vol.

1, issue 5

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FEATURES
1st Annual CDG Holiday Party. . . . . . . . . . . 12 CDG 10th Anniversary Awards Honorees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Career Achievement recipients . . . . . . . . . . . . . . . . . . . . 21 Hall of Fame: Marit Allen . . . . . . . . . . . . . . . . . . . . . . . 22 Swarovski: A story in pictures . . . . . . . . . . . . . . . . . . . . . 24 Award Nominees
Q&A with this years nominees

. . . . . . . . . . . . . . . . . . . . 26

DEPARTMENTS
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Presidents Letter From the Desk of the Executive Director Assistant Executive Directors Report Labor Report
COSTUME DESIGNERS GUILD 11969 Ventura Blvd., First Floor Studio City, CA 91604 phone: 818.752.2400 fax: 818.752.2402 email: cdgia@earthlink.net COVER Gown design by 2008 CDG Career Achievement Award Honoree Ray Aghayan and Bob Mackie for Anjelica Huston, CDG Awards Mistress of Ceremonies. Illustration by Bob Mackie

The Costume Department. . . . . . . . . . . . . . . 35

History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
A Look Back at L.A. Confidential Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Winter 2008 The Costume Designer 3

EDITORS NOTE
inally, a sketch on the cover of The Costume Designer! Weve been imagining a sketch on the cover for a year now and what better inaugural sketch than a gown in the making for the past 10 YEARS! What, you dont recognize it? Well thats because the dress hasnt been made yet. This one-of-a-kind dress has been designed for our returning Mistress of Ceremonies, Anjelica Huston, for our 10th Awards Anniversary by none other than the fabulous design team of Ray Aghayan and Bob Mackie.Yes weve been talking about this dream for 10 YEARS and its finally a reality. Anjelica Huston will walk the red carpet for us in a gown designed exclusively for her by this years Career Achievement in Television honoree Ray Aghayan and Bob Mackie (honored at our first award presentation in 1998).This oneof-a-kind gown will hopefully tour the country before making its home with a lucky bidder from Clothes Off Our Back founded by 2007 CDG Awards host Jane Kaczmarek. Attempt the More than 500 celebrities have participated impossible in in Clothes Off Our Back auctions since its inception in 2002, helping raise more than order to improve $2 million for various childrens charities. your work. This issue celebrates our CDG Award BETTE DAVIS nominees and 10th anniversary honorees. Enjoy the Q&A with the nominees. Its very interesting, the minds of some of our most talented designers; how varied and yet similar we all are. We also mourn the tragic and untimely loss of Costume Designer Marit Allen. CD Christine Peters shares her personal thoughts on Marit that will make you wish youd known her. The Swarovski photo journal will remind you just how extensively Swarovski has been collaborating with Costume Designers for more than 70 years.

EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Audrey Fisher MANAGING EDITOR Cheryl Downey PRESIDENT Mary Rose
mrose@costumedesignersguild.com

VICE PRESIDENT Hope Hanafin

hhanafin@costumedesignersguild.com

SECRETARY Ann Somers Major

asomersmajor@costumedesignersguild.com

TREASURER Karyn Wagner

kwagner@costumedesignersguild.com EXECUTIVE BOARD

Sharon Day
sday@costumedesignersguild.com

Salvador Perez
sperez@costumedesignersguild.com

Deena Appel
dappel@costumedesignersguild.com

Cliff Chally
cchally@costumedesignersguild.com BOARD ALTERNATES

Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com

Susan Nininger
snininger@costumedesignersguild.com

Van Broughton Ramsey

vramsey@costumedesignersguild.com

Helen Butler
hbutler@costumedesignersguild.com ASST. COSTUME DESIGNER REP.

Deena Appel dappel@costumedesignersguild.com

Audrey Fisher
afisher@costumedesignersguild.com COSTUME ILLUSTRATOR REP.

Dana Onel
donel@costumedesignersguild.com COMMERCIAL COST. DESIGNER REP.

THANK YOU
The Kobal Collection Tanya Gill, Christine Peters, Louise de Teliga

Tanya Gill
tgill@costumedesignersguild.com BOARD OF TRUSTEES

Peter Flaherty, Chair

pflaherty@costumedesignersguild.com

Jacqueline Saint Anne

jsaintanne@costumedesignersguild.com

Marilyn Matthews
mmatthews@costumedesignersguild.com LABOR REPRESENTATIVE

Betty Madden
bpmadden@aol.com EXECUTIVE DIRECTOR

Cheryl Downey
cdowney@costumedesignersguild.com ASSISTANT EXECUTIVE DIRECTOR

Rachael M. Stanley
rstanley@costumedesignersguild.com ADMINISTRATIVE ASSISTANT

Suzanne Huntington
shuntington@costumedesignersguild.com RECEPTIONIST/SECRETARY

Cheryl Marshall
cmarshall@costumedesignersguild.com GENERAL CDG CORRESPONDENCE cdgia@costumedesignersguild.com

PUBLISHER IngleDodd Publishing ADVERTISING DIRECTOR Dan Dodd 310.207.4410 x236

The Costume Designer Winter 2008

Advertising@IngleDodd.com

Contributors

AUDREY FISHER
(Associate Editor) joined the Guild in 2000 and is currently working as an Assistant Costume Designer on film and television projects. Fisher is also the ACD representative on the CDG Executive Board. Associate editing the CDG magazine allows me to indulge one of my first loves and keep up my writing chops. I appreciate the creative outlet and the opportunity to learn more about our colleagues and their designs.

ROBIN RICHESSON
(History of Dress, Illustrator) joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist,and an educator.I trained for work as an illustrator for print (publishing) so when the CDG began the magazine, I was pleased to be asked to illustrate for it. I love working in film, but I have to admit, I missed seeing my work in print! The History of Dress column is a great way for me to learn more about clothing and participate in this publication.

Irv Kershner

JACQUELINE SAINT ANNE

Emmy Awardwinning Costume Designer and former CDG President now serves as a Trustee.Saint Anne has designed a range of media from IMAX to Opera for which she is currently designing at USC.I am prepping a new column to introduce the Assistant Costume Designers their art and craft. I am pleased to be able to bring my writing to the Guild membership in hopes of increasing jobs for them. Saint Anne is a frequent contributor and writes for The Beverly Hills Times magazine.

KARYN WAGNER
(History of Dress, Copy) A Costume Designer for film and television, Wagner ran for the CDG Board four years ago and is now the newly elected CDG Treasurer. I wanted to give back a little of what the Guild has given me. I have found the experience to be rewarding and inspiring.I trained as a historian, and I love to watch the evolution of culture and clothing, so I volunteered to write the History of Dress column. I always learn something new and have so much fun writing it. Winter 2008 The Costume Designer 9

UNION
PRESIDENTS LETTER

LABEL

Dear Members, here is no visible sign that by the time this magazine is in your mailbox that the strike by the WGA will be over, but hopefully, the DGA negotiations will have some impact for us all. On a lighter note, our first CDG Open House/Holiday Party was such a grand success that more than 150 members showed up and seemed to have a very good time. So much so, that many of them did not want to leave and actually needed some pushing out the door. Based on the overwhelming success, weve decided to make it a yearly event. If you missed it, please be sure to come this year! As your new President, my basic principle and policy is to benefit large numbers of our membership and the Holiday Party served us on many levels. It is an opportunity to meet many of your fellow members that you might otherwise never know; and in a different atmosphere, removed from Guild business. Just getting to know your peers socially is as fun as it is interesting, not to mention the chance for networking, as you all know. I feel that this is one place where we can spend some money for the overall good of the membership. Im pleased to announce the return of the printed CDG Member Directory, another benefit to the whole membership. A large number of members, myself included (call me old fashioned), wanted it back. We all understand the importance of computers, BUT many of you longed for our old directory to carry with you, have on your desk, in your car, or maybe even just sitting on your computer. It will not happen overnight. Costume Designer and Executive Board member Sal Perez, who bravely volunteered to take on this project, needs lots of help from YOU.The directory will be produced at no monetary cost to us; however, without CDG members contributing time and information, IT WILL NOT HAPPEN. If you really do want to have your directory back, please contact Sal and offer your help! sperez@costumedesignersguild.com. Back to social events we are in the midst of preparing for the special celebration of the 10th anniversary of our CDG Awards. This year, we are honoring two of our members with long overdue Career Achievement Awards. Ray Aghayan, for Career Achievement in Television (although, his film credits are equal to his TV credits, if not more) and Ruth Myers, for Career Achievement in Film. Both designers have incredible credits behind them and are very deserving of this honor. The awards ceremony will take place again this year at the Beverly Wilshire Hotel on February 19.The final ballots were mailed, so be sure to vote no later than February 13, 2008. Make your vote count!

In Solidarity, Mary Rose MRose@costumedesignersguild.com

IMPORTANT DATES
February 4, 7 PM February 19, 5:30 PM February 25, 7 PM March 1, 9:30 AM March 3, 7 PM March 29, 9:30 AM April 7, 7 PM EXECUTIVE BOARD MEETING 10TH ANNUAL CDG AWARDS CEREMONY GENERAL MEMBERSHIP MEETING ASSISTANT COSTUME DESIGNERS MEETING EXECUTIVE BOARD MEETING ILLUSTRATORS MEETING EXECUTIVE BOARD MEETING

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The Costume Designer Winter 2008

1st Annual CDG Holiday Party

We celebrated our new home, new Officers and EBoard and the New Year all in one!

Clockwise from top left: Ernesto Martinez, Conan & Leo Castro; Barbara Palmer, Ann Somers Major, Marilyn Matthews; ACD Joyce Kim Lee & Lou Eyrich; Audrey Fisher, Sharon Day, Valerie Laven-Cooper; Sal Perez & Jill Ohanneson; Barbara Inglehart & Shay Cunliffe; Cliff Chally, Sharon Day, Hope Hanafin; Vincent Lapper & Jacqueline Saint Anne.

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The Costume Designer Winter 2008

Holiday Committee Chair Tanya Gill Venice Carnivale designed by Robert Turturice White Fantasy (trompe loile) designed by Jude Orlando. Generous volunteers: Bill Barton, Cliff Chally, Sharon Day, Bonnie Nipar, Jacqueline Saint Anne and Brittany Trusler

Clockwise from top left: Anna Bae & Eduardo Castro;Vikki Barrett & Jacqueline Saint Anne; Carlos Brown & Francine Lecoultre; Mark Beall & Christopher Lawrence; Rachael Stanley, Astrit Daku & Wendy Benbrook; Alison Schmidt, Gail McMullen, Robert Cron, Maritza Garcia-Roddy, Melissa Lizardo; Mona May & Brittany Trusler.

Winter 2008 The Costume Designer

13

UNION
From the Desk of the Executive Director

LABEL

Hello, Members he CDGs first annual holiday party held at the Guilds new headquarters in December not only brought out more than 150 members, but also childrens presents, enough to fill an entire car for the L.A. County Federation of Labors gift drive! Thanks for sharing the holiday spirit so enthusiastically. A member recently called because a company had promised the crew pay as independent contractors. As a result, these crew members were misclassified from being employees working under a collective bargaining agreement to independent contractors for whom NO WORK BENEFITS of any kind were to be paid. In other words, no hours to MPI, no monies to Social Security, Medicare, state disability, state unemployment, state and federal taxes. To make it even worse, while employees must be covered under Workers Comp, few independent contractors are. Worker protections that unions have achieved for members such as minimum wages and meal breaks simply dont apply to independent contractors. In short, DO NOT take work in this industry as an independent contractor. Call me immediately should you be offered such a deal. When you read this, the fact that the DGA commenced negotiations with the AMPTP January 12 will be yesterdays news.As is DGA practice, there will have been a total news blackout on the talks. We fervently hope that not only the DGA, but also the WGA and SAG will successfully reach resolution in the near future.We genuinely share their concern that members have jurisdiction in new media and that there be appropriate compensation for reusing material on the Internet. The IATSE Pension/Health Plans receive residual payment whenever a film or television show is sold in supplemental markets, so future residuals, as well as work opportunities, are very important issues to us, as well. Fingers crossed. Good news: After a five-year hiatus, the CDG Member Directory is back! In the three years Ive been with the CDG, the one recurring request Ive heard from you was to again put out an annual directory. In response, the CDG Board has voted to publish a directory later this year and Sal Perez has gallantly volunteered to make it happen, as he did so often in the past. Best of all, like our magazine and newsletter, it will be published and mailed at no cost to our Guild! The CDG 10th Annual Awards, Tuesday, February 19, promises to be our most memorable yet. Do join in celebrating our creativity, taking pride in our accomplishments, and having faith in our future.

In Solidarity, Cheryl cdowney@costumedesignersguild.com

BILL BELEW
19312008
Costume Designer Bill Belew had the distinction of having designed Elvis Presleys costumes and personal wardrobe from 1968 until his death in 1977. In his varied career, Belew designed costumes for more than 70 theatrical productions, musicals, operas, ballets, TV specials and series. In addition to his highly acclaimed work designing the variety shows The Steve Allen Show, The Captain and Tennille, The Flip Wilson Show, and the NBC daytime drama Santa Barbara, he also designed the costumes for the situation comedies Mr. Belvedere, Teachers Only and Sister Kate to name just a few. While semi-retired, Bill was a highly respected adviser to Butch Polston of B&K Enterprises Costume Co., Inc. and also donated much of his time to many charitable functions in hospitals near his home.

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The Costume Designer Winter 2008

UNION

LABEL

Assistant Executive Directors Report

Strike Survival s we head into the third month of the writers strike, I thought it might be helpful to share some ideas from myself and fellow members about financial survival in this difficult time. Below are a few suggestions that you might find helpful. Write down your monthly financial obligations and organize them by the due date each month. This helps to pay things on time. File your tax return early if you expect a return.You can do it electronically and increase your immediate cash needs. Call your cable company and ask if they have any special offers that will lower your bill. Cancel all extra-pay channels. Call all your credit cards and ask for a lower interest rate. Ask if there are any balance transfer rate specials and then transfer balances from higher rate cards. This will lower your monthly payments. Contact the Actors Fund (323-933-9244) or MPTF (818-876-1888) if you need financial assistance to meet mortgages and household bills. The Musicians Inter-Guild Credit Union is now offering unsecured loans in increments of $5,000 at the credit union rate with no payments due until after the strike has settled. For any member with overdue DWP, Edison, or The Gas Company bills, you may apply for up to a $150 rebate on your bills.This can be done each Friday at Local 80 from 10 a.m. to 3 p.m. Call our office for further instructions. Be sure to call creditors if you are having trouble making bills and try to work out a payment plan with them. If you just ignore things, you may ruin your credit rating. Have a garage sale or sell items on eBay.Youll be surprised how much you have that you really dont need. Lower your cell phone rates by eliminating all the extras during this period.You can always add them back later. Make your entertainment low-cost by inviting friends for a game night or dinner. In Solidarity, Rachael rstanley@costumedesignersguild.com

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The Costume Designer Winter 2008

Labor Report
E L P I think Im falling.There is a safety , net there to catch you. The writers strike is starting to affect us in our daily lives. Yes, a year ago, we were shown warning signs that the writers were going to strike and that we should be prepared to deal with that possibility. As a friend stated, I am capable of only so much preparedness. There are things you can do and actions you can take to secure your life doesnt spiral out of your control. We, the CDG members, are not on strike.The writers are on strike. You are unemployed because there is no work available for you at this time. Sign up for EDD (Employment Development Department) even if you think you may have a production pending. Get your paperwork in the system so you gain eligibility to collect as soon as possible.The EDD is efficient but takes time to initiate. Call: 800-300-5616 or go to www.edd.ca.gov to sign up. The best resource is your union. Contact the CDG office for leads that can assist you. Check your copy of the industrys Wellness offerings for assistance dealing with stress and making healthy-living choices. The following are a few examples of resources available to all. Financial Assistance Programs and Surviving Unemployment 1) United Way Partnership: http://online.unitedway.org and afl -cio.org and download,When the Paycheck Stops 2) LAfoodbank.org: Search by city. Second Harvest, 1734 E 41st Street, L.A. 90058 3) L.A. County Resource: Dial 211 or webmaster @ 2211LA.com for a list of available services. 4) California low-cost auto insurance: 866-602-8861 or www.insurance.ca.gov Betty Madden, CDG Labor Representative bmadden@costumedesignersguild.com

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The Costume Designer Winter 2008

cdg10th awards
Anjelica Huston
Mistress of Ceremonies

Paula Wagner
Swarovski Presidents Award

James Mangold
Distinguished Director/Producer Award

Cathy Konrad
Distinguished Director/Producer Award

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The Costume Designer Winter 2008

CDG CAREER ACHIEVEMENT IN TELEVISION

Aghayan
Born in Tehran, Iran, into an Armenian family, Rays creative spark was evident quite early in life. His mother, a society couturier in Tehran, would often ask for her sons input. At 14, he designed the glamorous mourning clothes for the wife of the Shah of Iran, Queen Fawsia. A 17-year-old Aghayan moved to Los Angeles by himself to pursue his dream of becoming a movie star! After several years he began producing, directing and of course designing the costumes for his own productions. Needing steady work, he became the Costume Designer at NBC Television and soon was designing the most prestigious shows on the air. In 1963, he was chosen as the designer for The Judy Garland Show. In 1966, Aghayan was instrumental in persuading the Television Academy to officially recognize the contribution of Costume Designers. Along with Bob Mackie, Ray won the first-ever Emmy Award for Costume Design for Alice Through the Looking Glass. He went on to be nominated for nine Emmy Awards and has won three statuettes. Partnered with Bob Mackie, Ray designed the opening of Halleluiah Hollywood at the MGM Grand in Las Vegas; a mere 940 costumes. He designed the costumes for the Opening and Closing Ceremonies of the 1984 Olympic Games and over a dozen Academy Award presentations.Aghayan has designed television specials starring Julie Andrews, Fred Astaire, Lucille Ball, Diahann Carroll, Carol Channing, Cyd Charisse, Bill Cosby, Bing Crosby, Sammy Davis, the Jackson Five, Shirley McLaine, Diana Ross and Roy Rodgers & Dale Evans to name a few. Aghayan was nominated for an Oscar for Costume Design for Gaily Gaily, and for Lady Sings the Blues and Funny Lady (both with Bob Mackie). His other films include Doctor Doolittle (starring Rex Harrison), Our Man Flint and In Like Flint, The Art of Love, Hannie Caulder, and Do Not Disturb, The Glass Bottom Boat and Caprice, all starring Doris Day.

Ray

CDG LACOSTE CAREER ACHIEVEMENT IN FILM

Myers
Two-time Academy Awardnominated Costume Designer Ruth Myers was brought up in Manchester, England. She trained at St. Martins School of Art in London, then went to work at the Royal Court Theatre on a student grant, followed by a year working in repertory. Ms. Myers next returned to the Royal Court, contributing to at least 15 productions. Myers first professional assignment was sewing sequins all night long for the great Costume Designer Anthony Powell. Ms. Myers then started to design for the theater and for low-budget English films in 1967 with Smashing Time, A Touch of Class, The Ruling Class and The Twelve Chairs. Gene Wilder persuaded her to come to America where she collaborated with him on The Worlds Greatest Lover, The Woman in Red and Haunted Honeymoon. Ms. Myers met her late husband, noted Production Designer Richard MacDonald,while designing The Romantic Englishwoman. As a couple they enjoyed a dynamic partnership on films that included The Firm, Plenty, The Russia House, And Justice For All, Altered States, Something Wicked This Way Comes, The Accidental Tourist and The Addams Family, for which Ms. Myers received an Academy Award nomination in 1992. Since 1993, she has designed more than 30 films including Curtis Hansons acclaimed L.A. Confidential. Myers collaborated with director Douglas McGrath on Jane Austens Emma (for which she earned her second Academy Award nomination), Nicholas Nickelby and Infamous; going on to design Proof of Life; Deep Impact and The Painted Veil. Her most recent film projects are the fantasy/adventure The Golden Compass and the forthcoming City of Ember. In 2003, Ms. Myers designed the pilot episode of HBOs Carnivale. She created the look for the continuing series and garnered an Emmy for her costume design. Winter 2008 The Costume Designer 21

Ruth

HALL OF FAME
Clockwise from top left: Marit Allen with Lance Henrikson on the set of Dead Man/Courtesy of Jim Jarmusch, Nomad/The Weinstein Co./Kobal, Allen on the set of Thunderbirds, White Mischief/The Kobal Collection, Mermaids/Orion/The Kobal Collection, Love in the Time of Cholera/New Line, Ride With the Devil/Universal/Kobal/John Clifford, Mrs. Doubtfire/20th Century Fox/Kobal. Marit Allen portrait Courtesy of Ulei Steiger.

Marit Allen
19412007
Costume Designer Christine Peters shares her most personal thoughts and memories about a colleague and dear friend. Working with Marit Allen was like being surrounded by fairy dust 24 hours a day. Slight of figure, speaking with her ethereal, English-accented voice, she enthralled directors, actors and crew with her infectious enthusiasm. Marit had the ability to turn the mundane into a magical event. Whether it be morning tea, the sewing on of a button, or searching high and low through the aisles of a thrift store for that perfect pieceeverything was an adventure. Much has been said of her keen eye, her discriminating taste and her enthusiasm. More than anything else, it was her ability to have it all, to live every day like a precious moment, and to stop and smell, not just the roses, but every freesia, orchid, marigold, cactus or tumbleweed, you might pass (in between setups of course!). She missed nothing. Marits zest for life infected everyone she worked withshe could enthrall an actor with the tiniest accessory that became the essence of their character, as easily as she would convince the most dour of Khazak seamstresses to please, please, please do that seam by handthe garment demands it! No one could say no to Marit, and ultimately, who wanted to anyway? She rewarded everyone with a hooray, goodo, outstanding or other congratulation. Translators and drivers the world over were smitten by her charms. She loved life and all its imperfections. Her talent was a unique blend of skillsintuition, appreciation for the beautiful and unusual, and a true love of creating characters, bringing the directors visions to the screen with grace and ease. She strove to create characters that were real, imperfect and nuanced. She never settled for the ordinary. For those who had the pleasure of working with her, we all are the richer for seeing a true master at work, teaching us all to appreciate every tiny detaileven the buttons on the lady in the back, last row, to the right of the portly man. You see her, dont you? Of course we did.She will be sorely missed. Costume Designer Marit Allen died of a brain aneurism on November 26 in Sydney, Australia. She was working with director George Miller on the Warner Bros. superhero adventure, Justice League of America.

Swarovski
Daniel Swarovski was a pioneer in the world of crystal, inventing an automatic cutting machine that turned fantasy into reality. Since the late 1800s, Swarovski has evolved with the times; from the technology to create all things crystal, to the artistry that inspires designers and artists around the globe to create crystal jewelry, chandeliers, fine art, fabric and fashions. Nadja Swarovski, great, great granddaughter of Daniel, appreciated the art of costume design and saw the opportunity to partner with the Costume Designers Guild as a major contributor to our Awards in 2005. Returning for the fourth year, as the presenting sponsor of our 10th Anniversary Awards Gala, Swarovski not only makes our evening possible, but an evening that truly sparkles. Swarovski has played a very important role in creating some of the most memorable costumes in motion picture history. From Norma Shearers Marie Antoinette 1938 [Adrian], Hepburns Roman Holiday [Edith Head] and Marilyn Monroes Gentlemen Prefer Blondes [Travilla], to 2007s historic Elizabeth: The Golden Age [Alexandra Byrne], the theatrical Sweeney Todd: The Demon Barber of Fleet Street [Colleen Atwood], the Disney fairy tale Enchanted [Mona May] and the contemporary comedy Blades of Glory [Julie Weiss]. There is no limit to the ways in which Swarovski has enabled costume designers to create magic for the screen.
Deena Appel dappel@costumedesignerguild.com Roman Holiday/CD Edith Head 24 The Costume Designer Winter 2008

Chicago/CD Colleen Atwood

Opposite Page: Chicago/Miramax, Roman Holiday/Paramount/Kobal. This Page: Enchanted/Walt Disney Studios, Marie Antoinette 1938/MGM/Kobal/Laszlo Willinger, Moulin Rouge/20th Century Fox/Kobal, Im No Angel/Paramount/Kobal, Blades of Glory/Paramount, The Wizard of Oz/MGM/Kobal, Gentlemen Prefer Blondes/20th Century Fox/Kobal, Elizabeth: The Golden Age/Studio Canal/Working Title/Kobal/Laurie Sparham, Phantom of the Opera/Warner Bros. Pictures/Kobal

Enchanted/CD Mona May

I'm No Angel/CD Travis Banton

Gentlemen Prefer Blondes/CD Travilla Marie Antoinette 1938/CD Adrian Blades of Glory/CD Julie Weiss Moulin Rouge/CDs Catherine Martin & Angus Strathie The Wizard of Oz/CD Adrian

Elizabeth:The Golden Age/ CD Alexandra Byrne

Phantom of the Opera/ CD Alexandra Byrne

Excellence in Contemporary Film

BLADES OF GLORY
Costume Designer: JULIE WEISS Assistant Designer: MICHAEL CROW
What new lesson did you learn? If an extra claims to be a professional skater, never dress him in a pointed headdress for a crowd scene without seeing him skate first. And never lose a crystal on the ice. One thing you couldnt live without? Band-Aids for the fingers burned during after-midnight crystal applications surrounded by hot plates in a dark room. What surprised you most? That surely our next U.S. National Skating Champions will be in the category of same-sex doubles. Favorite costume? The peacock costume, if Jimmy MacElroy had accessorized himself with pieces borrowed from the rap costumes.

THE DIVING BELL AND THE BUTTERFLY

Costume Designer: OLIVIER BRIOT Assistant Designer: CAMILLE JANBON
What new lesson did you learn on this project? Because of director Julian Schnabels painterly eye, I discovered last-minute, on-set inspiration to use costumes based on color more than shape. One thing you couldnt live without? I always referenced my research books for ideas and insight. What surprised you most? Julian Schnabels very particular perception of colors and patterns. Your favorite costume? I loved Empress Eugenies costume because it was so out of time in this contemporary film. Her green silk taffeta dress echoed the green of the hospitals walls.

INTO THE WILD

Costume Designer: MARY CLAIRE HANNAN
What did you learn on this project?Traditional filmmaking methods were replaced with an organic flow: nature and artistic instinct drove this project. Couldnt live without? I relied on Chris McCandless personal journal and photographs to create authentic costumes to represent Chris journey. What surprised you most? Because of the majestic Alaskan mountains bright white blankets of snow, the costumes required a more vivid level of distress. Your favorite costume? Marcia Gay Hardens first outfit was a little cerise Maggy London suit abandoned in a local thrift store for $3.50.

JUNO
Costume Designer: MONIQUE PRUDHOMME Assistant Designer: CHRISTINE COUTTS
What new lesson did you learn on this project? Costume Design is collaborative: clothes shape the character and actors give it life. One thing you couldnt live without? My personal directory of thrift and vintage clothing shops in Vancouver.What surprised you most? Ellen Pages intensity beneath her nonchalanceheartbreaking and funny at the same time. Your favorite costume? Junos attempt to look girlie when she discusses fatherhood and the impending divorce with adoptive Dad Mark (Jason Bateman).The little fluttery skirt hanging on below her big belly is endearing and pathetic at the same time.

OCEANS THIRTEEN
Costume Designer: LOUISE FROGLEY Illustrator: JAMIE RAMA
What new lesson did you learn on this project? I learned all about tuxedos.One thing you couldnt live without? A fabric called mohair tonic, a 60s mens suiting that I happily rediscovered. What surprised you most? George Clooney and Steven Soderbergh became even funnier than usual.Your favorite costume? Elliott Goulds tuxedo.

Blades of Glory/Disney/Susan Hanover, The Diving Bell and the Butterfly/Miramax Films, Into the Wild/Paramount Vantage/Chuck Zlotnick, Juno/Fox Searchlight/Doane Gregory, Oceans Thirteen/Warner Bros./Melinda Sue Gordon

Excellence in Period Film

3:10 TO YUMA
3:10 to Yuma/Lionsgate/Richard Foreman SMPSP/Warner Bros. Ent., Atonement/Focus/Alex Bailey, Elizabeth:The Golden Age/Universal Studios/Laurie Sparham, La Vie en rose/Picturehouse Entertainment, Sweeney Todd:The Demon Barber of Fleet Street/Paramount/Peter Mountain

Costume Designer: ARIANNE PHILLIPS Assistant Designers: CARLOS ROSARIO, CHRISTINE CANTELLA and TERRY ANDERSON Illustrator: LOIS DE ARMOND
What did you learn on this project? This was my first Western, so my learning curve was massive.The challenges made it a fantastic experience. One thing you couldnt live without? Research books and my talented crew. What surprised you most? Jim Mangolds unflinching ability to bring stories to life. His fierce commitment and partnership with Cathy Konrad.They got this movie made when most wouldve jumped ship. Favorite costume? Ben Foster and I had creative synchronicity, and we played with color and silhouette for Charlie Princes costume. Our collaboration was inspiring.

ATONEMENT
Costume Designer: JACQUELINE DURRAN Assistant Designer: ANDREA CRIPPS Illustrator: MAUDE HEWLING
What new lesson did you learn? A familiar one: perseverance even when you cant seem to find the answers. One thing you couldnt live without? Whaleys fabrics in England.Almost every costume had something from Whaleys. What surprised you most? DP Seamus McGarvey delighted me by lighting everything so beautifully. Your favorite costume? Brionys evening dress in the night sequence had a ghostly etherealness that I hoped for.The nurses uniforms because it was so difficult to source the fabric, and I was pleased when we finally found it. Nice when your plan works out!

ELIZABETH: THE GOLDEN AGE

Costume Designer: ALEXANDRA BYRNE Assistant Designer: SHARON LONG Illustrator: DAVID DOWNTON
What new lesson did you learn on this project? One word: color. One thing you couldnt live without? The book Queen Elizabeths Wardrobe Unlockd by Janet Arnold. What surprised you most?The infinite variety of knee-calf-ankle proportions of mens legs.Your favorite costume?The purple moir robe worn by Elizabeth as she strides through the stone nave of St. Pauls Cathedral flanked by her courtiers. I love that costumes scale and movement.

LA VIE EN ROSE
Costume Designer: MARIT ALLEN Assistant Designer: NATALIE HUMPHRIES (Q&A responses by Natalie)
What new lesson did you learn? Marits innate ability to interpret the inner life of a character was an education. She was always narrative driven. Her tireless research ensured historical accuracy while revealing Piafs quirky style. Couldnt live without? Marits extraordinary personal collection of vintage jewelry, buttons and trims. Favorite costume? The final performance dress, a direct copy of Piafs, served to demonstrate her physical frailty and decline. Marion Cotillard truly inhabited the spirit of Piaf. Shot at the original venue in front of a Parisian crowd, it felt as if we had witnessed a Piaf performance.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

Costume Designer: COLLEEN ATWOOD Assistant Designer: COLLEEN KELSALL Illustrator: WARREN HOLDER
What new lesson did you learn? I learned so much about contrast and texture, expanding on textile techniques I evolved on Geisha.Opening a whole new door was great fun.Couldnt live without?The ever-expanding world of textile art technology was integral, especially when working with an artist like Tim Burton. What surprised you most? How quickly the project went by, and how smoothly my crew handled all the blood. Favorite costume? Too hard to name a favorite costume, it changes from day to day!

Excellence in Fantasy Film

300
Costume Designer: MICHAEL WILKINSON Assistant Designer: CHRISTINE BIESELIN
300, Enchanted/Disney Enterprises, Inc./Barry Wetcher SMPSP, The Golden Compass/New Line/Laurie Sparham, Harry Potter and the Order of the Phoenix/Warner Bros./Murray Close, Pirates of the Caribbean:At Worlds End/Disney Enterprises, Inc./Peter Mountain

What new lesson did you learn on this project?To create something that looks unique, you need to stick to your vision with 200% commitment. One thing you couldnt live without?Two things: Moldable leather and heat-set gold foil! What surprised you most? The passion and talent of the Qubcois costume craftspeople. Your favorite costume? Xerxesequal measures of majesty and audacity.

ENCHANTED
Costume Designer: MONA MAY Assistant Designer: MIRENA RADA Illustrator: ADAM FORMAN
New lesson ? Creating costumes with slightly cartoonish, animated proportions for live-action bodies is critical. I navigated between media, starting with costumes for two-dimensional animated characters, then translated the flat designs to three-dimensional actors. It was especially challenging transforming Queen Narissa into a CGI dragon while keeping her design consistent. Biggest surprise? Disneys archived artwork from the 30s and 40s.The character and set designs were both innovative and inspiring. Favorite costume? Queen Narissa: I gave this iconic Disney character a sexy high-fashion makeover.

THE GOLDEN COMPASS

Costume Designer: RUTH MYERS Assistant Designer: CAMILLE BENDER
What new lesson did you learn on this project? I learned not to be intimidated.Even the largest project can be achieved if you dont panic. One thing you couldnt live without? Passionfrom the entire crewand support. What surprised you most? Nicole Kidmans complete dedication to beauty. Your favorite costume? Naturally, the Gold Dress worn by Nicole Kidman as Mrs. Coulter.

HARRY POTTER AND THE ORDER OF THE PHOENIX

Costume Designer: JANY TEMIME Assistant Designer: SARA MEEK Illustrator: MAURICIO CARNEIRO
What new lesson did you learn? Although this was my third Harry Potter film, the biggest challenge remains the same: visualizing JK Rowlings masterpiece and giving it a modern touch without upsetting her fans. Couldnt live without?The book! All the answers are in it. What surprised you most? Ralph Fiennes ability to be even more devilish than in the last Harry Potter; he is a perfect Voldemort. Favorite costume? Bellatrix: she is so bad and so sexy!

PIRATES OF THE CARIBBEAN: AT WORLDS END

Costume Designer: PENNY ROSE Assistant Designer: JOHN NORSTER Illustrator: DARRELL WARNER
What new lesson did you learn on this project? Collaboration with CGI live-action blue screen characters. One thing you couldnt live without? Global Textile Collection, our computerized embroidery machine, massive braid, ribbon, buttons and accessories. What surprised you most? The amazing talent of my ageing and dyeing department.Your favorite costume? Captain Sao Fengs costume,worn by Chow YunFat, combined metal application (duplicated in plastic), embroidery, leather, and bizarre accessories.

Outstanding Contemporary TV Series

BIG LOVE
Costume Designer: CHRISI KARVONIDESDUSHENKO
What new lesson did you learn on this project? How to make three fashionistas look like dowdy middle Americans. One thing you couldnt live without? Calico and plaid western shirts. What surprised you most?The subject matter and the scripts.Every week there was a phenomenon about polygamy that surprised me. Your favorite costume?Two hundred people in white fundamentalist baptismal garb at patriarch Romans family reunion.

Big Love/HBO/Lacey Terrell, Dancing With the Stars/ABC/Carol Kaelson, Entourage/HBO/Claudette Barius, The Sopranos/HBO/Craig Blankenhorn, Ugly Betty/ABC/Ron Tom

DANCING WITH THE STARS

Costume Designer: RANDALL CHRISTENSEN Assistant Designer: STEVEN LEE
What did you learn on this project? Nothing is more important than putting together the right team. My colleagues are phenomenal. What surprised you most? The incredible freedom the producers gave me, which translated into trust. Humbling and empowering at the same time. Favorite costume? We have only three days to make incredible dance costumesno time for changes or mistakes. My great crew and good research have saved me many times.Anything my muse Edyta Sliwinska wears is a favorite! Also, the Viennese Waltz costumes for Julianne Hough and Helio Castroneves.

ENTOURAGE
Costume Designer: AMY WESTCOTT Assistant Designer: ROEMEHL HAWKINS
What new lesson did you learn on this project? I learned to be very careful about what you say to the press. What surprised you most? The on-going creative ambition of the cast and crew. Entourage is always striving to be better,not shifting to autopilot, and each season tops the next.Your favorite costume? Aquaman for Vince (Adrian Grenier). It was a great opportunity to reinvent the original comic book character as a muscle-bound blue avenger, even though the costume never made it to the screen.

THE SOPRANOS
Costume Designer: JULIET POLSCA Assistant Designesr: LORRAINE CALVERT and LAUREN PRESS
What did you learn on this project? No matter how long youve worked on a project or how many times you feel like youve solved the same design problem, there is always something new to inspire or baffle you. One thing you couldnt live without? My actors trust.Their faith eliminated my second-guessing. What surprised you most? That creator David Chase ended the series so unconventionally. Your favorite costume? When Christophers baby is baptized, Carmela, Kelli and the child are dressed beautifully. But Christopher and Tonys sharp outfits belied their simmering mistrust.

UGLY BETTY
Costume Designer: EDUARDO CASTRO
What did you learn on this project? I learned to have patiencewithout it I would never gotten through the show. One thing you couldnt live without? Our fabulous workroom, which handled many daily challenges. What surprised you most? How cutter/fitter Lynda Arnold gained the confidence of our more challenging cast members, and consistently delivered gorgeous work with a smile. Your favorite costume? Vanessa Williams white silk crepe dress with faux panda skin belt and iridescent black coque feather collar.

Outstanding Period/Fantasy TV Series

PUSHING DAISIES
Costume Designer: ROBERT BLACKMAN
What new lesson did you learn? This project gave me enormous license to collaborate with creators Bryan Fuller and Barry Sonnenfeld, production designer Michael Wylie, and my great costumers Carol Kunz and Tom Siegel.One thing you couldnt live without?The Internetgetting instant research images is essential in this fast-paced creative process. What surprised you most? The commitment of every crew member to do their best work. Your favorite costume?The Dandelion Showroom Gals, Kristen Chenoweths 4th of July Mermaid outfit and almost any of Anna Friels disguises, particularly her red dress and hat.
Pushing Daisies/ABC/Justin Stephens (gallery) Ron Tom (dandelion), Rome/HBO/Franco Biciocchi, TheTudors/Showtime

ROME
Costume Designer: APRIL FERRY Assistant Designer: GIUSEPPE AVALLONE and ROSSANO MARCHI Illustrator: BOB FLETCHER
What new lesson did you learn on this project?That a team effort is more important than anything. One thing you couldnt live without? My espresso in the morning because it jump-started my day. What surprised you most? My entire crew: they are terrific craftsmen but always went above and beyond my expectations. Your favorite costume? Probably Cleopatras six-layered silk organza peacock cape. It took many days and a lot of experimenting to accomplish the final product.

THE TUDORS
Costume Designer: JOAN BERGIN Assistant Designer: GABRIEL OBRIEN
What new lesson did you learn? An old lesson driven home.To reinvent period costumes for modern sensibilities,your inspiration has to be deeply rooted in endless research.Couldnt live without?Workshop on site. What surprised you most? Michael Hirsts writing inspired both the actors and the entire costume department in this journey. Favorite costume? Anne Boleyns turquoise bodice, hand-embroidered with wildflowers copied from a 16th-century sampler, worn with a skirt of bronze and gold. I like to think the costume adds to Cardinal Wolesleys disquiet at his miscalculation of Boleyns rise to power!

OutstandingTV MOW,Miniseries or Special

Bury My Heart at Wounded Knee/HBO/Annabel Reyes, Jane Eyre/BBC, The Starter Wife/USA/Matthew Rolston

BURY MY HEART AT WOUNDED KNEE

Costume Designer: MARIO DAVIGNON Assistant Designer: MICHELINE ROUILLARD
What new lesson did you learn? The real way to control your creation is to manufacture your casts costumes and much of the background actors looks. Couldnt live without? A huge capacity to adapt! We had to fight with the weather and be ready for sudden shooting schedule changes. What surprised you most?The light in Alberta kills standard ageing. Favorite costume?The burgundy dress Anna Paquin wears the first time we see her: she is the only color in a sea of Victorian black.

JANE EYRE
Costume Designer: ANDREA GALER
What new lesson did you learn on this project? An inspiring script and director leads to a unique experience: every project is a learning curve. One thing you couldnt live without? The appropriate budget to make the principal costumes I had envisioned from both the book and the script. What surprised you most? Our location which Charlotte Bronte actually wrote about in the novel and Ruth Wilsons perfomance as Jane Eyre. Your favorite costume? So many I made for the movie!

THE STARTER WIFE

Costume Designers: Marion Boyce Costume Designer for Debra Messing: DEBRA MCGUIRE
What new lesson did you learn on this project? DM: I learned that miracles can happen! I did Debras 80+ changes here in L.A. and shipped clothes and boards to Australia so that the costumers could follow the changes and could have a palette guide. What surprised you most? DM: I am thrilled when collaboration with another CD works out so flawlessly. I was delighted to be included in the nomination for both the Emmy and the CDG Award. Your favorite costume? DM:Too many! Debra is beautiful in everything.

Outstanding Commercials
Costume Designer: BETH PASTERNAK Assistant Designer: CLEO POLLACK
What new lesson did you learn?To ask the talent about individual sponsors before fittings since this information doesnt necessarily come from the agency. Couldnt live without? The support from production to create a sacred costume boutique area on stage for the presentation of racks of clothes and fitting photos. What surprised you most? That iconic director Martin Scorsese is so approachable and generous of spirit as a collaborator. Your favorite costume? As the costumes are a part of a whole, its difficult to pick a favorite.
American Express:Members Project, Capitol One:Deborah Ferguson, Burger King:The Nutcracker

AMERICAN EXPRESS MEMBERS PROJECT

CAPITOL ONE PRINCESS KISS

Costume Designer: DEBORAH FERGUSON
What new lesson did you learn? Delicate period costumes are at high risk when small animals with sharp claws are clinging to necklines. Couldnt live without? My mild-mannered crew and their patience with both the animals and the flooding during our shoot.What surprised you most? Our crew was amazing:they were able to save lights, sets, props, cast and animals while our location flooded within 10 minutes! Favorite costume? The centaur: among many challenges was finding fur skins to match the ponys fur for CGI.

BURGER KING THE NUTCRACKER

Costume Designer: MELISSA BRUNING Assistant Designer: JODI FELD
What did you learn on this project?You can find Evangeline shoe dye on Western and Santa Monica! Im accustomed to Broadway cobblers who dye 30 pairs of shoes in two days.We dyed the Dollarinas toe shoes on my porch, and Im still finding green. One thing you couldnt live without?Velcro, spray glue and spandex do wonders in a pinch.What surprised you most?The whole crews encouragement.Favorite costume? I really like how the Dollarinas turned out elegant, but quirky.

THE COSTUME DEPARTMENT

HISTORY OF DRESS A-Z

hram: Garment worn by Muslims on the pilgrimage to Mecca; it consists of two pieces of white cotton without any needlework. One is worn wrapped around the loins, the other is thrown over the left shoulder, leaving the right arm and shoulder free.

came to stand for the French dandies of the Directoire period (17951799). They wore highly elaborate waistcoats, cravats and cut their hair in a ragged, so-called Dogs Ears fashion.Their knee breeches were decorated with buttons, ribbons and loops and they wore silk stockings and jewelry. It was also quite common for them to wear makeup and to go heavy on the amber perfume.

Intaglio: Design carved in a hard

material, usually semiprecious stone. Settings in rings and fobs are most common and these were pressed into hot wax as a kind of signature.

Incroyable: Coming from the French word meaning incredible, it

fastening at the neckline and worn down the front of the bodice or shirtfront, intended to hide the fastening at the neck. They were most commonly made from lace or from fine lawn trimmed with lace. The style originated in the Louis XIV period and survived until the middle of the 19th century. Since then, this style has most commonly been revived in womens wear.

abot: Frill or ruffle

Jellaba: A hooded woolen robe,

worn by natives of Northern Africa, most commonly referred to in Morocco. Usually full length, they also wear a three-quarterslength version in the rainy season.

Jodhpurs: Created for equestrian pursuits, jodhpurs are a form of breeches which are cut tightly from the knee down and more loosely above the knee. Depending on their use, they fit inside a riding boot for hunt or polo seat, but outside the boot for hacking. Hacking jodhpurs may also have a cuff and a strap that goes under the boot. Both forms are usually padded inside the knee. Jouy Print or Toile de Jouy: Usually cotton
or linen fabric with monotone prints of landscapes or groups of figures on a white background. This type of print originated in 18th-century France.

Illustrations by Robin Richesson robins.nest@verizon.net Karyn Wagner kwagner@costumedesignersguild.com

Jumper: In the U.S.,this garment commonly refers to a

sleeveless dress worn over a sweater or blouse. In Great Britain and most of Europe, however, a jumper refers to a heavier over-sweater.

Winter 2008 The Costume Designer

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IN FOCUS

A LOOK BACK

Ruth Myers: The Iconic Costumes of L.A. Confidential

S
L.A. Confidential/Warner Bros./The Kobal Collection

hot in 1997, L.A. Confidential deals with corruption and redemption in 1950s Los Angeles.When crime boss Mickey Cohen is finally thrown in jail, the crooked local police chief, Captain Dudley Smith (James Cromwell), annexes his heroin racket and runs the citys criminal underworld.Three very different cops fight to expose the police departments rotten core: burly hero Bud White (Russell Crowe), who has a violent streak and a soft spot for helping women; ambitious golden boy Ed Exley (Guy Pearce), who proudly does his sleuthing by the book; and cool sidekick Jack Vincennes (Kevin Spacey), a clotheshorse who likes bribes and his Dragnet-style TV show.High-end call girl Lynn Bracken (Kim Basinger) is the fallen woman at the heart of the movie, whose love heals her hero, Bud. The noir thriller, based on James Ellroys novel, is populated by archetypal characters who are perfectly framed by Ruth Myersiconic Costume Design.In the film,the men of the L.A. Police Department are outfitted in simple but classic 1950s looks. Bud White wears the working-class uniform of clean, basic short-sleeved white dress shirts (with an athletic undershirt underneath), tone-on-tone ties, and unassuming boxy brown wool suits. Exley has clean-cut G-man looks: round specs, rep ties, and grey suits. Flashy Jack, however, is a Hollywood man, so he breaks the mold in loud patterned ties, dark shirts and stylish wide-shouldered sportcoats.

While the detectives sport conventional 1950s garb, Myers designs fashionably sophisticated looks for the films decadent underworld characters, such as Lynn and her elegant pimp, Pierce Patchett (David Strathairn). Lynn, a smart, sad Veronica Lake look-alike, is the crown jewel of Pierce Patchetts stable of girls, and her wardrobe shows it. Bud spies her on Christmas Eve in a liquor store: she wears a dramatic black velvet cape with a white-satin-lined cowl, an elegant errand girl with bright red lips. Next we see her entertaining a client in an enticingly prim hostess gown in pale celadon with Peter Pan collar and chiffon sleeves. Once her romance with Bud blossoms and she reveals her true self, Lynn is angelic in a cream silk negligee. Meanwhile, her boss, Pierce, always looks like he walked off a yacht, a latterday Jay Gatsby impeccable in all white: rayon dress shirt, cable-knit vest, and wide-legged slacks. Ruth Myers costumes for L.A. Confidential perfectly complement director Curtis Hansons vision of seedy but glamorous 1950s Los Angeles. From the cops to the pimp and his girls, Ruth hits all the right period notes in this lush filmic tribute to James Ellroys novel.
Audrey Fisher afisher@costumedesignersguild.com

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IN FOCUS

BOLDFACE NAMES
BOLDFACE AT WORK
CD Mark Bridges and ACD Kimberly Adams are prepping Land of the Lost.Will Ferrell stars in this remake of the classic 1970s TV series. Bonnie Stauch just finished designing the feature Tarzana and has begun Balancing the Books. Stauch also collaborated with director Brad Silberling on WalMarts Bell Ringer holiday commercial and recently designed a spot for Nutri-Grain. Francine Lecoultre is designing the superheroes comedy Super Capers. Rita Ryack is designing Bedtime Stories for her Hairspray director Adam Shankman with ACD Marjorie McCown. CD Alexandra Welker is in Los Angeles shooting Ticket to Ride (a.k.a. The Post-Grad Survival Guide).The romantic comedy stars Michael Keaton and Carol Burnett. Ellen Mirojnick is designing actionpacked G.I. Joe, based on the Hasbro character. Ellens Assistant Designer is Carin Richardson. Molly Maginnis designed costumes for Rob Reiners The Bucket List, and last semester taught the MFA candidates in Costume Design for Film and Television at UC San Diego. Mollys daughter,Annie, is carrying on the tradition by studying design and directing at NYUs Tisch School of Drama. Wendy Greiner Squeegees webisode/CD Wendy Greiner designed the costumes for ABC/Disneys webisode series Squeegees, which stars a troupe of actors, writers and directors called Handsome Donkey. CD Denise Wingate is off to Boston for the romantic comedy Ghosts of Girlfriends Past, starring Matthew McConaughey and Jennifer Garner.The film is about a dedicated bachelor who is haunted by ghostly ex-girlfriends. Albert Wolsky is on location in NYC designing Duplicity, a contemporary thriller staring Clive Owen and Julia Roberts. CD Amy Westcott is also in NYC working on the new Darren Aronofsky indie The Wrestler. Colleen Atwood is collaborating with Johnny Depp once again on the Michael

Breaking Bad/CD Kathleen Detoro

Mann crime drama Public Enemies, shooting in Chicago. Kathleen Detoro designed the costumes for AMCs new series Breaking Bad, shot in Albuquerque, about a high school teacher who embarks on a criminal career. Behind the scenes with Detoro @ www.amctv.com. Michael Wilkinson has just wrapped Watchmen in Vancouver, adapted from the 1930s-1980s graphic novel with ACD Christine Bieselin. This August he will go on to prep Terminator 4, shooting in Albuquerque through August. Ann Foley is his Assistant Designer. Durinda Wood is finishing up Jim Sheridans military drama Brothers, starring Jake Gyllenhaal, Natalie Portman and Tobey Maguire, shooting in Santa Fe. CD Cynthia Summers just returned from working as Kim Basingers personal costumer on The Burning Plain in New Mexico [CD Cindy Evans] and is now prepping MTVs The American Mall, a sister musical to High School Musical, with plans to return to Vancouver to design the sixth season of The L Word. John Sayles Honeydripper, featuring costumes of the 1950s designed by Hope Hanafin, has been nominated for an NAACP Image Award. Debra McGuire is in Shreveport designing costumes for Year One, directed by Harold Ramis, starring Jack Black and Michael Cera. Judianna Makovsky is heading to New Orleans to design the vampire flick Cirque du Freak with Holly Davis as her Assistant Designer. CD Ariyela WaldCohain just wrapped the indep e n d e n t fe a t u re Serious Moonlight, starring Meg Ryan and Timothy Hutton.
Honeydripper/CD Hope Hanafin continued on page 40

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BOLDFACE NAMES
BOLDFACE AT WORK
Gersha Phillips designed the costumes for A Raisin in the Sun (which premiered at Sundance) and First Sunday. CD Danny Glicker is in San Francisco on Gus Van Sants Milk about 1970s activist and politician Harvey Milk, starring Sean Penn in the title role. Assistant Designer Audrey Fisher helped prep the film in Los Angeles. Genevieve Tyrrell is designing a remake of Disneys 1975 cult classic Witch Mountain in Las Vegas with new 892 ACD member Nickolaus Brown. CD Ernesto Martinez will be traveling to Austin to design Will.The coming-of-age story has a cast of rock and roll stars, including David Bowie, and features a battle of the high school bands. Wendy Chuck is heading to Portland to design the costumes for Twilight, based on Stephenie Meyers book about a girl who risks everything by falling in love with a vampire.Wendy also recently designed the costumes for two indie films featured at Sundance: Henry Poole Is Here and The Mysteries of Pittsburgh. CD Christopher Lawrence narrowly escaped the snowstorms of Portland, Oregon, while he finished filming Management, starring Jennifer Aniston. He continues to work with Paris Hilton on The Hottie & the Nottie, coming out this February. Jenni Gullet is on location in Bellingham, Washington, shooting a pilot called The Cody Rivers Show, a half-hour sketch comedy based on the Idiom Theaters popular touring production. Salvador Perez is in Pittsburgh designing the comedy Zack and Miri Make a Porno starring Seth Rogan and Elizabeth Banks about two platonic friends who decide to make an adult film. CD Jacqueline West is designing State of Play based on the BBC miniseries.This March, Maria Schicker will design the costumes for La Princess, which spans the 1940s1980s. The film is an international co-production with the United States, Germany and France. Joanna Johnston is designing The Boat That Rocked about pirate radio in England in 1967. CD Sonya Hayes just wrapped up The Mummy: Tomb of the Dragon Emperor in China. George Little is designing Max Payne in Toronto with Mark Wahlberg starring as a DEA cop who is framed for murder. Marlene Stewart is designing the sequel to Night at the Museum with ACD Terry Anderson. Allison Leach is designing the costumes for the Pulitzer and Tony Awardwinning drama I Am My Own Wife at Ojais Theater 150. The Catholic Girls Guide to Losing Your Virginity features costumes by Cynthia Obsenares and runs until March 1 at the Pico Playhouse in Century City. For info go to: www.catholicgirlsguide.com. CD Laura Bauer is in NYC designing David Mamets latest play November on Broadway and next up for Bauer is the play Top Girls with Marisa Tomei. continued on page 42
40 The Costume Designer Winter 2008

BOLDFACE NAMES
BOLDFACE PRESS
The New York Times did a piece about Debra McGuires costumes for Walk Hard titled The Clothes That Make the Man, and the Movie! Diana Tenes was recently interviewed by Chris Isaak on his newly-revived Showtime series about her sense of style. Colleen Atwoods designs for Sweeney Todd were showcased with character portraits by Mary Ellen Mark in USA Today: Sweeney Todd cuts a fine figure, thanks to Costume Designer Colleen Atwood. Read an article about Michael Wilkinsons costumes for 300 in Variety magazine at www.variety.com. Type VR1117978509 in the search engine. CD Mona Mays fantasy costumes for Enchanted were featured in California Apparel News along with an interview with the designer. Deborah Nadoolman Landis book Dressed: A Century of Hollywood Costume Design was featured in the Image section of the L.A. Times entitled The woman with the whip just before her signing at Barnes & Noble in Century City. Time magazine online did a poll recently to identify the Top 10 Movies Best Loved Costumes. The gallery includes photos and thoughtful mentions of each designer.With nods to both legendary films and newer classics such as Gone With the Wind: Walter Plunkett, Grease: Albert Wolsky, Titanic: Deborah Scott to name a few. To view the complete Sharon Day and Deborah Landis list, visit: time.com.

BOLDFACE HONORS
Audrey Fisher won LA Stage Alliances 2007 Ovation Award for Best Costumes in an intimate theater for Tryst at the Black Dahlia Theatre. The Academy of Motion Picture Arts and Sciences held a cocktail party in November to honor major donations of unique material in the past year or two. Great Contributions: A Celebration of Recent Acquisitions by the Margaret Herrick Library featured sketches from this years CDG honorees Ruth Myers and Ray Aghayan from the CDG
42 The Costume Designer Winter 2008

Audrey Fisher

IN FOCUS

Tom Walsh (Art Directors Guild President), Cheryl Downey, Rachael Stanley & Mary Rose view AMPAS exhibit

Dennis Phillips, Brand Manager of Hamilton Watches & CD Colleen Atwood

Collection. Also on display were CD Ruth Morleys Papers, including material related to her numerous films, such as Hustler, One From the Heart, Kramer vs. Kramer, Tootsie and Ghost. Colleen Atwood picked up her

Hollywood Life/Hamilton Watchs Behind the Camera award at a celebration that also honored director Sean Penn, DP Philippe Rousselot and actor Jody Foster to name a few.

continued on page 44

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BOLDFACE NAMES
BOLDFACE ENTREPRENEURS
CD Sara Jane Slotnick has created a line of handmade wool felt baby slippers called Cubbies. For more info, go to www.etsy.com and search for seller SissysFeltClub. Etsy is a site dedicated to buyers and sellers of all things handmade. Diana Tenes Slotnicks Cubbies slippers has published 90% Off Everyday!, a book on how to be a savvy thrift store shopper. Go to www.imakefaces.com to order your copy. Tina Nail has a new website featuring her work @ www.nailandrockett.com. CD Cynthia Summers has created a line of L Wordinspired jewelry in partnership with the company Love and Pride. Go to www.loveandpride.com and click on the pink L Word Collection button.

BOLDFACE EVENTS
Western Costume and DreamWorks Animation invited the CDG to participate in an Educational Interactive Seminar for DreamWorksAnimation/CGI team focused on digital fabrics and costume design. The CDG presented a team of expert CGI and animated-feature Costume Designers including Isis Mussenden, Mona May, Kym Barrett, and Cliff Chally. A timely event in light of the Education Committees upcoming slate of continuing education classes and seminars. For info, contact the office or Sharon Day directly at sday@costumedesignersguild.com. Louise Coffey,Woodbury Colleges Curator of Fashion Study Collections, invited CDG President Mary Rose to present a panel about Costume

Woodbury panel

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The Costume Designer Winter 2008

Design to her students. Panelists included Sal Perez, Sharen Davis, Eduardo Castro, Tanya Gill, Pete Menefee and Betsey Potter (Local 705). Also in attendance were May Routh, Susan Nininger and Sharon Day. This January, Brunswig & Fils hosted their annual exhibition sponsored by Town & Country feaGeorge Mitchell turing eight evening gowns designed by Sharen Davis, Cate Adair, Randy Gardell, Luke Reichle, Birgit Muller, George T. Mitchell and Mary Vogt. The gowns, made with Brunswig & Fils luxe fabrics, were auctioned once Luke Reichle again to benefit the Actors Fund.

Actor Brian Stokes Mitchell, The Actors Funds Joe Benincasa, designer Randy Gardell, Susannah and Olivier Peardon (Brunswig & Fils), designers Birgit Muller, Luke Reichle, George T. Mitchell, and Jim Taylor of Town & Country

Last but not least, the Education Committee invited CDG Illustrator Phillip Boutte to a Pixar presentation in November, which focused on the issues, algorithms, and complexities of realistic, physically-based cloth simulation techniques.
Compiled by Audrey Fisher & Deena Appel afisher@costumedesignersguild.com dappel@costumedesignersguild.com

Winter 2008 The Costume Designer

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SCRAPBOOK

Ray Aghayan and Doris Day, Do Not Disturb, 1965. 46 The Costume Designer Winter 2008

Photo: Courtesy of Ray Aghayan

Costume Designers Guild Local 892I.A.T.S.E. 11969 Ventura Blvd., First Floor Studio City, CA 91604

Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450