CD Magazine, Winter 2025 (Costume Designers Guild)

STACY BEVERLY

Deirdra Elizabeth Govan JOANNA JOHNSTON

“

PAUL TAZEWELL MAKES

MAGIC.” PAUL TAZEWELL

EXCELLENCE IN SCI-FI/FANTASY FILM

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FOR YOUR CONSIDERATION In All Categories Including

BEST PICTURE BEST COSTUME DESIGN ARIANNE PHILLIPS

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that ’s downright invigorating — both from a stor y telling and craf t perspective.”

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16 President

19 Executive Director

UNION FEATURED

22 Art Imitates Life:

30 Saturday Night:

Deirdra Elizabeth Govan

Danny Glicker

40 Here is Everywhere:

48 Cross:

Joanna Johnston

Stacy Beverly

Cross: Aldis Hodge as Alex Cross, Isaiah Mustafa as John Sampson. Photos: Amazon Studios. Saturday Night: Gabriel LaBelle as Lorne Michaels, Kaia Gerber as Jacqueline Carlin and Cory Michael Smith as Chevy Chase. Photos: Columbia Pictures and NBC Studios. Exhibiting Forgiveness: Andra Day as Aisha and André Holland as Tarrell. Photos: Roadside Attractions.

Paintings: Titus Kaphar. Here: Tom Hanks as Richard Young and Robin Wright as Margaret. Photos: Sony Pictures.

Volume 20 Issue 1

52 Last Looks:

IN FOCUS

Donna Berwick

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

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 Natalie Gallegos ngallegos@cdgia.com PUBLISHER

Moontide www.moontide.agency ADVERTISING

Ken Rose 818.312.6880 kenrose@mac.com

COVER PHOTOGRAPHY

Danny Glicker & Jason Reitman Photo: Jade Greene

Nancy Steiner nsteiner@cdgia.com

ACD REPRESENTATIVE

David Matwijkow dmatwijkow@cdgia.com

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THE COSTUME DESIGNER | WINTER 2025

Anna Wyckoff

Communications & Creative Director

Gary Victor Foss Managing Editor

Stacy Ellen Rich Contributor

Bonnie Nipar

Associate Editor

Allana Johnson Creative Director

Turner Johnson

Creative Director

William Goodman Contributor

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This holiday season, we want to take a moment to express our deepest gratitude. We are sincerely thankful that you continue to choose Western Costume to help bring your stories to life. Wishing you a joyful holiday and a prosperous New Year.

westerncostume.com | 11041 Vanowen St., North Hollywood, CA 91605

NEGOTIATIONS, CAMPAIGNS, ELECTIONS! It’s a revolving door. As union members, we especially understand the weight and importance of raising our voices, doing the work, considering the issues, and then voting.

Participation is essential in any organization. If you don’t engage at any level, you relinquish the right to complain or pass judgment. Civil discourse has sadly become a distant memory, as has civics history education. Stay informed and alert regardless of the winner.

Get involved and be heard.

Our next, and all-important, IATSE movement is working with Sacramento to increase our production tax incentives. There has been a collective decline in jobs as production flees to various states and countries. Yes, our industry is global and the business we knew has changed drastically. We must be beyond competitive to keep our industry thriving in California. That relies heavily on increased tax incentives. Write to your representatives in Sacramento. We need to paper the town!

I’ve heard some people blame our recent contract gains for the loss of production. Business has been moving out of California for years, and knowledgeable crews now exist everywhere. Progress always means change. We all have to adapt. Raising our rates to an equitable level with our counterparts did not end our industry.

As a local, we offer a variety of workshops, education, and panels discussing alternative employment avenues within our scope. Please get involved and embrace these new opportunities. We want everyone to be secure and working.

On that note, we invite your participation in the Assistant Costume Designers Negotiation Committee campaigning for ACD pay parity. Our next contract negotiations must support their importance and contributions to our department and production. Please join us to help strategize and create a cohesive campaign.

Our volunteer programs are essential to the health and welfare of our members. Highlighting just a few: Marketing supports members’ deals, resources, merchandising, and branding. The all-encompassing Education Program delivered a beautiful panel at the Museum of Tolerance spotlighting Jewish costume design stories in the industry. Our DEI programs are engaging, and created a heartfelt ofrenda honoring loved ones for Día de los Muertos. Labor offered essential voting guides. Our Movie Night presented Rebel Without a Cause in collaboration with Warner Bros. and Warner Bros. Archives. We appreciate our collaborators and costume supporters, and are thrilled to embrace them.

In solidarity,

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 | WINTER 2025

for your consideration in all categories including

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“ BEAUTIFULLY CRAFTED.

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Dear Members, As costume designers, assistant costume designers, and illustrators, our work breathes life into every story, helping actors define their characters and shape the story’s arc. This thread of costume design connects audiences across the ether, each piece of fabric, stitch, and design decision building a world that captivates viewers and guides them through the narrative. Our members have dedicated their careers to honing this beautiful craft, refining their skills to tell stories that resonate deeply. The artistry of costume design is a passion and a profession that enriches both the film industry and the culture of not only California but the world.

Yet our industry is facing significant challenges here in California. The heart of film and television production, our state has long been where creative visions flourish, backed by countless talented artisans who power our productions from start to finish. In recent years, however, productions have increasingly moved out of state, drawn by tax incentives that make it difficult for us to remain competitive. This shift has not only impacted our members’ livelihoods but has also rippled across local economies, affecting countless businesses of all sizes that rely on production spending—from local fabric stores and costume shops to retail stores and dry cleaners.

Governor Gavin Newsom’s recent proposal to raise California’s Film & Television Tax Credit Program to $750 million represents a vital step toward bringing productions back home.

This boost would support our members and the state’s broader economy, allowing film and television work to thrive here once again. By investing in the creative workforce, the state reinforces its role as the entertainment capital of the world and safeguards the future for the talented craftspeople who make it all possible.

Thank you, Governor Newsom, for recognizing the artistry and economic impact of California’s film industry. We are hopeful that these efforts will create opportunities for our members to continue bringing their artistry to the screen and contributing to the rich cultural legacy of our industry and California.

v o n a m o R a tt i g Bri In solidarity,

Photo: Stephanie Romanov

Brigitta Romanov bromanov@cdgia.com

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FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

B E ST PI CTU R E B E ST D I R ECTO R DENIS VILLENEUVE

B E ST CO STU M E D E SI G N JACQUELINE WEST

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

BY GARY VICTOR FOSS & ANNA WYCKOFF

Exhibiting Forgiveness: Oprah Winfrey, Titus Kaphar, Serena Williams, and André Holland as Tarrell. Photos: Roadside Attractions. Paintings: Titus Kaphar.

DEIRDRA ELIZABETH GOVAN

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Deeply intertwined with her love for film and passion for costume design, Deirdra Govan believes that creating art is a form of activism.

As vice president of our sister local United Scenic Artists, Local 829, she chooses her projects with a discerning eye, driven by commitment to both her craft and the stories she helps bring to life.

“Being of service as a union leader is in my DNA,” Govan explains. “My father was a politician and a minister, and my mother a human resources administrator. This background gave me a deep understanding of the complexities of life and the human condition. When I read the Exhibiting Forgiveness script, I was drawn in—it spoke to both the personal and the universal.”

THE COSTUME DESIGNER | WINTER 2025

Exhibiting Forgiveness presented Govan with a unique opportunity to not only serve the script but also Titus Kaphar’s autobiographical story in the purest, most authentic way possible.

Collaborating with Kaphar, a world-renowned artist and first-time director, Govan fully immersed herself in his world. “I was familiar with Titus’ work long before reading the script.

His sense of color, texture, and large-scale works inspired costumes that could seamlessly float in and out of his paintings—creating scenes within scenes, or mise-en-scène.”

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Exhibiting Forgiveness: André Holland as Tarrell, Andra Day as Aisha, John Earl Jelks as La’Ron, Aunjanue Ellis-Taylor as Joyce. Photos: Roadside Attractions. Paintings: Titus Kaphar.

Tarrell’s denim coveralls were custom-made, dyed, stitched, and splattered with paint to give them a sense of living vitality. His more private moments called for comfortable simplicity. “Sometimes he’s in boxer shorts and a T-shirt, because he walks right from his bedroom to his outdoor studio; other times he’s layered with painted coveralls—all inspired by what Titus wears in his own studio,” Govan shares.

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THE COSTUME DESIGNER | WINTER 2025

Exhibiting Forgiveness: André Holland as Tarrell, Andra Day as Aisha, John Earl Jelks as La’Ron. Photos: Roadside Attractions. Paintings: Titus Kaphar.

The central character, (André Holland), is heavily influenced by Kaphar’s real-life experience. Govan drew on his sophisticated personal style and appreciation for fabrication, detail, and craftsmanship.

“This isn’t a fashion film, though there are a few high-end pieces. The challenge was to make the costumes feel real and accessible while reflecting the subtle complexities of his character,” she explains.

As the film progresses, Tarrell’s clothing becomes more vibrant, symbolizing his personal and creative journey.

“Toward the end, he’s in canary yellow linen pants, a Japanese-engineered denim jacket, and a white piqué French-cuff shirt. I tied a handkerchief around his neck to reflect Titus’s love for fashion—a sophisticated look with a touch of eccentricity.”

OUTLANDER

MARY & GEORGE

Costume Designer, Trisha Biggar

Costume Designer, Annie Symons

FOR YOUR CONSIDERATION IN ALL CATEGORIES

SWEETPEA

Costume Designer, Jo Thompson

BMF

Costume Designer, Keia Bounds

THREE WOMEN Costume Designer, Caroline Duncan

WATCH ALL ELIGIBLE EPISODES AT STARZFYC.COM BMF © MMXXIII Lions Gate Television Inc. All rights reserved. Sweetpea © Belladonna Films Limited 2024. All rights reserved. Three Women © 2023 Showtime Networks Inc. All rights reserved.

Mary & George © 2023 Sky Studios Limited. All rights reserved. Outlander © 2023 Sony Pictures Television Inc. All rights reserved. Starz and related channels and service marks are the property of Starz Entertainment, LLC.

Aisha (Andra Day), a musician, primarily wears loungeoriented pieces. “In the final scene, she wears one of my favorite looks—a beige textured canvas Japanese kimono, hand-dyed indigo, with detailed embroidery and an understated linen jumpsuit.”

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THE COSTUME DESIGNER | WINTER 2025

Govan describes the experience as a collaborative dream. “Everyone was on their A-game, rallying around Titus. He approached the project with no ego—just genuine passion and joy for storytelling, and that was contagious,” she says. “During one of our final prep meetings before shooting, Titus said, ‘You are an artist, and I trust you and your process. Thank you.’”

Govan concludes, “As costume designers, we are key components of the filmmaking process, and we often have to fight to be recognized as formidable artists in our own right. This was one of the first times I truly felt respected and recognized. I was seen, and I was humbled and honored.”

Exhibiting Forgiveness: André Holland as Tarrell, Andra Day as Aisha, Aunjanue Ellis-Taylor as Joyce, Ruth E. Carter and Deirdra Elizabeth Govan. Photos: Roadside Attractions. Paintings: Titus Kaphar.

Joyce (Aunjanue Ellis-Taylor), Tarrell’s mother, expresses her creativity through her personal style despite their working-class background. “She wears colorful clothing, funky accessories, and has her hair dyed aqua blue. Her vibrant form of self-expression is an inspiration to her son,” Govan explains. In stark contrast, Tarrell’s estranged father, La’Ron (John Earl Jelks), is homeless and disheveled, with costumes reflecting a life shaped by addiction.

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THE COSTUME DESIGNER | WINTER 2025

Saturday Night: Gabriel LaBelle as Lorne Michaels, Ella Hunt as Gilda Radner, and Matt Wood as John Belushi. J.K. Simmons as Milton Berle. Photos: Sony Pictures

was a group of people Up until this moment, there . It appealed to a who were not being spoken for ted to turn on the TV younger, edgier group who wan dangerous and spoke and see something that felt te that post-1960s to them. I wanted to communica ll finding themselves hangover where people were sti and their own voices.

re’s not a second From beginning to the end, the What spurred your that’s not alive and exciting. intent?

Saturday Night: Lamorne Morris as Garrett Morris, Cory Michael Smith as Chevy Chase, Emily Fairn as Laraine Newman, Matt Wood as Jim Belushi, Ella Hunt as Gilda Radner, Kim Matula as Jane Curtin, and Dylan O’Brien as Dan Aykroyd. Photos: Sony Pictures

club the night I was tending bar in a jazz t day all my Saturday Night debuted. The nex icians or into friends, many of whom were mus raving about nightlife and clubbing, were t television igh e-n it. That show changed lat of Saturday Night as forever. You wouldn’t think study of history as anthropological, yet it’s a w. It captures a slice much as it is creating a sho and honors the chaos of New York, the characters, surrounding the inception.

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I felt the clothes represented their souls, not just what they were wearing. I wanted to see the messiness of their existence, the pleasure of popping in and visiting these people who have been culturally important to so many of us—creating a world of high-octane realism.

did it feel All these characters and people are beloved. What like to match them historically?

Saturday Night: Gabriel LaBelle as Lorne Michaels, Kaia Gerber as Jacqueline Carlin, and Cory Michael Smith as Chevy Chase. Photos: Sony PIctures

a character we Whenever I’m creating a real person, especially t impression, direc a have a history with, the idea is not to do the marriage but express their essence. You have to be open to between your actor and the character.

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Reitman. When This is your sixth project with writer-director Jason He said, view. inter first I met him recently, he mentioned your necktie right the “Danny talked about the importance of choosing are the window for each corporate character. When he said, ‘Ties to the soul!’ I knew I had the right guy.”

I designed Jason’s first movie, Thank You for Smoking, in 2005. I really love growing with him as an artist an developing a shorth d and. It’s rare to return to work with same group of peop the le. He has been wo nderful making sure project challenges each him and challenges me, forcing us to stretching new musc keep les.

constantly moving and With over 80 speaking characters costumes work for each scene? overlapping, how did you make the

THE COSTUME DESIGNER | WINTER 2025

Saturday Night: Jon Batiste as Billy Preston, Nicholas Braun as Jim Henson. Photos: Sony PIctures

ng highly detailed boards.

I spent a lot of time creati racter had to have one Jason and I agreed every cha al show that made you iconic element from the origin are in this nonstop barrage automatically know who they ck I played throughout is of human beings. A visual tri earsals, I never put them when we see them in dress reh ted the audience to grapple in a complete costume. I wan n something isn’t complete, with the tension created whe ces but never clicking them by showing them the puzzle pie ent” when I realized, “Oh, together. That was an “aha mom lding the visual tension of I can have a big part in bui this story.”

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Saturday Night: Ella Hunt as Gilda Radner, Rachel Sennott as Rosie Shuster, Matt Wood as John Belushi, and Gabriel LaBelle as Lorne Michaels. Photos: Sony Pictures

Lorne Michaels is the center of the frame. How did you decide on his look?

s with Lorne your darling” moment l il “k e os th of e rne often I had on deer sweater that Lo in re 0s ’6 a s wa e er Michaels. Th act vintage sweater. , and I found the ex wears in the research d I was convinced tly recognizable, an an st in be to d ha e Lorn The knitted But it wasn’t right. e. ec pi ro he e th be eation of it had to a custom-made recr re we s an je d an vest, shirt, st gets pulled off ls look. When the ve another Lorne Michae a cowboy shirt the we see he’s been in ,” te da Up nd ke ee “W for big, but we goes on and it’s too er az bl e th en Th . me places him whole ti until Chevy Chase re g in rk wo t no ’s it e don’t realiz e perfect metaphor— I thought that was th and gets the blazer. ther. s barely patched toge everything for SNL wa

Tell me about the iconic bumblebee costume.

There was a controversy over whet her John Belushi’s bee outfit was working or veering into absurdism.

The original designer of Saturday Night was the legendary theater costume designer Franne Lee, and the bee suits were her creation.My job was to honor her edgy vision.

They were made from store-bought union suits that were dyed and painted. I had to build more than 30 ’70s-style union suits in the specific dyeable cotton. Then we had to make sure the spray-painte d stripes accurately reflected the sloppiness of the original for that dodgy, dicey feel.

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How did you enhance Gilda Radner’s wild side?

zed that everything Our unlocking moment for Gilda was when we reali a floppy physicality. she wore had to be in service of giving her the suspenders to The pants had to be slightly too big to allow rsal slippers too do their job, and if I kept her in her rehea er. Her physicality long, her footing was just a little bit sweet ready to jump into needed to be a rubbery clown who was always a scene and invent.

How did you dress the countless background actors?

friends, The audience felt like they were hanging out with . ssful succe which was a lot of what makes that show so

was important No matter how naughty some of our “NRFPP” were, it radical and love of sense a to approach each character with so they ked unloc empathy. They needed to feel like they were is like movie could enter this crazy world and be unhinged. This to give them watching a pinball machine with 10,000 balls. I had s the that’ ners, desig me costu the foundation to feel safe. As out s actor our g thing that gives us the most pleasure—sendin completely empowered.

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THE COSTUME DESIGNER | WINTER 2025

Saturday Night: Rachel Sennott as Rosie Shuster and Lamorne Morris as Garrett Morris. Nicholas Braun as Andy Kaufman. Photos: Columbia Pictures and NBC Studios

they became Our crew plays “the crew” for the whole film and in respectable beloved members. We dressed the seasoned cameramen shirt—that outfits—se nsible shoes, polyester pants, a collared in their rs Playe time were in contrast to our Not Ready For Prime d wante to tell dirty jeans and makeshift costu mes. Jason and I that we had the story of a generational clash, and to make sure both groups in that room.

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WRIT TEN BY

JUSTIN KURITZKES DIRECTEDBY LUCA GUADAGNINO

Here: Tom Hanks as Richard Young, Robin Wright as Margaret, Michelle Dockery as Mrs. Harter, Jonathan Aris as Earl HIggins, Paul Bettany as Al Young, and Kelly Reilly as Rose Young. Photos: Sony Pictures.

03

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THE COSTUME DESIGNER | WINTER 2025

BY GARY VICTOR FOSS & ANNA WYCKOFF

HERE IS EVERYWHERE: JOANNA JOHNSTON

Based on the graphic novel of the same name by Richard McGuire, Here is the story not just of a location, but a particular view. Eras and generations appear, scene within scene, vignettes unfolding before a static camera. In her 12th collaboration with director Robert Zemeckis, Johanna Johnston tackles a story that has eight main threads interwoven across 500 years. Taking on the project was a foregone conclusion for Johnston. “I’ll do pretty much anything that Bob does because he’s a genius and breaks boundaries every time.”

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Here: Paul Bettany as Al Young , Tom Hanks as Richard Young, Robin Wright as Margaret. Photos: Sony Pictures.

Soon carriages cross the screen, their occupants in frock coats and panniers.

Over time, a house is constructed in front of us and another around us. The scene transforms from Edenic to colonial to suburban. As families move in and out of the house we all now occupy, we become part of the lives of several generations.

All of these stories overlap and intersect.

Characters and scenes artfully fade in and out of the fixed view, weaving the location into a paradigm for the triumphs and tragedies of families everywhere. With such a complex plot, the costumes help the audience recognize not just characters but their place in the timeline.

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THE COSTUME DESIGNER | WINTER 2025

ILLUSTRATION: RICHARD MERRITT

After the ferns and dinosaurs of the Cretaceous period, nature gives way to inhabitants. The first humans in the scene are Native people, the Lenni Lenape. Johnston spoke to two museums specializing in the tribe, but had to build all of the garments. “We had to construct the indigenous clothing in London where the film was shot. Sourcing all the skins and smoking them in a traditional way was very interesting, and it certainly stunk out the costume department,” she chuckles.

Johnston also consulted with Jacqueline West, who recently designed Killers of the Flower Moon, regarding some details.

As the 18th century dawns, we see Benjamin Franklin in a cutaway coat and tricorne and a woman with a distinct silhouette of pannier beneath her walking dress.

A house is constructed around us, and we find ourselves with the Harter family during the turn of the last century as the nation progresses from rural to the Age of Flight.

Mrs. Harter (Michelle Dockery) starts in sweeping Edwardian skirts and a parasol while John Harter (Gwilym Lee) eventually dons an aviator’s outfit, which at the time might as well have been a space suit.

Here: Lauren McQueen as Elizabeth Young, Tom Hanks as Richard Young, Robin Wright as Margaret. Photos: Sony Pictures.

In the 1930s, the house becomes a home, not just a residence. Starched collars give way to the relaxed freedom of silk pajamas, and undershirts with just suspenders.

The post-WWII era arrives with the Young family. Al (Paul Bettany) and Rose (Kelly Reilly) form a routine of holidays and birthdays that covers the tumultuous ’40s and ’70s.

They arrive in a tailored 1940s victory suit and an army uniform. The clothes anchor the decades like moving title cards introducing each scene.

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THE COSTUME DESIGNER | WINTER 2025

ILLUSTRATION: RICHARD MERRITT

Here: Tom Hanks as Richard Young, Robin Wright as Margaret. Photos: Sony Pictures.

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When the house is passed down to the next generation, the film reunites Tom Hanks and Robin Wright, 30 years after Forrest Gump. The continuum features everyman Richard Young (Hanks) and Margaret (Wright), covering their betrothal, marriage, divorce, and old age. “I had to tell the evolution of that time, not only through their style but through their body shape. Tom was in padding all the way through, even at one point where he is practically his own age. For instance, when he was youthful, I gave him a strong upper body shape to go with his de-aged young face. In middle age, he gets a bit of a belly. In old age, he becomes thinner and stooped.” More than just fluency in clothing, Johnston underscores Hanks’s age by cleverly creating a silhouette beneath the silhouette.

Here: Joel Oulette as Indigenous Man, Dannie McCallum as Indigenous Woman. Photos: Sony Pictures.

The last family we see in the house is the Harris family, a professional African-American family navigating sociopolitical issues within the audience’s lived experience. Their contemporary, stylish costumes bring them into resonance with the post-pandemic world.

Telling a story as complex as Here was a logistical and continuity puzzle. Johnston notes that the

shooting schedule could demand three or four periods shot on the same day. “It was challenging and mental at the same time. Any given day’s shoot could be any of about 70 different datelines with principals and extras—who would do a corridor lineup outside the stages, like a quick-change—Christmas, Halloween, parties, builders, and so on. I wish I had put up a fixed camera to document the process.

Honestly, everything was at 500 miles an hour.”

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THE COSTUME DESIGNER | WINTER 2025

FOR YOUR COSTUME DESIGNERS GUILD AWARDS CONSIDERATION

EXCELLENCE IN CONTEMPORARY TELEVISION Dana Covarrubias

“A TRIUMPHANT SEASON OF TELEVISION.” THEWRAP

Cross: Aldis Hodge as Alex Cross, Isaiah Mustafa as John Sampson. Photos: Amazon Studios.

BY WILLIAM GOODMAN

STACY BEVERLY

The first thing you’ll notice about Alex Cross (Aldis Hodge) of Prime Video’s Cross series is his style. The adaptation of James Patterson’s bestselling and highly popular books puts the storied detective into some powerful looks, quickly conveying his sharp intellect and cunning instincts. For costume designer Stacy Beverly, having a lead as charismatic as Hodge makes it so half the work is already done—but nailing 48

THE COSTUME DESIGNER | WINTER 2025

the distinctive style of this District of Columbia detective involved a quick turnaround.

Beverly met with Cross showrunner Ben Watkins—a call she was “super excited to take”—a few weeks before the holiday season 2022, only to land the job and head off to Toronto for production soon thereafter.

As such, many of the boards she used in her

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A VISUALLY DELIGHTFUL JOURNEY FULL OF HOPE AND WONDER.” “

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interview immediately outfitted the cast as the series got underway. Of course, Beverly built it as she went, curating the pieces alongside an “amazing and supportive” Toronto crew. She confirmed that “we hit the ground running” and developed their character as the show told a narrative separate from the books.

Cross: Aldis Hodge as Alex Cross, Isaiah Mustafa as John Sampson, and Ryan Eggold as Ed Ramsey. Photos: Amazon Studios.

That involved placing Hodge in extremely bold garments, including a coat bound to be the series’ signature. It was conceived by Hodge and his late friend, fashion designer Waraire Boswell. Beverly then reimagined the coat with

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embellishments—the trim on the cuff and a belt buckle—which is meant to mimic both a peacoat and a noir-inspired trench. Cross and his partner, Detective John Sampson (Isaiah Mustafa), frequently sport double-breasted silhouettes and darker hues to convey their power. “They are strong individuals, very intellectual,” Beverly says. “I wanted to give them an edge and pull all of it together for them.” The result is a crime thriller where half the thrill comes from one stunning look after another, thanks to Beverly’s quick thinking and leadership.

BY ANNA WYCKOFF

Photos : Courtsey of Stephan Berwick Illustrations: Donna Berwick

DONNA BERWICK 1958–2024

Costume designer Donna Berwick was born in Queens, and after receiving a BFA from the School of Visual Arts and a degree in fashion from FIT, she worked in New York fashion.

Notably, she designed custom clothing for singer Grace Jones. Art was never far from her mind. She was a member of Rodeo Caldonia, an artistic collective of female creatives whose pieces were featured in Interview magazine, among other publications.

Berwick worked on Spike Lee’s early films such as Mo’ Better Blues, Jungle Fever, and Malcolm X under Ruth E. Carter.

Upon hearing of her passing, Carter noted, “You gave us all so much, especially me. Together we climbed mountains and made such beautiful films. Your sexy style and artistic

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talent was infectious to everyone who met you. We all learned so much from you. You were the example of how to live life as a designer in the art world.” Berwick designed HBO’s Life Support for director Nelson George and worked with Caroline Eselin on If Beale Street Could Talk. She recently received a nomination at CDGA 25 for Best Contemporary Film for Spike Lee’s Da 5 Bloods.

Her brother Stephan said in a recent Hollywood Reporter article, “Today we lost the coolest, most magnetic, joy of life woman I’ve known, my incomparable older sister, Donna Berwick, to a return of breast cancer. She met the battle with an unrivaled tough cheer that was so ‘Donna,’ and those who knew her will know what I mean.

Being around her was a lesson in joy. Being close to her was a feeling of acceptance and embrace without judgment. She lived with a fearless celebration of life without boundaries. Donna embodied the ideals of the artist she was since high school, through her career as a film costume designer.”

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A VISUAL SPECTACLE. DELIGHTFULLY INVENTIVE.” “

S O P H I E M O N K S K AU F M A N /

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