CD Magazine, Summer 2025 (Costume Designers Guild)

DRESSED TO SURVIVE

PAUL TAZEWELL & JANELLE MONÁE

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TO WATCH THESE PROGRAMS AND MORE, VISIT: www.PeacockFYC.com Passcode: PeacockFYC2025

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F O R Y O U R E M M Y® C O N S I D E R A T I O N

OUTSTANDING CONTEMPORARY COSTUMES Marylin Fitoussi Chloé Bartonio, Herehau Ragonneau

FYC.NETFLIX.COM

Volume 20 Issue 3 | Summer 2025

FEATURED

12 President

16 The Leopard: Carlo Poggioli

15 Union Matters

30 White Lotus: Alex Bovaird

14 Executive Director

24 CDGA Winners & Honorees

IN FOCUS

55 Ruby Slippers

38 The Last of Us: Dressed

to Survive

44 Color as Character

46 Oscar Winner: Paul Tazewell

48 CDGA Members: A Photo Essay

The Last of Us: Bella Ramsey as Ellie. Photos: Warner Bros.

The Leopard: Kim Rossi Stuart as Don Fabrizio Corbera. Photo: Netflix.

UNION

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COMMUNICATIONS & CREATIVE DIRECTOR

COSTUME ILLUSTRATOR REPRESENTATIVE

CREATIVE DIRECTORS

LABOR REPRESENTATIVE

Anna Wyckoff awyckoff@cdgia.com

Allana Johnson allana@yokcreative.com

Turner Johnson turner@yokcreative.com

Oksana Nedavniaya onedavniay@cdgia.com Dana Woods dwoods@cdgia.com

BOARD ALTERNATES

MANAGING EDITOR

Michelle R. Cole mcole@cdgia.com

ASSOCIATE EDITOR

Daniel Selon dselon@cdgia.com

Gary Victor Foss garyvictorfoss@gmail.com 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

Julie Weiss jweiss@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

Nancy Steiner nsteiner@cdgia.com

ACD REPRESENTATIVE

David Matwijkow dmatwijkow@cdgia.com

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THE COSTUME DESIGNER | SUMMER 2025

Anna Wyckoff

Communications & Creative Director

Gary Victor Foss Managing Editor

William Goodman Contributor

Bonnie Nipar

Associate Editor

Allana Johnson Creative Director

Turner Johnson

Creative Director

Spencer Williams Contributor

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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.

n o d r o G n n A Terry

Photo: Kelly Serfoss

Terry Ann Gordon tgordon@cdgia.com

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THE COSTUME DESIGNER | SUMMER 2025

Top Gun: Maverick: Tom Cruise as Pete Mitchell.

Photo: Paramount Pictures CD: Marlene Stewart

The Bikeriders: Austin Butler as Benny.

Photo: Focus Features. CD: Erin Benach

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.

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Palm Royale: Kristen Wiig as Maxine Simmons.

Photo: Apple TV+.CD: Alix Friedberg

The Color Purple: Fantasia Barrino as Celie.

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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,

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.

v o n a m o R a tt Brigi In solidarity,

Photo: Stephanie Romanov

Brigitta Romanov bromanav@cdgia.com

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THE COSTUME DESIGNER | SUMMER 2025

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!

In solidarity,

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Wyckoff rtesy of Anna Photo: Cou

The Leopard: Kim Rossi Stuart as Don Fabrizio Corbera. Photo: Netflix.

Illustrations: Carlo Poggioli 16

“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 The Leopard by 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

THE COSTUME DESIGNER | SUMMER 2025

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.

The Leopard: Saul Nanni as Tancredi Falconeri ,Benedetta Porcaroli as Concetta Corbera of Salina, Deva Cassel as Angelica Sedara. Photo: Netflix. Illustrations: Carlo Poggioli

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.

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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 The Leopard 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.

The Leopard: Kim Rossi Stuart as Don Fabrizio Corbera. Photo: Netflix.

Illustrations: Carlo Poggioli 18

THE COSTUME DESIGNER | SUMMER 2025

The Leopard: Benedetta Porcaroli as Concetta Corbera of Salina, Deva Cassel as Angelica Sedara. 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.

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THE COSTUME DESIGNER | SUMMER 2025

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

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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.”

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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.

The Leopard: Saul Nanni as Tancredi Falconeri, Kim Rossi Stuart as Don Fabrizio Corbera, Deva Cassel as Angelica Sedara. Photo: Netflix.

Illustrations: Carlo Poggioli

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.”

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THE COSTUME DESIGNER | SUMMER 2025

The White Lotus H&M Inspiration Collection: Photos Courtesy of H&M. The White Lotus: Charlotte Le Bon as Chloe. Photo: Warner Bros.

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 “The White Lotus magic” 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 The White Lotus?’ 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.

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Extra wide brim with a perforated section enhances the beachy macramé 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.

“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.”

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.”

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.”

Instead of marketing clothing with White Lotus logos, Bovaird felt viewers would want to look like the characters they love.

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THE COSTUME DESIGNER | SUMMER 2025

The White Lotus H&M Inspiration Collection: Photos Courtesy of H&M. The White Lotus: Michelle Monaghan as Jaclyn. Photo: Warner Bros.

Gilbert Moussally Western Costume President & CEO

SPONSORED BY WESTERN COSTUME

Photo by YOK Creative; Photographer: Turner Johnson. Styled by: Nina Rocklin

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.

westerncostume.com/earlyhalloween | 818.760.0900

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 SPONSORED BY WESTERN COSTUME

the paillettes dangling from the corners of deadstock 1970s capes—to appreciate these details you will need to see them for yourself.

westerncostume.com | 818.760.0900

DisneyStudiosAwards.com © 2025 MARVEL

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: Attorney at Law, Godzilla vs. Kong, and The Spiderwick Chronicles, 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, The Last of Us picks 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.

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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.”

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THE COSTUME DESIGNER | SUMMER 2025

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 Last of Us: Bella Ramsey as Ellie, Isabela Merced as Dina, Young Mazino as Jesse.

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.

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.”

Another unexpected delight is how Foley’s work influences the real world and vice versa. Wrangler issued 43

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.

Photo: Courtesy of Academy of Motion Picture Arts and Sciences

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.

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THE COSTUME DESIGNER | SUMMER 2025

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 Django Unchained, designed by Sharen Davis, reflects identity and aspiration. Lastly, Elle Woods’ (Reese Witherspoon) two-piece pink suit and pillbox hat in Legally Blonde 2, 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.

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Illustration: Sophia Johnson

THE FIRST BLACK MAN TO WIN THE ACADEMY AWARD FOR BEST COSTUME DESIGN 46

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.”

THE COSTUME DESIGNER | SUMMMER 2025

Illustration: Darell Johnson

Jennifer L. Bryan

Eduardo Lucero

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THE COSTUME DESIGNER | SUMMER 2025

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Kathleen Felix-Hager

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Robin Richesson, David Hadlock, Oksana Nedavniaya, Phillip Boutté Jr.

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Bob Mackie

THE COSTUME DESIGNER | SUMMER 2025

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Salvador Pérez, Mindy Kaling, Cayman Cardiff

Erinn Hayes & Bryn Carter

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THE COSTUME DESIGNER | SUMMER 2025

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IN 2017, I DIDN’T THINK ABOUT IT.

Fire! And devastation.

All the amazing roles of a lifetime would never have prepared me for this. Taxi Driver, 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 everything—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

Read more about Harry E. Northup’s story and find out how you can help ensure the safety net for the entertainment industry for the next 100 years at MPTF.com

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.

Photos courtesy of Heritage Auctions

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.

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Gone With the Wind (MGM, 1939), Walter Plunkett Costume Sketch of Vivien Leigh as “Scarlett O’Hara” in Negligee and Fur-Trimmed Purple Robe

HA.com/Entertainment ALWAYS SEEKING QUALITY CONSIGNMENTS

INQUIRIES: 877-HERITAGE (437-4824) Joe Maddalena | Ext. 1511 | JMaddalena@HA.com Brian Chanes | Ext. 1338 | BChanes@HA.com Paul R. Minshull #16591. BP 15-25%; see HA.com 85313