OUTSTANDING COMEDY SERIES
OUTSTANDING CONTEMPORARY COSTUMES
COLLEEN ATWOOD
“COLLEEN ATWOOD CRAFTS BLOODY PERFECT
‘WEDNESDAY ’ LOOKS.”
COMMUNICATIONS & CREATIVE DIRECTOR
Anna Wyckoff awyckoff@cdgia.com
CREATIVE DIRECTORS
Allana Johnson allana@yokcreative.com
Turner Johnson turner@yokcreative.com
MANAGING EDITOR
Gary V. 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
MARKETING & EVENTS DIRECTOR
Demetra Stavrakas dstavrakas@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
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
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
COVER
At the picket line (L to R ): Ivy Thaide, Doug Boney, David Matwijkow, Brigitta Romanov, Terry Gordon, Oksana Nedaviaya. Photographed by Nicola Goode
Associate Editor
Communications & Creative Director
Anna Wyckoff
Allana Johnson Turner Johnson Gary V. Foss Bonnie Nipar
Stacy Ellen Rich Contributor
It’s Emmy time again! We wish our CDG designers and teams the very best for a successful awards season. Final voting begins August 17 and ends August 28. Unfortunately, FIDM’s beloved Annual Emmy Television Costume exhibit will not be held this year. We hope to have an opportunity to celebrate the CDG nominees, if circumstances permit.
Congratulations to Jazz Tangcay for her well-deserved LA Press Club first place prize for her Variety magazine article highlighting the pay inequity costume designers face. Jazz has been an ardent supporter of our campaign, and we’re thrilled her article was recognized by her peers for reporting excellence.
Please give special recognition to our Pay Equity Committee, whose five-year campaign has become a formidable powerhouse. Take a moment to thank these driven volunteers who work fervently for all of us: cochairs Danielle Launzel and Ariyela Wald-Cohain, who have been tireless in their efforts; and Steering Committee members Nancy Steiner (who created the hashtag #nakedwithoutus), Daniel Selon, and Whitney Anne Adams. We continue to charge ahead with an ongoing “Next Steps” Advisory Board following our recent successful Pay Equity panel held at UCLA’s Anderson School of Management with the David C. Copley Center for the Study of Costume Design.
Comic-Con was another huge success thanks to our driven volunteer committee, who secured our presence at this mega event. Thank you to chairs Ivy Thaide, Kristin Ingram, Jen Hancock, and the committee members Samantha Kuester and Laura Brody, Events Director Demetra Stavrakas, and all of the volunteers. I’m happy to say my summer Academy intern, Cassandra Sisson, also joined the team.
July’s Movie Night was a wonderful evening celebrating our award namesake, Adrian. Adrian-designed films Queen Christina starring Greta Garbo and the iconic The Women were presented by Mikael Sharafyan and Jennifer Soulages. Original cast member Cora Sue Collins joined us. Now in her 90s, she was five when chosen by Garbo to play the young Queen Christina. Along with Cora Sue’s memories—of the film, of Adrian, and of working in the Golden Age of Hollywood—the fascinating evening also featured a costume exhibit with loans from Larry McQueen’s Film Costume Collection, Shon LeBlanc’s The Costume House, and Greg Schreiner’s collection. Prints, photos, and posters completed the exhibit. A great time was had by all. Special thanks to our very generous sponsor, Gianni. The evening was filmed and will be available for viewing soon on our website.
Our Legacy Committee is planning a lovely long-awaited luncheon honoring our retirees. Come celebrate this fascinating group. This committee is always open for help with outreach to our retired members.
And join a picket line! We need solidarity!
Terry Ann Gordon tgordon@cdgia.com
“THE COSTUMES ARE GORGEOUS.”
COSTUMES, bustled up and dripping with jewels.”
Throughout history, the labor movement has proven repeatedly that collective action is the most formidable force for change. Today the Writers Guild of America (WGA) and Screen Actors Guild—American Federation of Television and Radio Artists (SAG-AFTRA) take a courageous stand for their rights. Even though our members are suffering, it is vital for the International Alliance of Theatrical Stage Employees (IATSE) to rally in support.
The power of any industry is its workers. As creatives behind the camera, we pour our hearts into our craft, bringing entertainment and inspiration to millions. Yet our contributions are often undervalued, our rights undermined, and our voices stifled. Together, WGA and SAG-AFTRA voted to strike, making a bold call for respect, fair pay, and creative control. This moment is an opportunity for us to display solidarity and a chance to strengthen our collective bargaining power across the entertainment sector.
By supporting the WGA and SAG-AFTRA, IATSE can help create a unified front for the industry. Consumers will witness the strength of a united labor movement, demanding better treatment for all entertainment workers. Together, the members of IATSE can bolster the morale of striking writers and actors, offering unwavering support that transcends the jurisdiction of individual unions.
IATSE has a legacy of fighting for the rights of our members and standing tall in the face of adversity. As the backbone of the entertainment industry, our contributions are immeasurable. Yet like our colleagues in WGA and SAG-AFTRA, we face challenges, including long hours, low pay, and precarious job security. An interdependent relationship exists between these unions, making it all the more crucial to stand in solidarity. Collectively, we will send a resounding message to studios and production houses that the exploitation of creative labor will no longer be tolerated. Demands for fair compensation, reasonable working hours, and safe working conditions must be met to ensure the sustainability and growth of the industry.
The power of this unified labor movement can inspire workers across other sectors, fostering a spirit of resilience and solidarity. By standing together, IATSE, WGA, and SAGAFTRA pave the way for an equitable and just society where all workers are treated with dignity and respect.
As the WGA and SAG-AFTRA take a stand for their rights, we have a unique opportunity to amplify the strength of their collective voices. IATSE supports the unions during their strike, sending a powerful message to the industry and beyond. Studios want to break unions. Now is the time to harness the power of labor and shape a brighter, more equitable future for all.
In solidarity, Brigitta
Brigitta Romanov bromanav@cdgia.com
Across the country, workers are striking. We have first-hand experience with the Writers Guild of America and SAG-AFTRA strike. Reasons for the strikes and/or strike authorizations include better wages, pension, health care, safety precautions, and first contracts.
Other strikes or impending strikes include:
United Auto Workers (Virginia)
International Association of Machinists (San Diego and Kansas)
American Federation of Musicians (New York City)
Workers United Starbucks rolling strike campaign (national)
Journalists at two dozen local newspapers owned by Gannett Unite (national) Union of Physicians and Dentists (California)
Consider the workers you see every day at grocery stores, package delivery, cleaning services, baristas, childcare, and education, or while transacting business in a post office, bank, or other store. It is up to us to think about our fellow workers and see them as we see ourselves—family members, friends, and coworkers. Every person has an important part to play in society.
We know the importance of our union contracts and how they benefit our lives and the lives of our families. The strikes happening now will set the tone for the future. Each one of us must fight for the dignity of work with good wages and benefits.
We can give to the IATSE PAC to support labor candidates’ electoral bids. We can vote for labor candidates that create policy to enhance the ideals of voting rights, collective bargaining, good wages, pension and all health benefits. We can show corporations that we prefer to use a human teller, cashier, or artist rather than self-check out and AI.
We can support striking workers. Walk a WGA picket line for an hour or ask the strike captain the other ways you can volunteer your services.
Striking workers are courageous. They set precedent for the future of their fellow workers. There is sacrifice involved, but solidarity keeps the spirit strong and the success of gaining the contract makes it worth-while.
“A rising tide lifts all boats.”
In solidarity, Dana
Dana Woods
Photo: Anna Wyckoff
SHARON LONG, CLAIRE TREMLETT, BASIA KUZNAR, ANNA LAU
SHARON LONG’S COSTUMES ARE VISUALLY COMPELLING.”
A.V.
CLUB
The Victoria and Albert Museum holds a special place in the heart of every art enthusiast, and as a London visitor, it has always been a personal favorite. When it was announced that the museum would host an extraordinary exhibit featuring the legendary costumes worn by divas from the entertainment industry, I seized the opportunity to see it.
Since the turn of the 19th century, divas have wielded an undeniable power within the entertainment realm. From opera houses to grand stages, the enchanting silent film starlets to the gossip-hungry studios of Hollywood’s Golden Age, divas have captivated audiences with their talents and persona. Today, the baton has been passed to modern pop icons adorning the covers of prestigious magazines like Vogueand RollingStone.
The exhibit grants visitors an exclusive, backstage glimpse into the captivating history of the diva, showcasing the exquisite costumes worn by icons such as Josephine Baker, Clara Bow, and Mae West. As guests journey through the exhibit, they travel through the four waves of feminism, from the 1850s to powerhouses like Nina Simone and Janelle Monae.
Organized by decade, each display is complemented by a perfectly paired piece of music, an interview, or a movie clip streamed through Bluetooth headsets. With every transition to a new area, visitors are treated to a new piece of audible history. While standing before the renowned “All about Eve” dress, masterfully crafted by CDG designer Edith Head, the voice of Bette Davis resounds in listeners’ ears, evoking the immortal line, “Fasten your seatbelts, it’s going to be a bumpy night!”
Standing on the second floor of the exhibit, visitors are immediately transported into a world of awe-inspiring costumes. The space is adorned with breathtaking ensembles worn by renowned artists such as Rihanna, Prince, Lizzo, Bjork, Bette Midler, and Freddie Mercury to name a few. The arched ceilings mimic the night sky, featuring celestial images that merge the likes of Marilyn Monroe, Janis Joplin, and Mariah Carey, each belting out a solo that resonates through the space.
Exhibition Photos: Courtesy of the V&A South KensingtonLike a beacon of sequined light, the true divas themselves take center stage; Tina Turner and Cher, designed by our own Bob Mackie, in gorgeous headdresses accompanied by magnificent color sequined dresses detailed with crystalized feathers. Mackie attended opening night for the exhibit and commented, “I’m delighted to have my costumes in this amazing exhibition, DIVA! The exhibition has costumes going back to the 19th century opera singers, Hollywood film star and modern pop starsgreat company for Tina and Cher!”
Another unforgettable figure gracing the exhibit is none other than Sir Elton John. For his 50th birthday outfit, Sir Elton enlisted the talents of costume designer Sandy Powell. True to Sir Elton John’s flamboyant style, Powell crafted an extraordinary
ensemble inspired by King Louis XIV, embellished with dazzling Swarovski crystals and adorned with a regal feathered cape fit for a King.
For book collectors, there is a captivating piece that deserves a prominent place in any designer’s library: The Diva, featuring the enigmatic Grace Jones on its cover. I was very thankful for my British team who gifted me a copy. It is a cherished memory of my time there on location.
Costume Designer Marylin
EMILYINPARIS:
What’sItAllAbout...
Assistant Costume Designer
Herehau Ragonneau
Associate Costume Designer
Daniela Telle
Costume Supervisor
Marie Fremont
Costume Designer
THELASTOFUS: EndureandSurvive
Assistant Costume Designers
Kelsey Chobotar
Rebecca Toon
Costume Supervisor
Michelle Carr
Costume Designer Alex Bovaird
THEWHITELOTUS:
That’sAmore
Assistant Costume Designer
Brian Sprouse
Costume Supervisor
Margherita Zanobetti
Costume Designers
WEDNESDAY:
Wednesday’sChild
IsFullofWoe
Assistant Costume Designer
Robin Soutar
Costume Supervisors
Claudia Littlefield
Adina Bucur
Costume Designer
Dana
Covarrubias
ONLYMURDERSIN THEBUILDING:Framed
Assistant Costume Designer
Abby Geoghegan
Costume Supervisor
Kathleen Gerlach
Costume Designer Michelle
SUCCESSION:ChurchandState
Assistant Costume Designer
Jonathan Schwartz
Costume Supervisor
Mark Agnes
Costume Designer Helen
BEEF: TheBirdsDon’tSing, TheyScreechinPain
Assistant Costume Designers
Austin Wittick
YJ Hwang
Costume Supervisor
Mark Anthony Summers
Costume Designer
SWARM:Honey
Assistant Costume Designer
Brittny Chapman
Costume Supervisor Mashal Khan
Costume Designers Lou
THEWATCHER: Welcome,Friends
Assistant Costume Designer Catherine Crabtree
Costume Supervisor
Zakiya Dennis
Costume Designer Provi
DOLLYPARTON’S MOUNTAINMAGIC CHRISTMAS
Costume Supervisor
Jose Ramos
Dolly’s Wardrobe by Steve Summers
Costume Designer
FLEISHMANISINTROUBLE: Me-Time
Assistant Costume Designers
Angel Peart Katie Novello
Deirdre Wegner
Costume Supervisor
Anne Newton-Harding
Costume Designer Catherine Adair
PERRYMASON: ChapterTen
Assistant Costume Designer
David J. Matwijkow
Costume Supervisor
Nanrose Buchman
Costume Designer Sharon
THEGREAT: ChooseYourWeapon
Assistant Costume Designers
Claire Tremlett
Basia Kuznar
Costume Supervisor
Anna Lau
Costume Designers
QUEENCHARLOTTE: ABRIDGERTONSTORY: CrownJewels
Assistant Costume Designer
Jovana Gospavic
Costume Supervisor
Alex Locke
Costume Designer Amy
THECROWN: MouMou
Associate Costume Designer
Sidonie Roberts
Costume Supervisor
Christof Roche-Gordon
Costume Designer Donna
THEMARVELOUS
MRS.MAISEL:Susan
Assistant Costume Designers
Katie Hartsoe
Ben Philipp
Amanda Seymour
Costume Supervisors
Claire Aquila
Marie Seifts
Costume Designer
DAHMER-MONSTER
THEJEFFREYDAHMER
STORY:PleaseDon’tGo
Assistant Costume Designers
Monica Chamberlain
Desmond Smith
Costume Supervisor
Suzy Freeman
Costume Designer
DAISYJONES&THESIX: Track8:LooksLike
WeMadeIt
Costume Supervisor
Derek Sullivan
Costume Designer
Mitchell
GEORGE&TAMMY:
We’reGonnaHoldOn
Assistant Costume Designers
Mitchel Wolf
Laurel Rose
Aileen Abercrombie
Costume Supervisors
Susan Russell
Charles Carter
Costume Designer
GUILLERMODELTORO’S CABINETOFCURIOSITIES:
DreamsintheWitchHouse
Assistant Costume Designer
Ann Steel
Costume Supervisor
Heather Crepp
Costume Designer Peggy Schnitzer
WELCOMETO CHIPPENDALES:
Leeches
Assistant Costume Designer
Derek Bulger
Costume Supervisor
Julie Heath
Costume Designer Salvador Perez
HOCUSPOCUS2
Assistant Costume Designer
Elizabeth Shelton
Costume Supervisor
Gala Autumn
Costume Designer Suttirat
OBI-WANKENOBI:PartI
Assistant Costume Designer
Stacia Lang
Costume Supervisor
Lynda Foote
Costume Designer
Shawna
Trpcic
THEMANDALORIAN:
Chapter22:GunsforHire
Assistant Costume Designer
Elissa Alcala
Costume Designer Jany Temime
HOUSEOFTHEDRAGON: TheHeirsoftheDragon
Assistant Costume Designers
Katherine Burchill
Paul Yeowell
Rachel George
Costume Supervisor
Joanna Lynch
Costume Designer
Kate
Hawley
THELORDOFTHERINGS: THERINGSOFPOWER: AShadowofthePast
Assistant Costume Designers
Libby Dempster
Lucy McLay
Jaindra Watson
Costume Supervisors
Pip Lingard
Jenny Rushton
Costume Supervisors
Julie Robar
Julie Yang Silver
Costume Designer
Laura Montgomery
WHATWEDOINTHE SHADOWS:TheWedding
Assistant Costume Designer
Barbara Cardoso
Costume Supervisor
Judy Laukkanen
The Variety, Nonfiction, or Reality category is a juried award that permits the possibility of more than one show in that category being recognized with the Emmy. A jury panel of Television Academy Peer Group members will review all submissions and considerable discussion will be undertaken to determine the winner(s). Any entries receiving a unanimous vote from the jury panel will be awarded the Emmy. With this judging process, there is no nomination round. The winner(s) will be announced by the Television Academy in August prior to the Creative Arts Emmys.
OUTSTANDING PERIOD COSTUMES FOR A LIMITED OR ANTHOLOGY SERIES OR MOVIE
Peggy Schnitzer, Derek Bulger, Julie Heath 5
“Vividly illustrated by a firm sense of ’80s nostalgia, the show provides a gripping overview of the drama behind the business.” THE
Bryan Kopp
CC Committee Chair
Ivy Thaide
CC Cochairs
Kristen Ingram
Jen Hancock
CC Treasurer
Samantha Kuester
CDGPROGRAMATTENDEES
Booth Guest: Designers
Carrie Grace
Cynthia Summers
LJ Shannon
CC Committee
Cassie Stephens
Catherine Velosa
Frank Ippolito / Thingergy
Gina DeDomenico
Laura Brody
Marianne Parker
Oksana Nedavniaya
Trayce Gigi Field
Michi Tominatsu
Christine Cover Ferro
Panelists (1)
Christian Cordella
Colleen Atwood
Jose Fernandez
Panelist (2)
Kate Hawley
Panel Moderator (1)
PhillipBouttéJr.
Panel Moderator (2)
Spencer Williams
Cassandra Sisson
Chris Darcey
Imario Susilo
Isabel Flanagan
Jennifer May Nickel
Katya Rose
Kristen Morici
Leila Gemma Flanagan
Marissa Soto
Matt Hancock
Michelle Fay
Natalie Arriaga
Raven Winter
Kim Winter
Ricki Patenaude
Catherine Adair
David Matijkow
Sara Sikich
Sylvester Cetina
Xander Rose
Grace Castner
Steve Harris
CDG VOLUNTEER ATTENDEES
Audrey (Bells) Hancock
Avary Thorner
Brianna Flanagan
“Costume designer Sal Perez resurrected the trio’s outfits and then went even farther to breathe new life into the beloved property.”
The A24-Netflix dark dramedy series Beef is something of a cultural phenomenon. Danny (Steven Yeun) and Amy (Ali Wong) are two strangers who engage in a road rage incident, then quickly spiral down a rabbit hole of obsessive retaliation. Creator Lee Sung Jin had an Asian cast in mind, but the feelings of frustration explored by the script are universal. It is the subtlety of Helen Huang’s costume design that conveys the nuances of the Asian experience in Los Angeles. “My approach is born out of the desire to show the complete personal histories and complexities of each character,” she notes. “It’s a design philosophy that recognizes Asian Americans are not a monolith. There are different ethnic backgrounds, individual family histories, and economic disparities that inform their experiences.”
a more complete picture of the Asian American experience and gave me the opportunity to do a lot of subcultures that people don’t see.”
—Helen Huang
“Beefprovided
Huang’s costumes emphasize the contrast between Amy and Danny that contribute to the escalating tension in their altercations. Although they live only 35 miles apart in Los Angeles, they inhabit two different worlds. Amy lives in affluent Calabasas, while Danny lives in a semidepressed neighborhood. She is a businesswoman on the verge of closing a $10 million deal. He is struggling financially and desperately needs a win. Amy is current and trendy. Her clothes are polished and controlled on the surface, concealing her inner turmoil. His are dated and stylistically stunted. Huang shopped muted colors and creams for Amy in fashionable boutiques as opposed to sourcing garments for Danny in thrift stores to keep his look real. “The specificity of Danny’s dollar-store house sandals, his flea market Liz Claiborne jacket, and his giveaway Sprint Mobile T-shirt represent not only a fully realized person, but also a visual documentation of the Korean American identity.”
The supporting cast is designed to strengthen the contrast between the two lead characters and their individual worlds. Complementing Amy’s curated style, her husband, George, (Joseph Lee) exudes casual chic. “He has an international style mixed with that Silver Lake hipster kind of aesthetic,” says Huang. To intensify the tension between Amy and her mother-inlaw, she dressed Fumi (Patti Yasutake) in bold colors and patterns from distinctive and idiosyncratic Japanese designers. “I don’t like sacrificing a female character’s unique aesthetic to make her look more ‘conventionally flattering.’ I feel that waters down the character.” Projecting a woman who is confident in who she is, Fumi wears big 1930s rings and bracelets and a large Issey Miyake necklace that complement her wearable-art style.
“Additionally, I consider elements such as music, education level, and social circles that contribute to a character’s personal style,” explains Huang. Danny’s younger brother Paul (Young Mazino) is very Americanized. He lives in a little community outside Los Angeles with access to a local mall where he buys Champion and Express. He’s trying to be stylish with limited funds. “We shopped used clothing for depth of character and I often repeat costumes because I don’t want the show to seem like they have a new outfit every day.” All of cousin Isaac’s (David Choe) looks are rented. Huang plays with the audience’s expectations of who he is. “When I dress a character like Isaac, who has been to jail, I don’t lead with the thought that he’s an antagonist. Isaac is kind of dicey and has a temper, but he wears LA clothes creatively.”
Dressing billionaire Jordan (Maria Bello) on a restricted budget posed problems. Huang’s solution was to show how the character valued experiences rather than expensive labels. “We think of her as a female Indiana Jones-type character who travels the world to find rare artifacts.” Peppering her costumes with vintage, Huang sourced textiles and accessories from Western Costume Company and other costumes houses, as well as Recess, a local vintage store.
The cast especially enjoyed the flashbacks. The childhood photos they sent Huang of themselves and their parents provided authentic research for the Korean church scenes. “Beef was such an intimate show for me. I felt an immense sense of privilege to get to design these characters and share something with the audience that has been undershared before.”
Charlese Antoinette and Meredith Markworth-Pollack are accomplished costume designers, colleagues, and most importantly, friends. Each has been on a personal wellness journey, and common threads in their lives began to crystallize. Antoinette shares, “It came from us being friends and communicating about these things in a really honest way.” As they discussed their experiences and traumas, they felt the need to include their colleagues. So—from chrysalis to butterfly—a Wellness Weekend for costume designers was born.
With Antoinette and Markworth-Pollack serving as cohosts, Moda Operandi—an ever-encouraging proponent and tastemaker—and an assemblage of other dynamic sponsors came on board. MarkworthPollack’s brainchild, Palma Colectiva, a collective of healing arts, played an important role. Markworth-Pollack expresses her sentiments about the need for a helpful foundation in the industry: “Now I feel like I can be more present for everyone and act as a bridge. I can assist, and mend concerns by helping people recognize self-care, mental health, and wellness.” Antoinette chimes in, “I’ve segued differently. I want to enact change as a producer and creative. As a costume designer, there wasn’t much that I could do. Currently, at a supportive company, I’m hoping to cultivate change and advocate for us. People come to me for all types of advice, and if you haven’t been through it, you don’t know how to hold space for them.”
The duo aimed to gather a diverse group that included assistant designers, illustrators, and costume designers across our membership from stage to screen and newcomers to veterans. Antoinette conveyed, “The experience was beautiful due to the diversity, but the truth is that there wasn’t a huge difference between people who have been doing this for only a couple of years to some who have been
For inquiries, email Charlese Antoinette: werk@charleseantoinette.com
in the business for decades.” Markworth-Pollack added, “We reflected on empowering moments, the beauty that comes from this work, the creativity, times we felt supported, were overjoyed, and proud of our work. I think that everyone walked away feeling lighter because they were able to release so much that they were carrying for so long.”
A couple takeaways from attendees ring true. Christopher Lawrence said of the weekend, “It was empowering and comforting to hear that my colleagues experience many of the same challenges, stresses, and insecurities, regardless of the level of success we have achieved. I left the workshop feeling I had reclaimed my power for my next job. We don’t usually get to work with each other, so building an understanding community is challenging. I strengthened bonds with designers and met wonderful new friends. This event was an incredible building block for our community.”
According to Lee Christian, “The Costume Designer Wellness Weekend was an experience that made me feel included, seen, and heard. The sessions provided me with practical tools for managing stress and gave me a sense of belonging. Being surrounded by likeminded individuals reminded us that our work is essential, and I am motivated to prioritize self-care and connect more deeply with my colleagues.”
Having had such a positively resonant response, Antoinette and Markworth-Pollack have plans for more Wellness Weekends in Los Angeles, New York City, Atlanta, and beyond. Their work is beautifully necessary.
The FLAT PLAT shoe brand has been picked by Qurate Retail Group for their prestigious 2022 Small Business Spotlight. Shining on QVC, HSN, and Zulily, FLAT PLAT captivated audiences with its comfortable and stylish shoes. FLAT PLAT shoes combine comfort, patented soles, and timeless designs, born out of costume designer Arefeh Mansouri’s personal quest for truly comfortable flats. Collaborating with Dr. Allen Baidey, a neuro-interventional pain specialist, they created an outsole that brought relief to Arefeh’s feet and opened a door to unparalleled comfort. Drawing inspiration from Arefeh’s couture design background, each pair of FLAT PLAT Shoes exhibits a chic, timeless, and whimsical design. The initial batch flew off the shelves, offering chic options for every taste.
COMPEL YOUR AUDIENCE. LIGHT WITH PURPOSE. CAPTURE THE MOMENT.
Awards may define a moment, but time is the true proving ground for the impact of a film. Half a century after its debut, director Francis Ford Coppola’s The Godfather and the two sequels that followed mark a definitive line in filmmaking. “The Art of Moviemaking: The Godfather” at the Academy Museum celebrates the artifacts of the blockbuster productions including makeup, props, scripts, and clothing. Two of the three films’ costume designs are represented: TheGodfather,by Anna Hill Johnstone, and TheGodfatherPartIIby Theadora Van Runkle.
In the 2012 book TheGodfatherEffect, biographer Tom Santopietro explains, “With its emphasis on proud ethnicity, The Godfather changed not just the way Italian-Americans saw themselves, but how Americans of all backgrounds viewed their individual and national self-identities, their possibilities, and attendant disappointments.”
This legacy speaks to the power of the script and actors, but also the virtuoso costume design.
at the Academy Museum until March 17, 2024.
Johnstone and Van Runkle define character and class, separate power from aspiration, and ground each personality in reality through their clothing. Silhouette, texture, pattern, and subtle character cues are used in concert with abundant historical detail. Looking back at the iconic figures, it is hard to believe there was a moment of tabula rasa, before the red rose was placed in the boutonniere of Don Corleone’s impeccable tuxedo and before Van Runkle’s illustrations danced across the page.
