CD Magazine, Summer 2025 (Costume Designers Guild)
PAUL TAZEWELL & JANELLE MONÁE
Marylin Fitoussi
Chloé Bartonio, Herehau Ragonneau
FEATURED
The Leopard: Carlo Poggioli
CDGA Winners & Honorees
White Lotus: Alex Bovaird
The Last of Us: Dressed to Survive
Color as Character
Oscar Winner: Paul Tazewell
CDGA Members: A Photo Essay
IN FOCUS
Ruby Slippers 55
The Last of Us
: Bella Ramsey as Ellie.
Photos: Warner Bros.
The Leopard : Kim Rossi Stuart as Don Fabrizio Corbera.
Photo: Netflix.
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 Perez 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
Jon Kopaloff, Getty Images
& Creative Director
Anna Wyckoff Associate Editor
Bonnie Nipar
William Goodman
Turner Johnson Creative Director
Spencer Williams Contributor Contributor
Gary Victor Foss Managing Editor
Allana Johnson Creative Director
Spring brings the hope of rebuilding and renewal. We look forward to exactly that. So many of our colleagues and members have suffered huge losses from the devastating fires and loss of work. But we are resilient and will persevere.
Our community must always see things creatively and outside the box. We are PRODUCTION. We know how to make a lot out of little. These are times for creative problem-solving. As we continue to support each other, it’s important to keep an open mind and stay positive.
Invited to attend the Vogue World press release at the Chateau Marmont in April, our members and colleagues were overwhelmed by team Vogue’s generosity and their plans for the October 26 LA Vogue World to support our industry fire relief funds. We look forward to this amazing and inspirational event led by Vogue’s inimitable Anna Wintour.
Though the impact of the fires remains at the forefront of our thoughts, we continue supporting our successful member events: The Autry conversation with Kevin Costner and Lisa Lovaas, Movie Night with Daniel Orlandi, the new members “Made in LA” event held at ISW, IATSE’s ongoing Keep California Rolling tax incentive campaign, and our ongoing ACD and half-hour Pay Equity campaigns preparing for the next contract negotiations. We are busy! Please take a moment to fill out the surveys coming your way. We can only represent you if we hear from you.
The loss of work continues to wreak havoc on everyone. Your letters to Sacramento and your representatives are essential for the tax incentive increase. The legislature needs to hear from everyone affected by this loss—not just those of us in the industry, but the communities and businesses relying on our business and support. Reach out and invite them to join the process. “Be the change you want to see.”
Please understand that your Guild is constantly working to benefit all of our members. With a small staff and our volunteer executive board, committees, and chairs, everyone is committed to our members’ success, education, and welfare.
Stay connected, involved, vibrant, kind, and considerate.
Terry Ann Gordon
Terry Ann Gordon tgordon@cdgia.com
Photo: Kelly Serfoss
Since 1912, Western has been a vital force in bringing characters to life and transforming creative visions into vibrant realities. We serve as a central resource for costume designers, costumers, and stylists, offering a wide selection of garments and accessories. Whether you are working on a film, television show, theater production, or fashion editorial, our warehouse has everything you need. As the largest costume house in the United States, our all-in-one facility not only provides an incredible array of costumes and made-to-order workrooms, but also offers comprehensive support for the entire costuming process, ensuring smooth operations from prep to wrap.
Palm Royale: Kristen Wiig as Maxine Simmons.
Photo: Apple TV+.CD: Alix Friedberg
Top Gun: Maverick : Tom Cruise as Pete Mitchell.
Photo: Paramount Pictures CD: Marlene Stewart
For 27 years the Costume Designers Guild Awards has been a celebration of artistry, craftsmanship, and innovation. Unlike many industry awards shows, this one is unique. It isn’t hosted by a corporation or a studio. It’s hosted by a union—a collective of artists who believe that creativity deserves respect, that labor deserves dignity, and that no one in this industry should stand alone.
I have been a proud union member for over 20 years, and I know firsthand that being part of a union means more than just collective bargaining. It means recognizing that our work, our passion, is not just valuable, but vital. It means fighting for fair wages, safe working conditions, and the acknowledgment that costume design is an essential part of storytelling. It also means knowing that when challenges arise, we do not stand alone. We stand together.
This past year, that solidarity took on a new meaning. As devastating wildfires swept through Los Angeles, entertainment unions across the industry stepped up. The CDG, along with sister locals in the IATSE, Teamsters, Basic Crafts, SAG-AFTRA, DGA, PGA, and WGA, came together to support victims, provide aid, and remind our community that no one is forgotten in a time of crisis. Being in a union isn’t just about contracts and negotiations; it’s about people. It’s about standing for one another when it matters most.
This is only possible with leadership that fights for workers every day. IATSE International President Matthew Loeb and Vice President Michael Miller continue to push for the rights, protections, and recognition that every industry worker deserves. Their dedication strengthens not only union members but the entire entertainment landscape.
When we celebrate the extraordinary artistry of costume design, we also celebrate the power of unity. The CDGA, this community, and this industry are stronger because unions believe in championing their own. For decades, the CDG IATSE Local 892 has proven that a union doesn’t just protect workers—it elevates them.
In solidarity,
Brigitta Romanov
Brigitta
bromanav@cdgia.com
Romanov
Photo: Stephanie Romanov
KEEP CALIFORNIA ROLLING
The Keep California Rolling campaign is making great strides as we push forward to improve our Film and Television Jobs Program. On April 29, 2025, #AB1138 passed the Assembly Rev and Tax Committee with a strong vote, moving on to Appropriations. This bill aims to boost credit allocations, expand funding flexibility, and better support indie productions. In Los Angeles, we saw a win with a motion from Councilmember Adrin Nazarian, which passed unanimously to make filming in the city easier by speeding up permits and cutting fees. We’re now looking ahead to the May Revise budget, expected around May 14, to see if our efforts are reflected in the state budget. If the expansion is included, the improvement will begin in July. If it’s not, the vote will happen sometime in early September. Thanks to the support of our members, nearly 200,000 letters were sent to lawmakers, showing our collective power. While we don’t have hearings scheduled for May, June will be a crucial month for keeping the momentum going. Let’s continue to push for a thriving California film industry. Keep California Rolling!
“Pushed by the same wind, with the same kind of movement. I thought sometimes that they were flying.They were really like but terflies.That was very emotional for me.I will never forget.“
BY ANNA WYCKOFF
Full disclosure: when his granddaughter Valentina and costume designer Andrea Sorrentino started the Piero Tosi fan club, I was the first member. Luchino Visconti’s quintessential film adaptation of the novel TheLeopardby Giuseppe Tomasi di Lampedusa with maestro Tosi’s exquisite costumes is part of what pivoted me from fashion design to costume. Years ago, when rounding a corner in
Tirelli in Rome, I encountered Angelica’s white ruffled gown on a mannequin. Famously worn by Claudia Cardinale in the film, I immediately teared up thinking of the scene. When Netflix announced their reboot for the small screen, I was skeptical but curious. Why tinker with a masterpiece? But when I discovered Carlo Poggioli was designing the series, I became obsessed.
Photo: Courtesy of Anna Wyckoff
Among his mentors, Poggioli counts both the legendary Ann Roth as well as Tosi. When asked what it was like to walk in Tosi’s footsteps, Poggioli chuckles. His first reaction was to decline. It took several days of deliberation and discussion with friends and colleagues before Poggioli realized he could bring something
unique to a story that the current generation has not seen. He explained, “The beauty for Visconti and Piero was perfection.” For Poggioli, beauty would be rooted in realism.
The Leopard : Saul Nanni as Tancredi Falconeri ,Benedetta Porcaroli as Concetta Corbera of Salina, Deva Cassel as Angelica Sedara.
Photo: Netflix.
Illustrations: Carlo Poggioli
This series unfolds over six episodes exploring the book in a way the film could not. Scenes in Sicily are drenched in honeyed light and pervasive heat. The world of TheLeopard is best understood through the eyes of its namesake, Don Fabrizio Corbera, the Prince of Salina, Duke of Querceta, and Marquis of Donnafugata (Kim Rossi Stuart). The prince embodies the decadence of Sicilian aristocracy facing its inevitable obsolescence. Refinement defines his character and reinforces the caste system that orbits him. Poggioli preserves Don Fabrizio’s meticulous formalism and tradition from his three-piece suits to his impeccable hunting attire. Based on research in collections like the Museum
Raffaello Piraino in Palermo, Poggioli had the prince’s garments tailored in linens rather than wools. He loosened the prince’s collar to make him comfortable in his elegance. His waistcoats are often in subtle contrast, his hats cocked on a jaunty angle, and his neckwear sumptuous. The prince’s power is expressed through his constancy and refusal to make concessions in his clothing.
TheLeopard: Kim Rossi Stuart as Don Fabrizio Corbera. Photo: Netflix. Illustrations: Carlo Poggioli
Cool versus hot, controlled versus emotional, Concetta versus Angelica. Both love the same man, the prince’s adored nephew Tancredi Falconari. For Concetta (Benedetta Porcaroli), the prince’s favorite daughter, Poggioli uses delicate hues, fine details, and modest silhouettes to demonstrate her timidity and patrician bearing. Even in a nun’s habit, she is quietly refined. In contrast, Angelica (Deva Cassel) is defined by color. From the moment she appears she commands attention in bright hues of red or rose. For Poggioli, she represents the rise of the bourgeois. Her dresses strategically slip from
her shoulders. She is voluptuous and sensual. Even the prince falls under her spell.
In the series, Concetta is developed into a fully realized character with the largest emotional arc. The show closes with her in a dark formal riding habit, astride a horse, carrying a hunting crop. We see that Poggioli has chosen to place atop her head the traditional top hat with a long veil. In that moment as she gallops out of frame, one realizes that she has taken up the mantle of her father and has become The Leopard.
The Leopard : Benedetta Porcaroli as Concetta Corbera of Salina, Deva Cassel as Angelica Sedara.
Photo: Netflix.
Illustrations: Carlo Poggioli
Tancredi Falconeri (Saul Nanni) is the moon to the Prince of Salina’s sun. Aristocratic and revolutionary, he has a foot in both worlds. With the family, he dons well-cut suits, but publicly he represents the new man, wearing the red shirt of the Garibaldini (soldiers). While Don Fabrizio tries to help him navigate politics, Tancredi is more comfortable in the changing landscape than his uncle is. He speaks the most famous line of the novel and series, “If we want things to stay as they are, things will have to change.”
Angelica’s father and Tancredi’s father-in-law, Don Calogero Sedara (Francesco Colella) represents the rising middle class. Although he has accumulated vast wealth and his influence is growing, he is blind to the subtleties of noble customs and often wears incorrect garments that fit poorly. This adds a comic quality to his character, which belies his merciless ambition.
The Leopard : Saul Nanni as Tancredi Falconeri. Photo: Netflix.
Illustrations: Carlo Poggioli
OUTSTANDING DRAMA SERIES OUTSTANDING PERIOD COSTUMES
John Glaser
Dougie Hawkes • George Sayer • Anthony Brookman
“An ode to the POWERFUL EFFECT of styling.” IGN
Amanda M c Laughlin • Pascha Hanaway FROM SHONDALAND
“A COLORFUL DREAM.
The costumes are absolutely stunning works of art and character studies.” THE WRAP
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*
Throughout the series, thousands of background actors fill the locations, playing family members, priests, peasants, and around 8,000 soldiers. Period clothing and even stock from previous films was too small in size to be usable. Poggioli and his team constructed the bulk of what is on screen. He marshaled an army to costume an army, enlisting costume shops, tailors, milliners, embroiderers, and dyers. To make the Sicilian heat palpable, each piece had to be carefully considered, dyed, painted, and aged. Every soldier has a personality and every priest a purpose.
Poggioli notes that in the Visconti film, the embroidered fabrics were scarce and were made in a convent. The costumes are substantial and weighty.
For the Netflix series, he was fortunate to find a resource in France that embroidered the fabrics “exactly with my drawings, with my flowers, with my colors.” As a result, he ordered the miles and miles of textiles required. To lighten the garments, he reworked the petticoats in favor of something more traditional, abolishing the metal bands so the actors were able to move and dance with ease. The ballroom scene is a painting come to life. Poggioli’s costumes are in concert with the decadent architecture of the salon in the palace. When the guests dance, it is as though they are “pushed by the same wind, with the same kind of movement. I thought sometimes that they were flying. They were really like butterflies. That was very emotional for me. I will never forget.”
Salvador Pérez
Paul Tazewell & Jenny Beavan
Janelle Monáe
John Waters
TuriniShiona
Kathleen Felix-Hager
Jackie Tohn
CarlosRosario
EXCELLENCE IN SHORT FORM DESIGN
Chapter 1: “Launderette” reimagined with Beyoncé: Levi’s
ACD: Erica Rice
EXCELLENCE IN CONTEMPORARY
EXCELLENCE IN PERIOD
EXCELLENCE IN CONTEMPORARY TELEVISION
EXCELLENCE IN PERIOD
EXCELLENCE IN VARIETY, REALITY-COMPETITION,
LIVE TELEVISION THE MASKED SINGER –WHO CAN IT BE NOW?
ACD: Arleen Flores & Allison Choi Braun
EXCELLENCE IN COSTUME ILLUSTRATION
Linda Muir
Bojana Nikitovic´
Morris,SarahPak,ArianaMarciano
Quinta Brunson
Daniel Selon & Kathryn Hahn
Colman Domingo
Zoe Saldaña & Jacques Audiard
MindyKaling
LizzieBrandt , KristaFox, Jina Lim , Amber
TerryGordon
Outstanding
Outstanding
Negar
“One of the best shows of the year.”
INDIEWIRE
Multiple options for wearing as a scarf, headpiece, or beach cover-up.
Viewers are obsessed with the fashion-forward social satire in HBO’s The White Lotus. After garnering two Emmy nominations for the series, costume designer Alex Bovaird has recently, in the words of famed style journal WWD, touched many brands with “TheWhiteLotusmagic” this season. Among the offerings was a casualluxury capsule that Bovaird created for H&M, based on the show’s season three personalities. Imbued with the luscious colors and textures of Thailand jungles, her line evokes breezy, tropical vibes that pine for a piña colada.
Film and television have always had a significant influence on fashion. It’s been proven that collections inspired by a show have higher sales when designed by the costume designer, and even more so if the pieces are worn by a character on screen. “We have value in these collaborations. The collection is more authentic, more in line with the design of the show, and thus more successful,” says Bovaird.
Warner Bros. Discovery approached Ann-Sophie Johnson, H&M’s creative advisor, to ask if the brand would like to collaborate with Bovaird. “We jumped at it because we thought, ‘Who doesn’t love TheWhiteLotus?’ To do a collection together is to tap into a cultural moment. Also, it meant we could create a glamorous and dreamy resort collection,” says Johnson. Since Warner Bros. and H&M have an ongoing licensing deal, they were interested in involving the costume designer, but on a completely separate contract. Bovaird says, “Linda Kearns of Matchbook helped make that happen. She has a history of supporting costume designers and sees the value in getting us involved with the brand deals.”
Bovaird worked closely with H&M’s creative department, Studio Labs, who handled all the product development, sampling, and manufacturing. “We spent hours in back-and-forth meetings and approvals, but with H&M in Stockholm and me in Thailand, the time difference never interfered with the show. It just made for very long days.” To distill the collection down to 25 cohesive pieces, some dresses had to be omitted.
Crochet look viscose with glittery thread for a subtle shimmer.
Playful paper straw pom pom and ball beads at the junction of straps.
Extra wide brim with a perforated section enhances the beachy macrame look.
“Even though the team had a master plan with merchandising, they always listened to what I had to say and were respectful of my opinions when it came to chopping them,” she chuckles.
Bovaird compares designing a show to playing Tetris, making sure all the blocks fall into place perfectly. “There are so many factors spinning around in costume, from everyone’s opinion to what the scene requires to last minute casting or the script changing. Whereas the retail collection is just starting from ‘What do we want to do? And let’s do it!’ There’s a freedom in fashion that’s more a pure exercise as opposed to the complex dynamics of a fitting room.”
Instead of marketing clothing with White Lotus logos, Bovaird felt viewers would want to look like the characters they love.
“There’s a trio of friends we fondly referred to as ‘the ladies’ who are a little more flamboyant and colorful. Their playful spirits influenced much of the line, bearing in mind some clients are a little bit older.”
Jet-setting style at affordable pricing included light, airy garments that could go from a day by the pool to cocktails at night. Bovaird pictures fans stepping out in bikini tops worn with ruffled pants and oversized shirts, baby-doll minis, or a maxi sundress with midriff cutouts. This is paired with an oversized scarf that can be worn as a sarong knotted behind the neck to become a halter, or tied around the head for a stylish bad-hair reprieve. Inspired by Bovaird’s favorite era, the line has the rock ’n’ roll energy of the ’60s and ’70s on vacation. “That’s when travelers still dressed up in something smart for their holiday. I always envisioned designing a line I would call, ‘What’s in My Suitcase?’ I believe this capsule fits that dream. It’s mostly interchangeable, so you can pack fewer pieces into one bag—perfect for a sunny, tropical vacay.”
TheWhiteLotusH&M Inspiration Collection: Photos Courtesy of H&M.
Michelle Monaghan as Jaclyn. Photo: Warner Bros.
Gilbert Moussally Western Costume President & CEO
Embedded in every costume designer and costumer is the thrill of the hunt for the piece that evokes a certain character. Imagine a room full of those perfect garments. As pristine vintage becomes increasingly scarce, Western Costume is thrilled to announce the recent acquisition of the renowned Early Halloween collection. President Gilbert Moussally describes his excitement when he recognized the caliber of the clothing, “Going through the stock, I realized it’s all manicured. It’s all in amazing condition. A lot of pieces people out here have not seen. And I thought, ‘We need this for Western.’” This investment will replace the current stock in The Collection, which is being deaccessioned; items that were once reserved exclusively for principals in The Collection will now be available in general stock, making space for the treasure trove that is Early Halloween.
Photo by YOK
Creative;
Photographer: Turner Johnson.
Styled by: Nina Rocklin
“You are always on the lookout for something.But when you discover something like this, it’s a legacy, and it will continue at Western Costume.“ Gilbert Moussally
From flawless Geoffrey Beene suits to chiffon gowns covered with 1920s seed beads and hand-knotted silk fringe, gilded passementerie-edged coats, or
the paillettes dangling from the corners of deadstock 1970s capes—to appreciate these details you will need to see them for yourself.
Photo by YOK
Creative; Photographer: Turner Johnson.
Styled by: Nina Rocklin.
The Last of Us
: Bella Ramsey as Ellie, Pedro Pascal as Joel Miller, Gabriel Luna as Tommy.
Photos: Warner Bros. Illustraion: Imogene Chayes
BY WILLIAM GOODMAN
Ann Foley is no stranger to a big project. Having worked on a slew of splashy intellectual properties like She-Hulk:AttorneyatLaw, Godzillavs.Kong, and TheSpiderwickChronicles, she’s experienced at bringing established worlds to new life with quality realism and authenticity. “I was a huge fan of season one even before I was asked to do season two.” Picking up HBO’s smash series from Cynthia Ann Summers’ Emmy-nominated first season, The Last of Us might be her biggest project to date.
Adapted from the best-selling PlayStation game of the same name, TheLast ofUspicks up five years after the first season, as Joel (Pedro Pascal) and Ellie (Bella Ramsey) settle into a more domesticated life in Jackson, Wyoming. While the postapocalyptic nature of the Cordyceps fungus is still present, denizens of Wyoming have found a way to make things work, surviving and even living a relatively normal life. Family, like Joel’s brother Tommy (Gabriel Luna), are close by, and friends, like Dina (Isabela Merced), are welcome additions. But that peace is threatened by the presence of Abby (Kaitlyn Dever), who is on a vengeful quest to find and confront Joel.
For an already huge show, season two further expands the world, presenting all kinds of new opportunities. “I had an amazing meeting with creators Craig Mazin and Neil Druckmann,” Foley states. “I connected with both of them immediately.” While she admits she’s not a big gamer, Foley sat down and watched a full playthrough of the game as part of her research, drafting a series of individual and group mood boards from what she saw. Those boards, especially the ones for the tribalistic and Luddite Seraphites, are what interested Mazin and Druckmann the most. “They create their own world,” she says of the group. “The clothes are woven; everything is made by hand, whether it’s their weapons or their clothing. That opportunity to create all of these really organic fabrics, textures, and colors—it was so much fun.”
The result was a massive effort, with over 2,000 fittings and just under a thousand garments made. Foley states it was “probably one of the largest crews” she’s worked with, topping out at 64. “It takes a village to create these shows,” she proudly says. “My team was one of the best I’ve ever had the honor of working with. They all brought their A game and I will always be grateful to them for that. You can see it on screen.”
In early scenes, the likely sartorial standout for many will be Tommy (Gabriel Luna) who is introduced in a bold and bright shearling plaid jacket, complete with leather-trimmed shoulder patches. It’s not the first collaboration for Luna and Foley, as they worked together on Agents of S.H.I.E.L.D. “It was so great to see him again,” she says. “Getting to do two iconic characters for Gabe—Ghost Rider and Tommy—has been a real treat.”
The Last of Us: Bella Ramsey as Ellie, Isabela Merced as Dina, Kaitlyn Dever as Abby. Photos: Warner Bros. Illustraion: Imogene Chayes
The striking nature of Tommy’s custom-made jacket serves a thematic purpose. The relaxed domesticity the characters find themselves in is expressed in brighter hues or bolder prints. “That was something Craig and I spoke about at the beginning,” she says. “He wanted to bring more color because they’re more settled into Jackson.”
The other detail eagle-eyed viewers may notice is a direct foreshadowing of the eventual collision between Abby and Ellie, right from the very beginning. When we first see them in the premiere, they are in similar shades of blue. “I feel like Ellie and Abby are mirrors of each other in their journey,” she observes. “There was definitely intention there.” The clothing is a way to draw the two together from the start before the events put them on a direct pathway toward one another. Sharp, smart, and considered details such as this make an already engaging story even richer.
Another unexpected delight is how Foley’s work influences the real world and vice versa. Wrangler issued
a collection inspired by the second season. The first drop was released in mid-April with the tagline, “Will you be dressed to survive?” Foley outfitted Luna in a pair of Wranglers for the show, so having the work boomerang back around was a thrill. “That was really cool to see,” she says. “It’s a huge honor.”
THE TRANSFORMATIVE POWER
Of Color in Film Costumes
by Spencer Williams
Since its advent in cinema, color has shaped storytelling—guiding narratives, awakening emotion, and giving life to characters. Whether it’s the dystopic orange of Blade Runner 2049, the melancholy blues of Moonlight , or the purple opulence of Sally Bowles in Cabaret—cinematic color is a powerful tool to ground reality or evoke otherworldly fantasy. Few understand the storytelling power of color more intimately than costume designers, for whom it becomes a language for building character.
The Academy Museum of Motion Pictures’ latest exhibition, “Color in Motion: Chromatic Explorations of Cinema,” delves into the role of color in film—exploring both the science behind its creation and its emotional impact on audiences. At its heart is the “Color as Character” gallery, featuring costumes that exemplify how color becomes a defining element of character and story.
Among them is a red coat worn by Cruella DeVil (Glenn Close) in 101 Dalmations , designed by Anthony Powell and Rosemary Burrows, capturing power and desire. The green dress worn by Kim Novak in Vertigo, designed by Edith Head, evokes mystery and longing. Jamie Foxx’s “Blue Boy” suit in DjangoUnchained , designed by Sharen Davis, reflects identity and aspiration. Lastly, Elle Woods’ (Reese Witherspoon) two-piece pink suit and pillbox hat in LegallyBlonde2 , designed by Sophie De Rakoff, epitomizes femininity and liberation.
Color in the hands of costume designers continues to shape stories, moods, and meaning. Through color, the visual language speaks long after the credits roll—a reminder that sometimes the most powerful dialogue is worn, not spoken.
The exhibition is open until July 13, 2025.
Paul Tazewell made history at the Oscars by becoming the first Black man to win the prestigious award for Best Costume Design. During his heartfelt acceptance speech, Tazewell expressed his pride and gratitude for this significant milestone in his career. “I’m so proud of this moment, not just for myself, but for all those who have paved the way.”
Illustration: Sophia Johnson
Illustration: Darell Johnson
Eduardo Lucero
Jacqueline SaintAnne
Jennifer L. Bryan
Robin Richesson, David Hadlock, Oksana Nedavniaya, Phillip Boutté Jr.
Amber & Ken Morris
Kathleen Felix-Hager
Bob Mackie
Nicholas Gross & Ivy
Erinn Hayes & Bryn Carter
Salvador Pérez, Mindy Kaling, Cayman Cardiff
Julie Weiss & Rory Cunningham
Jeffrey Kurland
Daniela Gschwendtner
Maddi Carroll
Mona May
Marylin Fitoussi
BonnieNipar
LouEyrich&MandiLine
Christopher Metzger
Alex Ficquette
JennyBeavan
MekelBailey
IN 2017, I DIDN’T THINK ABOUT IT. Fire! And devastation. A ll the amazing roles of a lifetime would never have prepared me for this. Taxi D river, Mean Streets, The Silence of the Lambs. I'd lived the highs of a great career under the lights. Yet nothing held a candle to ever ything—past, present and future—consumed in a flash. When a wild fire set my life ablaze, I didn't think about how ruin is something no one plans. That day taught me newfound respect for love, compassion, caring, and the incalculable need for an organization like MPTF.
Caring is Infinite, since 1921
In the quest for the closeup, sometimes shoes don’t make the cut, but a few rarified examples transcend the screen. The legendary ruby slippers from The Wizard of Oz are perhaps the most powerful example of film memorabilia, symbolizing the power of movies and costume design, as well as nostalgia and, ultimately, hope. Cementing this legacy is the recent sale of one pair in December of 2024 by Heritage Auctions for an otherworldly $32.5 million.
Only four pairs used on screen have survived the decades since. In 2011 a pair was purchased by Leonardo DiCaprio and Steven Spielberg for $2.2 million, and donated to the Motion Picture Academy, where they are currently on display. Another pair is in private hands and likely will not reach the market any time soon. A third, dubbed “The People’s Shoes” is the centerpiece of the Icons of American Culture exhibition at the Smithsonian’s National Museum of American History. The recently auctioned slippers are marked on the inside lining “#7 Judy Garland.” Scuffs indicate they were the pair she wore to click her heels and send Dorothy back to Kansas.
When Gilbert Adrian designed the original shoes, they were just an element of the thousand custom-made costumes in the show. The slippers are part of the shared history of the Costume Designers Guild and Western Costume. In 1938 master shoemaker Joe Napoli transformed white pumps purchased from the Innes Shoe Company by dyeing the silk and hand applying over 2,300 sequins to each slipper. No one could have predicted that they would become a cultural touchstone.
