CD Magazine, Fall/Winter 2024 (Costume Designers Guild) by Moon Tide Media

Rebel MOON

NAPOLEON

Dressing CHAMPION OF FASHION

Hal Rubenstein

THE COSTUME DESIGNERS GUILD LOCAL 892

Kairo Courts

WINTER 2024

ELLEN MIROJNICK

A FILM BY CHRISTOPHER NOLAN

G O TO W W W. E X P E R I E N C E O P P E N H E I M E R .C O M F O R M O R E

FOR YOUR CONS I D ERATION IN A LL CATEGORIES INCLUDING

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“A VISIONARY

CINEMATIC ACHIEVEMENT – BRIGHT, BEAUTIFUL, BOLD, AND CREATIVE.” THE GLOBE AND MAIL / Chandler Levack

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EMMY NOMINATIONS ®

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES

FEATURED

20 The Other Black Girl

28 Napoleon

38 Rebel Moon

Vol. 19 Issue 1

IN FOCUS 66 Last Looks: Eddie Marks

Most Stylish Shows

61 Lafayette 148

Rebel Moon: Sofia Boutella as Kora. Sky Yang as Aris·Maeve Garay as Calliope. Photos: Netflix

The Other Black Girl : Sinclair Daniel as Nella. Ashleigh Murray as Hazel-May. Photos: Hulu Napoleon: Joaquin Phoenix as Napoleon Bonaparte. Photos: Apple TV+, Columbia Pictures

UNION 14 President 17 Executive Director 18 Aasha Ramdeen: Cover Illustrator 49 Cham Clothing

56 Dressing the Part: Television’s

52 CDG Awards Schedule

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 V. 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

Kristin Ingram kingram@cdgia.com TREASURER

Nanrose Buchman nbuchman@cdgia.com EXECUTIVE BOARD Catherine Adair cadair@cdgia.com

Phillip Boutté pboutte@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

EXECUTIVE SPECIALIST Kristin Ingram kingram@cdgia.com BOOKKEEPER

Aja Davis adavis@cdgia.com

ADMINISTRATIVE ASSISTANT Natalie Gallegos ngallegos@cdgia.com PUBLISHER

Moontide www.moontide.agency ADVERTISING

Ken Rose 818.312.6880 kenrose@mac.com Elizabeth Ferris Eferris@afmla.com

Salvador Perez sperez@cdgia.com

Nancy Steiner nsteiner@cdgia.com

ACD REPRESENTATIVE

David Matwijkow dmatwijkow@cdgia.com

THE COSTUME DESIGNER | WINTER 2024

Anna Wyckoff

Communications & Creative Director

Gary Victor Foss Managing Editor

Stacy Ellen Rich Contributor

Bonnie Nipar

Associate Editor

Aasha Ramdeen Cover Illustrator

Allana Johnson Creative Director

Turner Johnson

Creative Director

It’s the season of gratitude and hope. We are grateful to return to what we do best: creating iconic costumes for great stories, grateful for WGA’s and SAG’s successful contract negotiations, hopeful for our own negotiations next summer, and of course, hopeful for peace. These are fractious times and your thoughtful voice and participation are vital. Our Guild’s negotiating teams, staff, and board are working overtime to represent you and your contract priorities. It’s essential we educate ourselves about the contracts. Please attend our informative town halls: get the info, ask the questions, make informed decisions. All members and positions are represented by outreach teams leading up to our spring negotiations. Please respond! Help us help you. Our 13 locals begin collective bargaining this spring. Solidarity and interaction are keys to our unified success. Brigitta’s second annual All In with LA area locals was a wonderful evening of camaraderie and some much-needed fun. A great time was had by all for a great cause! CDG committees continue to inspire! Working nonstop for the common good, Marketing continues deep dives into IP, deal memos, and branding issues, while Pay Equity continues to escalate the pay parity and equity campaigns. A brief pop-up merch store supported the #nakedwithoutus campaign. I hope you got your T-shirts, pins, and hoodies! Please continue reporting production promotion credit oversights. Your alerts help promote our public awareness campaigns and create essential publicity. It takes a village. Celebrating at our annual holiday party reminds us of our strength as a community moving forward into a brighter new year and our need to come together and celebrate each other. We sadly observed the passing of our beloved friend, benefactor, and greatest supporter, Western Costume Company president Eddie Marks. The unforgettable memorial service held by Eddie’s family at his beloved Dodger Stadium created a true celebration of his life with devoted friends and family. Eddie was always there for us, our productions, and needs. We are honored that Western Costume Company continued sponsoring our holiday party, where Eddie was toasted and fondly remembered. We are creating a scholarship in his name, and welcome your donations. Please make checks payable to the CDG with Eddie Marks Scholarship in the subject line. On a happy note, we’re proud to announce our talented, hardworking ACDs and Illustrators will also be recognized at this year’s CDGA. We look forward to honoring each other as an all-inclusive guild. In solidarity,

Terry Ann Gordon tgordon@cdgia.com

THE COSTUME DESIGNER | WINTER 2024

Photo: Kelly Serfoss

n o d r o G n n A Terry

Shining Vale © 2022 Warner Bros. Entertainment Inc. & Lions Gate Television Inc. All rights reserved. Minx © MMXXIII Lions Gate Television Inc. All rights reserved. Party Down © MMXXII Lions Gate Television Inc. All rights reserved. Power Book II: Ghost © MMXXII Lions Gate Television Inc. All rights reserved. Power Book IV: Force © MMXXII Lions Gate Television Inc. All rights reserved. BMF © MMXXII Lions Gate Television Inc. All rights reserved. Starz and related channels and service marks are the property of Starz Entertainment, LLC. FYC_1208434

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

STEVEN SPIELBERG, p.g.a. OPRAH WINFREY, p.g.a. SCOTT SANDERS, p.g.a. QUINCY JONES, p.g.a.

FRANCINE JAMISON-TANCHUCK

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Dear Members, The successful end of the WGA and SAG-AFTRA strikes are an example of the power of solidarity and an important testament to the value of unions. The concerns of individual locals may differ in details and goals from others in the entertainment industry, but we share a common interest in safe working conditions, health care, and just compensation for our time, effort, and the considerable talents we bring to bear. A victory for one is a collective victory for all. In the world of costume design, unionism remains the driving force behind innovation and excellence by allowing artists and their teams to execute their role with the support of the IA. As we honor our icons and celebrate contemporary talent, we are reminded that together we weave a tapestry of creativity that enriches our art, the broader labor movement, and the captivating world of entertainment. Within the following pages, we delve into the realm of costume design, shedding light on the remarkable contributions of our members. This issue is a celebration of the breadth of costume design, from the court of Napoleon to the boardrooms of the publishing industry through science fiction worlds. Last but not least, in a bittersweet moment, we remember the legendary Eddie Marks, not only the face of Western Costume but also an Emmy-winning designer who left an enduring mark on the industry. His steadfast, personal presence through the industry serves as a poignant reminder of how one person can influence the lives and inspire the work of so many. Union now, Union forever,

v o n a m o R a Brigitt Photo: Stephanie Romanov

Brigitta Romanov bromanav@cdgia.com

Cover Illustrator

Aasha Ramdeen began her creative journey on the island of Trinidad, where her upbringing was strongly influenced by a rich Caribbean culture. The island’s bright hues, bold prints, and emerging fashion industry would all later serve as profound inspiration on her art. After having received her BA in graphic design from the Edna Manley College of the Visual and Performing Arts in Kingston, Jamaica, and later an MFA in Illustration from the Savannah College of Art and Design in Savannah, Georgia, she began her design career in advertising as a graphic designer with McCann Erickson Trinidad. Ramdeen relocated to the United States, where she illustrated greeting cards for The Flavia Company in Santa Barbara, California, before eventually moving to Los Angeles to pursue her love of fashion. She is now an accessory designer and fashion illustrator with Brighton Collectibles, and part-time lecturer at the UCLA School of Theater, Film, and Television. Ramdeen is a member of the Costume Designers Guild as a costume illustrator and has been the recipient of such honors as Best of Show in Applied Arts magazine. She has also gained recognition by the Advertising Association of Trinidad and Tobago (AATT) and the Society of Illustrators of Los Angeles (SILA). In 2018 Ramdeen embraced her passion for illustration further by launching her Etsy shop AashaRamdeenDesign. It was a means of not only creating more of the art she loves, but an outlet for connecting with those who support and admire her work. Her shop offers a constant supply of new prints, as well as commissioned pieces.

Illustrations: Aasha Ramdeen for The Mindy Project, costume designer Salvador Perez

She works and resides in Los Angeles, California, with her partner, Christopher, and dog, Jack.

THE COSTUME DESIGNER | WINTER 2024

BY STACY ELLEN RICH

The Other Black Girl (Hulu) was presented to costume designer Kairo Courts as an office show. That term screams the usual suits and skirts, but in this office, the looks are anything but mundane. Mystery and plot twists shake up the status quo and ring in the avant-garde.

Coincidentally, Courts started off in publishing, at Honey magazine. She reminisces, “I remember the marketing and fashion folks were very fashionable. Everyone else in the editorial section looked just like Wagner.”

The storyline follows Nella Rogers (Sinclair Daniel), an eager editor’s assistant, who is climbing the ranks at Wagner Books, helmed by the powerful yet nonchalant CEO, Richard Wagner (Eric McCormack). As the only Black woman, Nella is frustrated with the glaring lack of color in this world. That is, until Hazel-May McCall (Ashleigh Murray) enters the scene as a new assistant whose presence and aesthetics are meant to dazzle and deceive. To set up the world, Courts commenced with the palette of the office in subtle and muted colorways. Initially, Nella is trying to be “wallpaper” and not quite succeeding. Her closet mirrors facets of other characters. She may try to be a little more like her boss, Vera (Bellamy Young), and then like her street-style bestie, Malaika (Brittany Adebumola). As we move through the plot, Nella’s color story flourishes with poppy colors as she and Hazel become friends.

I remember the marketing and fashion folks were verythe stylish. Everyone else injust like editorial section looked Wagner. 20

THECOSTUME COSTUMEDESIGNER DESIGNER || SUMMER WINTER 2024 THE 2021

Photos: Courtesy of the Marks Family

The Other Black Girl : Sinclair Daniel as Nella. Ashleigh Murray as Hazel-May. Photos: Hulu

Color also tells a secret as Courts uses pink as a throughway. “We had this brilliant idea to present pink as a warning. In the world today, pink is pretty and soft. In our world pink takes on the opposite. If anybody is wearing pink, it is to make the viewer pay attention.” Courts scouted a beautiful pink mud cloth in an African shop in Atlanta and thought it to die for. She purchased all the yardage. At the time, she had no clue where she would use it. When Hazel hosts a hair party, she’s wearing the pink mud cloth in drop-crotch pants with a kimono. The design tapped the tale of pink as harbinger and vitalized a favorite look. Diana Gordon (Garcelle Beavais) floats through a scene draped in a silk peignoir ensemble by Fe Noel that emanates pure Diahann Carroll glamor.

Courts talks a bit about her top looks. “Each character’s look was meticulously thought out. Crafting Nella’s timid, unsure-of-herself style versus Hazel’s unpredictable, funky costumes allowed me to play in what felt like a street-style Barbie’s closet against grounded and familiar office attire.” Conversely, longtime Will and Grace alum Eric McCormack said, “I do not want to look like Will!” It took a lot of rounds to get it right. The initial concept was funky plaids like he was coming off the golf

THE COSTUME 2024 COSTUME DESIGNER DESIGNER || WINTER SUMMER 2021

The Other Black Girl : Sinclair Daniel as Nella. Ashleigh Murray as Hazel-May McCall. Eric McCormack as Richard Wagnar. Photos: Hulu

Illustration: James Casey Holland

FOR YOUR CONSIDERATION

IN ALL CATEGORIES INCLUDING

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CHARLESE ANTOINETTE JONES

“The Ultimate Example of the American Dream; a funny, touching Cinderella story” Peter Debruge,

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“Irresistibly Entertaining” Tim Grierson,

“This Generation’s ‘Jerry Maguire’” Peter Debruge,

“Ben A ffleck’s Hilarious and Poignant Underdog Story Soars” Rob Dean,

WRITTEN BY

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course, but McCormack suggested, “I don’t think that’s quite right. I think he’s quirky, fashionable, and a little laid back.” The team put that insight to good use and hit the nail on the proverbial head. And then came the pants. In the finale, a certain pair of showstopping trousers by Awake Mode created a buzz on social media. The costume design is a glorious slow burn with fashion explosions set on high. Courts was thrilled to highlight quite a few Black designers including Andrea Iyamah, Diarrablu, Johnny Nelson Jewelry, Kahlana Barfield, and Sammy B. Courts says, “I always say I stand on the shoulders of my team because they are the ones that push me forward.”

THE COSTUME DESIGNER | SUMMER 2021

The Other Black Girl, Illustrations: James Casey Holland

y m of rs e ld ou sh e th on nd a st I always say I are the ones that push me team because they forward.

A T

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THE COSTUME DESIGNER | WINTER 2024

Illustrations: Lora Heath

Napoleon: Joaquin Phoenix as Napoleon Bonaparte. Vanessa Kirby as Josephine. Photos: Apple TV+, Columbia Pictures

BY GARY VICTOR FOSS AND ANNA WYCKOFF

Napoleon was an outsider who rose to heights of authority to rival any world ruler. The Corsican soldier maneuvered through the muck of some of history’s bloodiest battlefields and most powerful royal courts, using charisma and the cult of celebrity to his advantage in both arenas. When Bonaparte donned the velvet, ermine-trimmed mantle and crowned himself Emperor of France—an image captured in the dazzling Jacques-Louis David painting in the Louvre—he reached a pinnacle of glory beyond the wildest imagination of anyone except, perhaps, himself. It would be all downhill from there. The film Napoleon is costume designer Janty Yates’ 14th collaboration with director Ridley Scott. She built Rome in a few months for Gladiator, collecting an Academy Award in the process, envisioned the future in The Martian, and brought 12th century medieval religious conflict to vivid life in Kingdom of Heaven. For this latest venture, Yates partnered with co-costume designer David Crossman, who focused on the extensive military costumes. Together they accomplish a fidelity to personality, period, and realism worthy of Piero Tosi.

diadems and crowns glint w POLITICS AND PROPAGANDA Napoleon is one of the most documented historical figures, but abundant imagery and information leaves no margin for error in depiction. Yates and her team made full use of the wealth of research available. In addition to written sources, they turned to many French military and art museums.

They viewed firsthand paintings by David, his protégé Ingres, and Gérard, among many others, studying Napoleon’s strategic image, which underscored and reinforced his political ambitions. Other painters like Delaroche captured Napoleon’s brooding humanity, which dovetails perfectly into Joaquin Phoenix’s nuanced performance in the film. The challenge came to translate these indelible images into garments that allow the audience to recognize the myth and understand the man.

Napoleon: Joaquin Phoenix as Napoleon Bonaparte · Vanessa Kirby as Josephine. Photos: Apple TV+, Columbia Pictures

MERVIELLEUSE TO MALMAISON Perhaps Napoleon’s only rival in ambition was his wife, Josephine. When they meet, we immediately wonder who is pursuing whom. Born in Martinique, she survived imprisonment as a widow of the Revolution— her husband, the father of her children, having gone to the guillotine. Yates depicts Josephine in startling contrast to Marie Antoinette, whose ruination and regicide open the film. Her exquisitely embroidered diaphanous gowns epitomize the Directoire style, shunning panniers and obvious opulence to return to a classical Roman aesthetic.

THE COSTUME DESIGNER | WINTER 2024

with power and grandeur

In a time when clothing telegraphed symbolism to allies and foes, Napoleon adopted the bee as an emblem to distinguish his reign from the fleur-delis of the previous Bourbon monarchy. “We were sewing little gold bees for three weeks onto one dress,” says Yates. Although the look symbolized a return to purity, the flimsy, décolleté, muslin gowns of the Mervielleuse, chased in gold or sliver threads, in a culture accustomed to women being upholstered with garments, were shamelessly erotic.

Josephine’s jewelry was also a studied contrast to the fashionable diamonds and pearls of her predecessors. The cameo and intaglios, which

referenced Rome, set by her jewelers were a perfect accompaniment to the austerity of her chemise dress à l’antique. Yates visited the Paris exhibit of Josephine’s jewels no less than six times. The results appear throughout the film, but most noticeably in the coronation scene where diadems and crowns glint with power and grandeur. After the divorce, Josephine retired to Malmaison. Yates quips, “I didn’t think she’d be Mrs. Miggins entertaining Tsar Alexander. I thought she’d still maintain her dignity.” She had dresses created with a more pastoral feel, with floral embroideries, perhaps a nod to Josephine’s aptitude for horticulture, which she exhibited at her estate. 31

Clothing a Napoleonic battle in 2023 requires marshaling a small army of tailors, embroiderers, dyers, and costumers. The number of background actors was formidable, from 700 at Toulon, 500 at Austerlitz, 900 at Waterloo, and 200 Prussian infantry, as well as 500 additional soldiers.

Napoleon: Joaquin Phoenix as Napoleon Bonaparte. Photos: Apple TV+, Columbia Pictures

MANTLE AND MYTH “Working with Joaquin Phoenix—playing another emperor, no less—was very easy, with lots of banter,” chuckles Yates. She and Crossman sent costumes to New York and conducted fittings on Zoom, having an assistant dress the actor. Building the costumes did require accommodating the actor and Crossman’s ethical concerns. Because they are vegan, the distinctive, bicorne hats were made of tree bark. Pleather and faux fur were also used.

THE COSTUME DESIGNER | WINTER 2024

I was extremely emotional that day in the cathedral because it actually all worked There are only a handful of scenes that have both military and civilian costumes. Yates explains, “David is a military designer and he’s an absolute stickler for accuracy. Every general’s embroidery was planned eight weeks in advance, even before we had an actor cast. We had to send off collars, cuffs, and backs of jackets because the embroidery runs up the center back.” The self-coronation scene was an exercise in bringing a tableau to life. Clergy, commanders, and courtiers are arranged in a panoply focused

on the man who would be emperor. Yates filled the frame with the most beautiful embroidered pieces and “as many sparkling jewels as we could lay our hands on.” For a costume designer, certain moments encapsulate the vocation, and for Yates this was one of them. She says, “When you’re designing the cape, the gown, the ladiesin-waiting, having them embroidered, attaching ribbons with jewels in them, you’re not quite sure how it’s going to come together. I was extremely emotional that day in the cathedral because it actually all worked.”

Napoleon: Joaquin Phoenix as Napoleon Bonaparte. Photos: Apple TV+, Columbia Pictures

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“there’s an embarrassment of riches in the film’s aesthetic”

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Rebel Moon: Michiel Huisman as Gunnar· Sofia Boutella as Kora. Doona Bae as Nemesis. Ed Skrein as Atticus Noble. Photos: Netflix

Part One:A Child of Fire

THE COSTUME DESIGNER | WINTER 2024

COSTUME DESIGNER BY GARY VICTOR FOSS

GF: Let’s start with how you came into the film. Lay the groundwork there.

SP: Sure. I’ve worked with Zack and Deborah Snyder and Wesley Coller since Sucker Punch, which would be 14 years ago. Over the years I wound up doing different things, and on Batman v Superman: Dawn of Justice, I was Michael Wilkinson’s assistant costume designer. I was finishing up a project in Canada and Zack asked if I could jump in on this film. GF: How did you go about researching for something this epic in sci-fi?

SP: I think a lot of people immediately go to sharp and shiny with sci-fi. Zack’s and my aesthetic is more rounded and rusty. Nothing is perfect. The starting point was the emotional frame of reference that most people have in terms of silhouettes, periods, colors, textures, that bring universal emotional responses. It was taking broad strokes through history. I would say most people have a feeling of serenity when they see a Tibetan monk. A Nazi uniform elicits a response on the other end of the spectrum. That was the starting point, finding emotionally resonant references.

GF: Can we talk a little bit about distinguishing the many groups of characters and their origins?

SP: One of the things that helped drive the aesthetics of each individual world was the performers. Our cast represents an incredibly diverse ancestry. I met with all of the actors and listened to their family histories and how they got to where they are. I tried to incorporate not just region-specific, but actorspecific elements to each of their characters and therefore their worlds.

Rebel Moon: Sky Yang as Aris· Djimon Hounsou as Titus. Maeve Garay as Calliope. Photos: Netflix

And just letting the creativity happen together, leaning into togetherness.

GF: Can you give us a couple of examples?

SP: Sky Yang remembers his grandfather telling him about his Chinese village when he was a boy. In the center of town there was this beautiful banyan tree. In Sky’s mind it represents his ancestry. For his character and his character’s world, I incorporated not just tree imagery, but also the seeds, which are a great shape. We had incredible craftspeople who were down for whatever craziness we could come up with. We used a lot of almost friendship bracelet knotting, but Kris Berg, our key craftsperson, took it to another level and represented the branches

THE COSTUME DESIGNER | WINTER 2024

and the roots of a banyan tree. Sarah Yellin sourced some incredible pieces that became key elements of the costumes.

GF: There are some invented languages in the world-building. Is that what’s embroidered on the vestment and the hat of the priest costume?

SP: Yes, in fact, it is. I don’t know if I can reveal what it says yet, but it is also on the priests’ masks in those elongated, brutalist letters. Having that text across the mouth signifies that we took their voice away and put words into their mouths, so to speak.

FO R

YO U R

CO N S I D E R AT I O N

BEST COSTUME DESIGN

AMANDA MONK

Rebel Moon: Sofia Boutella as Kora. Ed Skrein as Atticus Noble. Photos: Netflix

GF: The Imperials wear uniforms. How did you make them referential but updated?

SP: Yeah, the Imperium uniforms are definitely a “greatest hits of fascism.” It was important not to be super on the nose. Like, it’s a Nazi uniform, but now it’s a different color. I would say they’re more similar to Russian uniforms before and after the revolution, so the early 1900s Imperial look, and the stripped-down Bolshevik version. I tried to ride that line and in-between. GF: We have to talk about the cape on the poster.

SP: Sofia Boutella, who plays Kora, is a dancer. The way that she moves and how she relates to her surroundings is like nothing I’ve ever seen in my life. It wasn’t part of her look from the get-

go, but it seemed like a cape needed to happen because if there is anybody on planet Earth able to make a cape look the way we dream it would look, it is Sofia. Everything has age, patina, and texture to it. Sharon Quinn Fauvel, our textile artist, created this incredible filth ombre that creeps up from the bottom of the cape.

GF: I have to ask about Nemesis’ hat because it is very striking. Are her sleeves illuminated?

SP: She is a robot from her elbows down. Doona Bae, who plays Nemesis, is South Korean. There is a wealth of really cool historical South Korean warrior and sword fighter imagery. We took shapes and proportions from that and used our own textures, colors, and construction techniques. Patrick Rogers at Western Costume

Rebel Moon: Ray Fisher as Darian Bloodaxe· Sofia Boutella as Kora. Doona Bae as Nemesis. Ed Skrein as Atticus Noble. Photos: Netflix 44

made the hat. It’s based on a traditional Korean gat. That was a Zack Snyder text message. Early one morning he sent me a picture of it and at first I was like, “I don’t know….” Then I started thinking about how much texture we could get into it, and I leaned into that thing hard. She can wear it on her back and then it becomes a different kind of shape. GF: How big was your team?

SP: Not as big as you would imagine. We had bigger crews on Justice League. I think the most we ever had was 50. Our supervisor was Javier Arrieta and Tamsin Costello was my ACD. My background is from construction and theater. It was important to me to do as much in-house as possible.

We had a tailor shop, women’s shop, and a specialty shop where all of the armor was sculpted. We also had a craft shop, a leather shop, and of course textiles. GF: How does it feel having accomplished this feat?

SP: It’s hard for me to get my head around what will probably be the attention that this film is going to get. From working with Jason Pastrana, the concept artist, all the way to every last person on the talented costume crew. Because of their talents and skills, all of us could come together on this crazy ride. Everyone came with ideas. That is what I think about this project.

g in m co y od b ry e v e of s nt e l The incredible taing their talents shine. together and lett THE COSTUME DESIGNER | WINTER 2024

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e t a l ns ra t it f nd a c, ri b a f s, or l co ch ri n, io ct ru st on C beautifully on camera. BY ANNA WYCKOFF

There has always been a movement—from Halston to Helmut Lang, Khaite to The Row—that trades fashion’s fantasy and frivolity for luxe, irresistible silhouettes. Amplify this restraint with a passion for fabric, like Alix Grès and her namesake jersey, or Wolford’s sexy knits, and you approach the inspiration behind Cham Los Angeles.

Costume designer Christy Cham created her clothing line after more than a decade in film to fill a need in her own chic closet. “I wanted to go to dinner in jeans and boots, but couldn’t wear a T-shirt and wouldn’t wear a top. It just felt like there were so few things in between,” she explains.

“I wanted to go to dinner t u b s, t oo b nd a ns a je in couldn’t wear a Tr-sha irttop.” and wouldn’t wea While the pieces are not inexpensive, they are attainable, and most importantly they are wash-and-wear, and built to last. Cham developed her signature stretch in Portugal over several years, with a commitment to sustainability. The resulting pieces—from maxi to mini, leggings to long sleeves —travel well and adapt from poolside to party with just a switch of shoes and accessories. Also, unlike other lines in her niche, the construction, rich colors, fabric, and fit translate beautifully on camera. While the silhouettes may seem slender, Cham has received a wealth of positive feedback from fans and stylists, as the garments flatter a variety of body types, in sizes up to 2XL. Client Monique Manoukian explains: “When I was pregnant, I felt the most beautiful in Cham because it was so comfortable. The way it hugged my belly made me powerful.” Cham used knowledge gleaned from thousands of hours in the fitting room to create the perfect sleeve, most flattering neckline, or contoured cutout. In hues that shift with the season, Cham’s pieces are basic, but never boring. For more information: info@cham.com

THE COSTUME DESIGNER | WINTER 2024

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in our closets,” says Rubenstein. “This book is my way of sharing the awe I have for the gifted costume designers who have mesmerized us while they helped dress us better than we might ever have dressed ourselves.” Rubenstein’s personal list of 50 productions, chosen for their visuals, is brimming with newsworthy facts, celebrity quotes, delicious gossip, and humorous anecdotes.

Madmen, illustrations: costume designer Janie Bryant

One of the founders of InStyle magazine, Hal Rubenstein currently serves as an editor at large after 15 years as fashion editor. He previously served as the men’s style editor of the New York Times. Rubenstein has written an evocative new book, Dressing the Part: Television’s Most Stylish Shows. The book is a beguiling homage to often uncelebrated trendsetters. “TV has been everyone’s in-house stylist for seven decades, exercising paramount influence over what hangs

THE COSTUME DESIGNER | WINTER 2024

Shouldn’t you always dress to look like you have somewhere to go? Opening the book to “Proper Attire Required,” we are graced with period elegance. While the chapter shines in lavish 19th and 20th century costume shows, it is the stylish ’60s, interpreted by Janie Bryant for both men and women in Mad Men, that remain in vogue. Her designs spurred collaborations with Brooks Brothers and Banana Republic, confirming television’s influence on fashion. Feeling beautiful in Salvador Perez’s custom-made designs for The Mindy Project, Mindy Kaling redefined comedy from a woman’s point of view. Gilt.com approached Perez to design a line of coats produced by Tocca. The Sonny and Cher Comedy Hour captivated audiences with their elaborate comedic sketches and Cher’s stunning gowns. Designed by Ret Turner and Bob Mackie, it didn’t set a specific fashion trend, but fans tuned in just to see what Cher was wearing.

THE COSTUME DESIGNER | WINTER 2024

One has to appreciate Rubenstein’s whimsical chapter titles, like “Does This Shoulder Holster Make Me Look Fat?” for private-eye dramas, or “Where’s My Black Card?” referring to glamour without apology for the diva shows. There’s no better over-the-top example than Aaron Spelling’s Dynasty, designed by the legendary Nolan Miller. Rubenstein notes, “The most copied women in America were a blonde in her mid40s and a brunette in her 50s.” Empire’s mesmerizing glam-rock style designed by Paolo Nieddu delights the eyes with glitz and swanky opulence. America Ferrera became the first Latina to win an Outstanding Lead Actress Emmy for Ugly Betty. Of the show, designed by Patricia Field (pilot) and Eduardo Castro (series), Ferrera says, “Collectively, we are what the world actually looks like.” A pièce de résistance, Patricia Field upheaved fashion for Sex and the City, designing four very different women who always dressed as though everyone was watching, and we did—faithfully.

Eddie Marks Our President, Mentor, and Friend

1947-2023

Over the past 30 years, Eddie continuously updated our rental stock and expanded and improved our facilities. His dedication to customer service is why Western Costume remains an industry mainstay over a century after our founding.

With gratitude for everything Eddie has taught us, we honor his legacy by continuing to prioritize our customers and provide support to our colleagues in the industry.

g in m co y od b ry ve e of s nt tale The incredndiblleett ir e th g in a r e th e tog talents shine.

Longtime collaborations between costume designers and actors are rare, and have a particular synergy. Costume designer Sophie de Rakoff has worked with actor/ producer Reese Witherspoon since the Legally Blonde films. After three decades with actor/producer Jennifer Aniston, costume designer Debra McGuire notes, “There’s just this flow to it that doesn’t exist with other actors.” Now these powerful duos team up with co-costume designer Elizabeth Lancaster in The Morning Show.

Taking the conversation into the retail space, de Rakoff has partnered with Lafayette 148 New York’s creative director Emily Smith and The Morning Show, Season 3 to bring the show’s style to the public. Known for the classic, sophisticated luxury worn by the likes of Julia Roberts, Gabrielle Union, and Maggie Gyllenhaal, L148 was founded in 1996 to create an inclusive line of clothing for women.

“For a true collaboration with a fashion house to work, it has to be creatively in service of the character you are designing and logistically a good match for the costume department,” de Rakoff notes. “When I was introduced to Emily Smith and her team, I knew immediately that we could do something lovely together.”

They worked out of the L148 Brooklyn Navy Yard design studio to bring three suits to life, from sketch to screen. Inspired by the strength and individuality of the women who wear them, Bradley Jackson (Reese Witherspoon) and Stella Bak (Greta Lee), de Rakoff says, “I knew the precise silhouette and vibe that I

wanted for Bradley’s season 3 anchor wear. She finally has the coveted evening news chair, and in my mind’s eye I saw an elevated take on a ’70s pantsuit, all clean lines and impeccable tailoring in Bradley’s signature palette.”

THE COSTUME DESIGNER | WINTER 2024

Working with the fashion house was serendipitous for de Rakoff’s take on Bradley. “I hadn’t found anything quite right out in the world as we’re still coming out of this boxy, oversized moment in fashion. Emily understands our world and as a brand L148 is all about quality, fit, and empowerment, so we were already speaking a common language. As our relationship grew, we began to work on bringing the collaboration to market in support of both the show and the brand.”

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Photos: Courtesy of the Marks family

Photos Courtesy of Nicola Goode

by Leighton Bowers

Eddie Marks was perhaps our industry’s greatest unsung collaborator of the past three decades. As president of Western Costume, Marks was an employer, mentor, unwavering supporter, and dear friend to many in the costume community. He was as invaluable to our members as the costumes he rented. Marks started in the MGM mailroom at 18, but soon found his way to the costume department, following in the footsteps of his father, costumer Lambert Marks. In 1970, he became the costume supervisor on the Richard Harris Western, A Man Called Horse (Dennis Clark), and he spent the next 20 years as a supervisor for such beloved films as The Breakfast Club (Marilyn Vance), Cocoon (Aggie Guerard Rodgers), Troop Beverly Hills (Theadora Van Runkle), Dead Poets Society (Nancy Konrardy),

National Lampoon’s Christmas Vacation (Michael Kaplan), and Postcards from the Edge (Ann Roth). He earned an Emmy Award for his work on the 1988 CBS Movie of the Week Shakedown on the Sunset Strip (Deborah Hopper).

On the recommendation of Ann Roth, he was appointed vice president of Western Costume Company in 1989. Marks oversaw the relocation of the legendary costume house from its historic home on Melrose Avenue to its present location in North Hollywood. He was named president shortly thereafter, and during his 30 years at the helm he purchased eight important collections of vintage clothing, including those of Dykeman Young and Helen Larson, bolstering Western’s already substantial stock.

Photos: Courtesy of the Marks family

He was a proud early adopter and intuitively understood the company’s need to update its analog system of tracking rentals. Western became the beta tester for Rental Tracker Pro, the barcoding software that is now an industry standard. Marks had two young sons when he started at Western, and he loved that the position allowed him to be more present as they grew up. Both boys now work in the industry: his elder son, Branden, is a costume supervisor,

"Eddie Marks is a name that we all have come to recognize and love. I have been blessed to know him all of these years, and he has been a true champion for many of us. Eddie was my friend and I will miss him dearly."

Deborah Hopper

THE COSTUME DESIGNER | WINTER 2024

and Garrett works at Western Costume. Marks loved to travel with his wife, Debby, and they escaped to Cabo and their house in Palm Desert whenever possible. He got his pilot’s license for his 60th birthday and flew a Cessna 182 Skylane. He was a proud Dodgers fan and loved to go to games with his grandson, Aiden. He was also an avid golfer. “There are those that come and go from our lives, but from the moment I met Eddie, his footprint left an everlasting imprint on my heart. We laughed, we had meals, we shared stories, and we made deals.

We flew around from Catalina to Palm Springs. Eddie was always there in every way, from supporting our friendship to encouraging all our work. His generosity knew no bounds—he was our champion. Eddie made a difference, and his legacy will live on forever."

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Photos: Courtesy of the Marks family

A member of both 705 and 892, Marks was a generous supporter of both local unions and his fellow members. It is his advocacy—of industry newcomers and veterans alike—for which Marks will best be remembered. He was an advocate for generations of costumers and costume designers, and those relationships were of paramount importance to him. He ran his sizable company like a mom-and-pop shop; every client was given special treatment, because they were all like family to him. “We have the costumes,” he said, “but the thing that really sets us apart is that we’re customerfriendly. It’s a relationship business for us.” The CDG has created the Eddie Marks Costume Scholarship in his honor.

d n a e i d d E w o n k s i o h t h r t o i n w o s h k a a e s r a b w t t r e a r e I e h h t y , y l l M . ea his faminlgy with us now. R not bei words. Big loss. are no s r e g d o R e Aggi

THE COSTUME DESIGNER | WINTER 2024

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BEST PICTURE EXCELLENCE IN COSTUME DESIGN PERIOD FILM MARK BRIDGES

“SPECTACULAR.

Costume designer Mark Bridges plays a pivotal role in the storytelling of ‘Maestro’.” Jeﬀ Conway,

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