

Stranger Things: Priah Ferguson as Erica Sinclair. Photos: Netflix Studios

The revival vintage Benetton collection includes women’s wear, menswear, and kids’ wear based off of their original archives. The silhouettes are basically the same, but reinterpreted for a modern customer. “I was so excited when they brought me to Italy a second time to approve samples. They meticulously matched the colors of my designs to be screen accurate, and the pieces from their reimagined archive were in colors that I was able to

Odessa A’zion as Tallulah Stiel, Jordon Firstman as Charlie. Photos: HBO Max

I Love LA: True Whitaker as Alani Marcus, Rachel Sennott as Maia Simsbury, Josh Hutcherson as Dylan,

A conversat designer Ch

THE COSTUME DESIGNER | SPRING 2026

By Gary V. Foss and Anna Wyckoff

tion with costu m hristina Flanne e ry CDG

Let’s talk about the two main characters as foils and how you contrasted them with each other.

One thing that was important to me and creator and star Rachel Sennott was to make the show’s fashion feel elevated, but still attainable and not alienate people. Maia is a transplant. We wanted to gravitate toward that 90s vibe, and her palette was pastel aspirational. Tallulah has a gritty, almost anarchist look.

CDG

This show is about LA. What was your research like? Did you run around town snapping photos of the local wildlife?

My best friend is a born-and-raised LA influencer, so I took cues from her for True Whitaker’s character and splashes of others. Josh Hutcherson and I saw his character, Dylan, in that blue chore jacket that you see on everyone at farmers’ markets in LA. What’s fun about the show is that it’s relevant to what you see at Trader Joe’s in Silver Lake. Then True represents more of that Calabasas generational wealth.

I Love LA: True Whitaker as Alani Marcus, Rachel Sennott as Maia Simsbury, Josh Hutcherson as Dylan, Odessa A’zion as Tallulah Stiel, Jordon Firstman as Charlie Photos: HBO Max

o th a t R io t t in p a t o t d e nt a w y ll a e “I r l pu n k. S om e of th e s t u ff th a t w e’ r ee G rr m y l a n d th A of t ou g in m co ’s t a th g s e e in a na r ch is t . ” ol co is th s, e l d I e th s, er ff S ni CDG

Let’s talk about Rachel and your rapport. I mean, obviously, she’s hands-on. Do you riff with her? What is your process?

LA is so small, and the film industry is smaller. People were always like, you and Rachel should connect. From the interview, we were in love. Rachel is a fashion girl herself, so she was so excited. She’s so funny. She messaged me the other day and just sent me a TikTok video and was like, “The girlies are eating up the costumes.”

CDG

We have to talk about Charlie’s jackets, especially in episode two, since his (Jordan Firstman’s) costume becomes part of the plot.

I love that Acne jacket. It has such beautiful textures. Charlie has so many insane iconic jackets in the show. But as we all know, it’s TV. We’re not doing a runway show. There are financial limitations. It’s a matter of getting out there to some of these designers and begging them to take a risk. 49

I Love LA: Ayo Edebiri as Mimi Rush, Rachel Sennott as Maia Simsbury. Photos: HBO Max

achel R d an e m to t an rt po im s wa One thing that ed, but at ev el n io sh fa el fe ow sh e th was to make ople. pe te na ie al t no d an e bl na ai still att

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THE COSTUME DESIGNER | SPRING 2026

”

CDG

Can you give us a clue about how the characters develop toward the end of the season? We start with Maia in that collar, the suit, and skirt, and where does she land?

In the beginning, Maia’s more put-together. She has little vintage Marc Jacobs shirt and vintage 1960s bullet bra on. As we transition, she blows everything up and wants to completely go in a different direction. She turns a bit into Tallulah. By the finale, her costuming is a tap on Carrie Bradshaw. In the end, it goes really high fashion.

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L A S T

Cleopatra: Elizabeth Taylor as Cleopatra. CD: Irene Sharaff. Photo: Getty Images

L O O K S

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Born in France and trained at haute couture embroidery house Maison Lesage, master embroiderer and beading designer Paule Drissi’s magical fingers found their way to Hollywood. At 20 she immigrated to the United States with her husband and two boys. Their journey began in New York, and after a short stint in Omaha, she settled in California. A job at J.W. Robinson’s downtown store led to costume designer Helen Rose recognizing her talents and recommending her to Paris Embroidery.

Hello, Dolly!: Barbra Streisand as Dolly Levi. CD: Irene Sharaff Photo: 20th Century Fox

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Drissi became a beloved part of the costume community, bringing her signature blond bangs and warm smile to many Guild events.

She collaborated with almost every legendary designer of her time, including Edith Head, Theoni V. Aldredge, Theodora Van Runkle, Irene Sharaff, Joe I. Tomkins, Wayne A. Finkelman, Ret Turner, Bob Mackie, and Jean Louis. With Jean-Pierre Dorléac, she worked on Somewhere in Time. For Deborah Lynn Scott, Drissi created all the beading for Titanic’s Oscar-winning costumes. But her talents weren’t limited to gowns. Salvador Pérez utilized Drissi’s exquisite hand subtly in chic dresses for The Mindy Project. A point of pride was her work for LA couturier James Galanos, including a gown for first lady Nancy Reagan.

Titanic. Illustration: David Le Vey. CD: DeborahLynn Scott

The Mindy Project: Mindy Kaling as Mindy Lahiri. Photo courtesy of Salvador Pérez

-PauleDrissi

All That Jazz: Ann Reinking as Kate Jagger CD: Alberty Wolsky. Photos: 20th Century Fox

Shortly thereafter she was hired by costume design legend Irene Sharaff, who secured her a Local 705 membership with the first “head beader” title. Her film career officially launched with the most expensive dress to date—the shimmering golden dress of Sharaff’s Hello Dolly, which Drissi covered with 14K gold thread, jewels, and Swarovski crystals.

Kate Winslet

THE COSTUME DESIGNER | SPRING 2026

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