1. No category

For Your Consideration
In All Categories
Including
BEST
PICTURE
Produc
ed by
Mike Medavoy
David Kirschner
Corey Sienega
Arnold W. Messer
David Thwaites
BEST
COSTUME DESI
GN
Anthony Powell
Artwork © 2006 The Weinstein Company. All Rights Reserved.
vol. 2, issue 4
FEATURES
Merchandising
When Costumes Become Merchandise
. . . . . . . . . . . . . . . . . 16
Technology: The Expanding Frontier
We ♥ CGI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Designing With Technology . . . . . . . . . . . . . . . . . . . . . . 22
Time to Design Your Website . . . . . . . . . . . . . . . . . . . . . 24
DEPARTMENTS
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
President’s Letter
From the Desk of the Executive Director
Assistant Executive Director’s Report
Labor Report
The Costume Department . . . . . . . . . . . . . . . . . . 26
Meet the Illustrators
History of Dress
What’s On/What’s Out . . . . . . . . . . . . . . . . . . . . . 30
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
My Travels With Isis
Location, Location, Location
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Thank you to the volunteers
and contributors to this
Fall 2006 issue.
COSTUME DESIGNERS GUILD
4730 Woodman Ave., Suite 430
Sherman Oaks, CA 91423-2400
phone: 818.905.1557 fax: 818.905.1560
email: [email protected]
Kimberly Adams
Elena Baranova
Audrey Fisher
Joanna Johnston
Erin Lareau
Allison Leach
Dana Onel
Robin Richesson
Jacqueline Saint Anne
Karyn Wagner
Michael Wilkinson
The Kobal Collection
Fall 2006 The Costume Designer
3
EDITOR’S NOTE
C
ongratulations all! It’s been one year since the launch of your
very own CDG–produced, all-volunteer magazine, The Costume
Designer. This year has been challenging, exhausting, even frustrating, but it’s been hugely rewarding. We now have a platform from
which to share our insights and our accomplishments, to communicate
and educate each other and our industry. We are finally setting the
record straight as to who we are and what we do.
You may have noticed that Sharon Day and I have officially switched positions; we have been
partners in this venture from the start. We will continue to collaborate with Deborah and Cheryl
on growing the magazine in years to come.We are not losing Sharon’s vision; we are gaining an
Education Committee!
When I first joined the CDG in 1990
Art produces ugly things
(after two years as a member of 705), I
which frequently become more
didn’t know a single designer … and
beautiful with time. Fashion,
couldn’t imagine that I ever would.
on the other hand, produces
There’s only one of us on any given project.
beautiful things which always
And after all, we’re competitors. Right?
How that climate has now changed. We’ve
become ugly with time.
paved the way for designers as friends and
-Jean Cocteau
support team. I can now pick up the
phone and call my fellow designers for crew recommendations, location sources and even the
taboo deal memo questions that once kept us all in the dark.We understand that together we are
stronger. Every designer’s breakthrough deal or precedent, honor or published interview, moves
every single one of us forward.
The goal of this magazine is
to highlight and celebrate you—
and to put a face on Costume
Design for our collaborative
peers in the industry and the
public. Behind every costume is a
Costume Designer. Let’s work
together to make a difference.
“
”
EDITOR-IN-CHIEF
Dr. Deborah N. Landis
EDITOR/PHOTO EDITOR
Deena Appel
ASSOCIATE EDITOR
Sharon Day
MANAGING EDITOR
Cheryl Downey
PRESIDENT
Dr. Deborah N. Landis
[email protected]
VICE PRESIDENT
Pamela Shaw
[email protected]
SECRETARY
Barbara Inglehart
[email protected]
TREASURER
Mary Rose
[email protected]
MEMBERS AT LARGE
Deena Appel
[email protected]
Hope Hanafin
[email protected]
Jacqueline Saint Anne
[email protected]
Carol Ramsey
[email protected]
BOARD ALTERNATES
Valerie Laven-Cooper
[email protected]
Sharon Day
[email protected]
Karyn Wagner
[email protected]
Mary Malin
[email protected]
ASST. COSTUME DESIGNER REP
Audrey Fisher
[email protected]
COSTUME ILLUSTRATOR REP
Robin Richesson
[email protected]
COMMERCIAL COSTUME DESIGNER REP
Susan Nininger
[email protected]
LABOR REP
Betty Madden
Deena Appel
DAp p e l @ c o s t u m e d e s i g n e r s guild.com
[email protected]
BOARD OF TRUSTEES
Peter Flaherty, Chair
[email protected]
Cliff Chally
[email protected]
Marilyn Matthews
[email protected]
Shay Cunliffe, Alternate
[email protected]
EXECUTIVE DIRECTOR
Cheryl Downey
[email protected]
ASST. EXECUTIVE DIRECTOR
Rachael Stanley
[email protected]
ADMINISTRATIVE ASSISTANT
4
The Costume Designer Fall 2006
Suzanne Huntington
HOLIDAY GREETINGS!
[email protected]
The Costume Designers Guild’s
2006 holiday card illustrated by
A s s i s t a n t Designer/Illustrator
Lois DeArmond.
PUBLISHER
The Ingle Group
FOR ADVERTISING INQUIRIES
CONTACT
Dan Dodd 818.556.6300
[email protected]
BEST COSTUME DESIGN
Yee Chung Man
CHOW YUN FAT
GONG LI
A film by ZHANG YIMOU
OPENS IN SELECT CITIES DECEMBER ¤¤
WWW.SPCGOLDENFLOWER.COM
ND
BEST COSTUME DESIGN
JOAN BERGIN
buenavistapicturesawards.com
©Touchstone Pictures
UNION
LABEL
June new members: (l-r) Mirena Rada, Chasia, Inana Bantu, Nancy Gould, Marianne Parker, Diane Charles, Caroline Patterson, Jessica Torok, Bess Stansell. October new members: (l-r back row)
Kresta Lins, Johnetta Boone, Estee Ochoa (with hat), Sarah De Sa Rego, Katja Cahill, Joel Berlin, Deborah Landis, Lynn Brannelly, Diana Tenes, Kate Crowley, Robert Cron, Liuba Belyansky,
Q Quiame, Louise Ferro, kneeling: Julie Block, Moksha McPherrin. President’s letter photo: Harrison Ford / Lucasfilm Ltd.
PRESIDENT’S LETTER
Dear Friends,
lassically trained, I have worked in summer stock, Shakespeare Festival, and regional opera. I can make
anything with a glue gun and I have the scars to prove it. But this is not Ashland, Oregon, or Branson,
Missouri.The CDG resides in Hollywood, a community and an industry that must keep reinventing itself
to stay relevant and solvent.Traditional costuming skills will provide designers with a solid foundation
for the uncertain future ahead. Our theater colleagues may build paper maché crowns, but Costume Designers in
film and television must embrace the digital age or risk becoming an anachronism. The more specialized our
knowledge as designers—the more valuable and the more employable we become in a rapidly changing industry.
In this issue, designer Michael Wilkinson describes the conNgila Dickson, Costume Designer for
struction of his website. Deliberate no longer. Directors and producers review portfolios online at their convenience.With your
The Lord of the Rings, was ‘barraged
portfolio on the Web you can be looking for work while you are
by the merchandising people to give
working anywhere on the globe.The whole world is one marthem acres of information, swatches
ketplace linked by the Web—stay competitive. Our unique role
and perspective on character and dress cannot be autoof fabric, sketches and written
mated or digitized. Costume Designers offer directors and prodescriptions of costumes, far from the
ducers valuable insights at an unbeatable price. It is unimaginable
job I was actually paid to do.’
to mount any production,including animated and motion-capture
features, without the benefit of our expertise.
The handsome face on top left is not my own. Ask a crowd to conjure Indiana Jones; a problem would arise only if you asked
the name of the designer. Dozens of iconic characters, cultural touchstones, have been created by our CDG membership. Costume
Designers are (by definition) invisible; this anonymity is a casualty of our profession.We don’t license our names or have a brand to
build. Perhaps if we were paid equitably for our contribution to the artistic and financial success of the production—the merchandising cash cow would be more tolerable? Perhaps if Seventh Avenue designers would stop ripping us off and hogging the red carpet; since if it wasn’t for our characters those actors might never have been nominated? Why are fashion designers always
“inspired” by movies but never by a Costume Designer? Perhaps if we were credited for the costume and rewarded for its replication—we could feel respected?
It’s somehow implicit that Costume Designers are satisfied earning one third less than production designers and earning fewer
pension and health hours than our Costume Supervisors.That we are delighted with the stress and sacrifice this career guarantees.
The currency of appreciation in our society is money. The CDG may be constrained by the collective bargaining agreement
but we must never accept our low status and remuneration relative to our significant contribution to the success of
every production. The battle for merchandising, equitable wages and credit must be fought in the deal memos of our membership.
One close relationship may change the paradigm and revolutionize our position.Although we are entering an uncertain time in the
industry, the CDG knows that as long as there is a story to tell—our designers will bring the characters on the printed page to life,
to the movies, and to the mall.
Make your labels.
In Solidarity,
Deborah Landis
[email protected]
C
“
”
June new members
October new members
Fall 2006 The Costume Designer
7
UNION
LABEL
From the Desk of the Executive Director
Dear Colleagues,
continue to be impressed, and grateful for, the passion and creativity of CDG members and your elected representatives. I invited you to share your talents with CDG committees in my summer column and new volunteers signed up at our well-attended General Meeting on October 16, but we need more of you!
Sharon Day reinvented the CDG Newsletter from top to bottom nearly five years ago. A major force in birthing this
magazine in partnership with editor Deena Appel,she’s stepped aside to create the new Education/Outreach Committee.
The industry is being transformed by technology;this committee will keep our members ahead of the curve.
Got writing talent? This Magazine needs you. Check out volunteer Allison Leach’s piece about her experience
at Comic-Con or Audrey Fisher’s notes on the Safety Seminar with Local 829’s Monona Rossel.We’ll find your niche.
Here’s a sample of what we are doing to serve the membership:
• A member was due severance from a studio that claimed X amount was owed. My math showed our member was owed 480%
more, which is what I secured without a grievance.
• Multiple members were not paid their idle days and their extra 15 hours into MPIPHP, while on distant location. Corrections are
currently being processed.
• A network was using nonunion, nonpaid (Can you believe it?) persons to do design work; the designers joined the CDG and
were paid past wages and benefits after the CDG grieved the company.
• A member was caught in the middle of an intra-company dispute and not paid his contractual guarantee, we brokered a deal
through the payroll company.
• The CDG participates in organizing nonunion shows but the Employer is NEVER allowed to see who signed a card supporting
unionization and cannot legally ask you if you signed a card. Don’t be afraid to support your right to union protection.
• Rachael Stanley’s notary services are now available at no charge to members.
• The CDG now waives dues during quarters a member is on disability.
• The CDG also now offers a one-time “hardship” dues waiver.
• The CDG now has wireless capability and a scanner in our library. Call and come in to research.
• We will be visiting sets more often.We love hearing your issues, answering questions and explaining what your dues are doing for you!
Thanks for your support. What goes around comes around. Please consider volunteering if for just a few hours like Erin
Lareau did for our Awards nomination mailing. Counting on you!
In Solidarity, Cheryl
[email protected]
SAVE THE DATE
9th ANNUAL COSTUME DESIGNERS GUILD AWARDS
SHOW DATE Saturday, February 17, 2007
NEW LOCATION The Beverly Wilshire Hotel
PRESENTING SPONSOR Swarovski
Produced by The jLine Group 310.601.3200
For inquiries about tickets, tables and seating
contact: Blue Room Events 310.491.1401
We look forward to seeing you on February 17th!
Cheryl’s photo: Craig Matthews/Mathew Imaging
I
BEST COSTUME DESIGN
Penny Rose
F O R
Y O U R
C O N S I D E R AT I O N
buenavistapicturesawards.com
©Disney Enterprises, Inc.
Best
Costume Design
SHAREN DAVIS
© 2006 DreamWorks L.L.C. and Paramount Pictures
For screening information please visit www.paramount2006.com
UNION
LABEL
Assistant Executive Director’s Report
I
Top Ten List of Things You Should Know
receive many calls each week from members that are unsure about their rights and obligations of membership. Here are some of the most common issues I encounter:
1. If you are working on location, you must be an L.A. hire, receive per diem, housing and travel from
production in order to be considered a distant hire to receive your benefits into the MPIPHP.
2. If your residence is in the jurisdiction of the location shoot (i.e.Texas,Utah,) and you are hired from that location,you would be considered a Local hire and your benefits will be sent to the plan covering the location.
3. Check your annual report from the MPIPHP to be sure all your hours are reported to the plans. You
should receive 60 hours per five-day week in town, 7 hours for a sixth day worked—and 8
hours for a seventh day worked. You should receive 75 hours on location, whether you work five, six, or seven days.
If there is a discrepancy, call the payroll company and the CDG.
4. You must report work union and nonunion. When you report work, the CDG needs to know the name of the project, the type
of project (such as film,TV series), the production company, and where you are working.
5. Address, telephone, e-mail, or name change? Please inform the CDG.
6. Dues are due on the first of each quarter. If you are late, you will be fined $15 per quarter.
7. If you are on disability and are unable to work, your dues will be forgiven for that quarter. Please call the CDG for details.
8. Personal Service Contracts (PSC) can cover items not guaranteed in the Basic Agreement.Box rental,car allowance,your screen credit,
“favored nations,” paid hiatus,are some of the items to negotiate in your PSC. Be sure that anything agreed upon is in writing and signed.
9. If you are injured on the job, you should report the injury to production and to the CDG office.
10. Never go before Human Resources or management without a union representative present to be your advocate and witness.
We are here to help you. Call with any questions.
Rachael Stanley
[email protected]
Labor Report
My Night at the Van Nuys Detention Center
I sat on the street in front of the Marriott Hotel
on Century Boulevard on September 28, 2006,
along with 325 other union workers and officials. I made a personal choice to be arrested
and bring attention to workers’rights to organize.A small, back bent, brown woman, grateful
for the support around her, stood next to a
younger version of herself, and next to her a still younger version.
News sources captured their images and asked why we wanted union
representation? We replied, “To bargain with our employers for job
security and protection.”
It was getting dark and circling us on horseback was a ring of
police officers. I felt just as intimidated as the hotel workers had
been; having no voice in disputes with management. An officer asked
my name and told me to put my hands behind my back while he put
plastic zip bracelets around my wrists. They were very uncomfortable. A photo was taken of me and my pockets were emptied. I was
put on the bus to wait while other arrestees were processed.Around
10 p.m., the buses left Century Boulevard as a few hundred remaining supporters shouted,“Si Se Puede!” (Yes We Can!).
We arrived at the Van Nuys station and were processed after
removing laces from our shoes. I was given a sandwich, milk and
apple with 30 other arrestees. After 2 a.m., eight of us were placed in
a cell with bunk beds. After 3 a.m., we were taken into the booking
room—a 4x5 glass enclosure with no room to sit. Thirsty and needing a
bathroom, a female guard took us to a cell with exposed commodes.
At 8 a.m., I was allowed a phone call to my very concerned husband. Nine of us shared five cots and the exposed commode. I held
up one end of a blanket for the women desperate for privacy. With
no way to get comfortable, I started my morning prayers. Finally, after
photographing and fingerprinting, I was placed back in a cell.Within
the hour I was taken out of the cell, my ID bracelet was cut as I put
the laces back in my shoes. An officer wished us well and reminded
us that you can only have one arrest a year for civil disobedience.
At 11:45 a.m., I exited Van Nuys Detention and wondered how I
would get back to my car. Volunteers cheered as we came out. The
L.A. Times mentioned the 160 demonstrators arrested at the Hilton
but missed the 168 of us arrested at the Marriott, beating the previous
California record of 50 people arrested in a single civil disobedience.
Si Se Puede!
Betty Madden, CDG, Local 892, Labor Representative
[email protected]
Fall 2006 The Costume Designer
11
UNION
LABEL
Safety Wisdom From Guru Monona Rossol
On Sat., Oct. 21, industrial hygienist and safety guru Monona Rossol presented a speed-version of her renowned Hazcom Training for Costume Designers and
Workers Seminar to members of Locals 705, 892 and 829 at the Renaissance Hotel
in Hollywood. Hearing Monona was priceless. Deeply informative and entertaining, Monona started her talk by joking that “Mother Nature doesn’t like us!”
During the course of the jam-packed seminar, Monona shocked us with disturbing facts about the products we use at home and in the workplace. She warned us
Fullers Earth is comprised of any number of unknown minerals and is intensely
toxic.That reassuring “nontoxic” label that we all trust can be put on a product for
which there is no data, and hypoallergenic” is a similarly hollow promise.To make
matters worse, the spate of products labeled “biodegradable” are potentially more
harmful than the non-biodegradable products they’ve replaced because their human
and environmental impacts are not all known.
When asked what to use to clean at home, Monona suggested soap, a little more
elbow grease and fewer cleaners that melt grease off walls.What keeps echoing in my
mind: the difference between toxic and nontoxic is essentially the death of one very
healthy laboratory rat, fed one toxic dose and monitored for only two short weeks.
Don’t hesitate to contact Monona with questions; her knowledge is encyclopedic.
Monona can reached at: [email protected] (212) 777-0062 www.artscraftstheatersaftely.org.
Audrey Fisher
[email protected]
Intimate Confessions of a CDG Volunteer
It was a just another manic Monday. After a long, last day of work, I contemplated skipping the evening CDG meeting. But something told me I shouldn’t.That
night I signed up for the Film Festival and Exhibition Committee. Our task: to
organize the CDG panel Designing Icons at Comic-Con in San Diego. Geek glamour! Travel! Bob Blackman! It was bound to be as much fun as it was work!
San Diego was abuzz with 100,000 extra Comic-Con bodies. The convention
was mind-blowing; fans and booths as far as the eye could see. Our panels were
well attended by curious aficionados, aspiring designers and illustrators, each of
whom seemed to think that costume design was the coolest job on earth! It felt
great to be out there actively promoting and celebrating Costume Designers’ contribution to our culture. It was also an awesome opportunity to spend time with
top-notch designers, on our panel and our committee.
Months later, I’m knee-deep in new work and new connections. My
choice to jump right into volunteering for the Guild set off an amazing chain of
events in my life, both professionally and personally. I think it could do the same
for every member.
I am looking forward to continued adventures with the FFE Committee in
Santa Barbara and beyond.Whether you are a new member or a veteran designer,
volunteering on a committee can be your ticket to new places, connections, and
frames of mind. Come join the fun!
Assistant Designer Allison Leach
[email protected]
“A REMARKABLE MOVIE
ABOUT AN INCREDIBLE DAY
IN AMERICAN HISTORY
WITH A SUPERB CAST.”
Larry King
FOR YOUR CONSIDERATION
IN ALL CATEGORIES INCLUDING
BEST PICTURE
Produced by
MICHEL LITVAK
EDWARD BASS
HOLLY WIERSMA
BEST COSTUME DESIGN
JULIE WEISS
Artwork © 2006 The Weinstein Company. All Rights Reserved.
‘‘
’’
‘THE QUEEN’ GETS IT RIGHT.
An amazing piece of social and cultural history.”
- REX REED, NEW YORK OBSERVER
FOR YOUR C ONSIDERATION
BEST PICTURE OF THE Y E AR
BEST COSTUME DESIGN C ONSOLATA B OYLE
OUR LEADERS. OURSELVES.
Artwork © 2006 Miramax Film Corp. All Rights Reserved.
NOTEWORTHY EXHIBITIONS
Beauty & the Bead, December 16, 2006 – May 13, 2007,
Tropenmuseum Amsterdam, Netherlands. An exhibition of
beaded costumes from every age and culture. The first exhibition
to focus on beads as a worldwide phenomenon: a tiny object symbolizing for more than 100,000 years identity, status, origin and
emotion. Among the exhibits are robes from the Congo, Eskimo
outfits, dresses worn by Marilyn Monroe, and Madonna’s haute
couture by Versace and Galliano. Among the lenders is the
Metropolitan Museum of New York, the Hermitage in St.
Petersburg, and fashion houses such as Dior, Versace and
Armani. Tropenmuseum - Linnaeusstraat 2 - Amsterdam - [email protected] - www.tropenmuseum.nl
Hats and Purses Now Online: The American Textile History
Museum (ATHM) in Lowell, MA, is pleased to announce that its
450 hats and 150 purses are now available to the public for
research online. http://www.athm.org.
Paper Dresses: Disposable
Garments From the 1960s
Dresses:
Throw-Away
January 24 - March 11, 2007, Design Gallery, University of
Wisconsin, Madison, WI. From the Helen Louise Allen Textile
Collection (HLATC), this exhibition explores the rise and fall of
paper garments and the larger issues of planned obsolescence
and cultural attitudes toward disposable goods. As a coda to the
dresses from the 1960s, a small selection of hospital gowns and
— Fall 2006
contemporary designs will be exhibited
http://www.sohe.wisc.edu/depts/gallery/index.html.
as
well.
Nan Kempner: American Chic, December 12, 2006 -
March 4, 2007, at the Metropolitan Museum of Art’s Costume
Institute in New York, NY. Known for a seemingly effortless style
that nonetheless displayed a meticulous attention to detail, she
was a passionate client and collector of such designers as Yves
Saint Laurent, Valentino, and Oscar de la Renta from the 1960s
onward. http://www.metmuseum.org.
Fashionable Reading
Queen of Fashion: What Marie Antoinette Wore to the
Revolution by Caroline Weber, Henry Holt & Co., 2006. Pays
close attention to the impact of her closet on clothes and culture.
Classic Chic: Music, Fashion, and Modernism by Mary E.
Davis, University of California Press, 2006. Music and fashion:
there is a deep connection between these two expressive worlds.
This book details the interplay between composers and designers
(including Poiret) in the early 20th century.
Executive Board Meetings: January 8, February 5, March 5
Next General Membership Meeting: February 26
Fall 2006 The Costume Designer
15
ou may think the advent
of merchandising (dolls and
costumes) from your favorite
film and television characters is new. Since the start of
filmed entertainment the studios
worked to build audience loyalty.They
needed to find a way to establish an
effective “promotion machine.” By generating mass brand–awareness, they
could persuade audiences (consumers)
to see a new film, or stay tuned to the
tube, while generating additional revenue. The studios licensed their valuable, tradable and collectable screen
brands to the consumer-goods industry
and extended the life of their products.
As storytellers, we create memorable
characters that live long after the
movie is over.We invent iconic images
that generate tremendous earnings and
are marketable in more ways than we
can imagine.
It began in 1930 when the Modern
Merchandising Bureau was founded for
the purpose of manufacturing and selling clothing adapted from the movies.
Photoplay developed a label called
“Hollywood Fashion” in cooperation
Y
16
The Costume Designer Fall 2006
with Costume Designers and studios in
1932. For the customers who couldn’t
afford retail prices they reproduced
the actual dress patterns called Screen
Star Patterns and Hollywood Patterns.
R.H. Macy Company was the first to install a so-called “cinema shop.” Macy’s
claimed to sell 50,000 copies of the
white organza Letty Lynton gown
designed by Adrian for Joan Crawford
in the 1932 film of the same name.
Helen Rose, Adrian, Irene, Edith Head
and Jean Louis all profited in some way
from their film designs becoming fashionable; some had their own boutiques
and others (like Head) had profit
participation in the patterns. The
Hollywood style machine proved to be
a publicity bonanza for movie studios.
Comic book characters advanced
to the small and large screen with the
intention of increasing the franchise dollars. Today, the merchandising market
has exploded to encompass Halloween
costumes, toys, and dolls by promoting
memorable characters from MacDonald’s
Happy Meals to the Internet and everywhere in between. Superhero costumes are actually redesigned with
each sequel to quench the studios’
thirst for new products to sell. At this
year’s American International Toy Fair,
Disneys’ focus was to promote longterm growth opportunities for Pirates
of the Caribbean. Disney had “missed
the boat” with the first installment but
Joe Lawandus,V.P. and general manager
of Disney Toys was confident. “It’s
going to live in the aisles for at least
two years.” Captain Jack Sparrow’s costume (Costume Designer Penny Rose)
was the highest selling costume of the
2006 Halloween season.
Would any of the characters on
the cover of this magazine be identifiable without their costume? There’s no
mistaking James Dean in a red jacket
and jeans from 1955’s Rebel Without a
Cause (Designer Moss Mabry) or the
harem costume from 1965’s I Dream
of Jeannie (Gwen Wakeling), Titanic
(Deborah Scott), The Matrix (Kym
Pirates of the Caribbean, Walt Disney / The Kobal Collection / Greg Gorman
When Costumes
Become Merchandise
picture it...
at Sony
The Lord of the Rings, New Line Cinema / The Kobal Collection, The Matrix, Warner Bros. / The Kobal Collection
S o n y Pi c t u r e s S t u d i o s
Barrett), and My Fair Lady’s Eliza Doolittle (Cecil
Beaton). Worn by a doll or on the street for Halloween,
the costume sparks an association with the character and
keeps the franchise alive and profitable for the studios.
Why aren’t Costume Designers compensated for the
merchandising of their designs? Could it be because we
are now considered “work-for-hire”? The composer’s
contract has work-for-hire language and yet they retain
partial ownership of the music and receive royalties.
Work-for-hire gives the studios complete control over
the material. But it does not mean that they cannot pay
us—it simply means they don’t have to. The next time
you hear a television theme song or film score that
instantly identifies a favorite old show, visualize any
signature costume and it will have the same nostalgic
effect. Precedent is the only thing that separates us from
our profit-participating peers. It will take just one fairminded producer to compensate a designer for his or
her creative contribution to the merchandising to
change the paradigm forever.
C O S T U M E S
•
•
•
•
Extensive selection
Full service workroom
Made to order, alterations, fittings
Prep spaces, laundry & dye room
Deena Appel
[email protected]
310•244•7260
WWW.SONYPICTURESSTUDIOS.COM
Fall 2006 The Costume Designer
17
F
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NO FILM
MOVED YOU MORE.
BEST COSTUME DESIGN
MICHAEL WILKINSON
GABRIELA DIAQUE
MIWAKO KOBAYASHI
www.vantageguilds.com
Copyright © 2006 by Paramount Vantage, a Division of Paramount Pictures. All Rights Reserved.
WE♥CGI
Monster House, from left: Sony Pictures Imageworks / Frank Masi, Sony Pictures Imageworks
T
hings are changing. Halo 2, an
X Box Microsoft video game,
grossed more on its opening
day, November 9, 2004, than
either Titanic or The Incredibles made
in their first day at the box office.
Emerging platforms are competing
with old media (film/TV) and the
screen continues shrinking as new
media (laptops/iPods/cell phones) are
endowed with movie-playing capabilities. And as the screen shrinks the
costumes become even more important as the actors’ form fills the frame.
Scott Ross (Digital Domain) believes
that the tiny format will influence the
way shots are framed. “We may see
tighter shots, so that images are viewable on two-inch screens. You could
have an iPod cut, a television cut, a
16:9 hi-def cut and a 2:35 scope cut.”
Director Stephen Soderbergh mused,
“To sit around and wish that everybody could see everything you do in a
theater, is like saying,‘I wish we would
all go back to vinyl.’ It’s not going to
happen.”
Film & TV playing on a Mac iPod
A democratization of filmmaking
has occurred that allows anyone to pick
up a digital camera and with the installation of Final Cut Pro make a professional looking movie that can be distributed
internationally. Studios are desperate to
offer the public entertainment beyond
what they can make for themselves.
Special effects have provided that hook
and motion capture animation (Mo-Cap)
and computer generated imagery (CGI)
are seen as the panacea to the studio’s
dilemma—getting people in the theater.
The resonance of digital special effects
is far beyond the sci-fi genre. CGI is
being used in every film.
The technique of motion capture
captured the imagination of director
Robert Zemeckis. As the producer of
Monster House (2006), Zemeckis points
out that mo-cap, “created an avenue to
make movies that can’t be made in liveaction and shouldn’t be made as animated cartoons. Motion-capture fills a void
in the medium of cinematic storytelling.” Monster House Costume
Designer Ruth Myers thoroughly
enjoyed herself.“As always,I started with
the script and had talks with the director. I was given computerized models
that were wearing homogenous clothes
and my job was to help turn these models into characters—but I had no budget
limitations! I could get whatever fabric
in whatever color. There was no shopping, no cuttings, no fittings and no
staffing problems. My enthusiasm for
this kind of costuming is endless.”
Formerly, animators served as sole
character designers—costume designers were not a part of the process. As
motion capture develops, realistic computerized characters have become possible and designers are increasingly confronted with computer-generated
worlds and with computer-generated
characters. Texture and movement no
longer depend on the physicality of the
fabric,but on how that physicality is created by a computer.These technological
innovations expand the role of the
Costume Designer in the most earthbound plots. Costume Designer Isis
Mussenden recalls a modern comedy
continued on page 20
Fall 2006 The Costume Designer
19
which used the tie (of a gray suited executive) as a plot device to show the passage of
time. She created a tie of ‘green screen’ upon
which different patterns and collars could
be pasted in post production. Isis makes the
point, “Who decides what that tie should
look like in ‘post’? The Costume Designer
does.”
Early communication with the animators
is vital to protecting the integrity of the characters throughout the process. A veteran of
Shrek and Narnia,Mussenden keeps a visualeffects bible that “contains ideas for the multiplication of characters; samples of textiles
for color, texture, scale of pattern, weave and
movement; and photographs of actual
clothes. These choices seem obvious to a
Costume Designer but they are not to the
effects house.” Visual effects pioneer Doug
Trumbull (2001: A Space Odyssey) has said,
“We still need the drama and excitement of
movies, the compelling content and stories,
yet we need to develop new ideas about the
form of the experience.” As long as the
narrative remains the focus, Costume
Designers will be needed to help tell that
story. Embrace the future.
Deborah Landis
[email protected]
for your consideration
BEST COSTUME DESIGN
Milena Canonero
sony.com/Awards
Creative Collaborators
Joanna Johnston and Robin Richesson
W
hen I joined the CDG in 1992, one of my first projects was illustrating for Costume Designer Joanna
Johnston on Forrest Gump. Joanna’s first film with
director Bob Zemeckis, Who Framed Roger Rabbit
(1988), pushed the effects envelope by being one of
the most successful films to blend live action with traditional 2D (hand drawn) animation. Joanna designed the gown for
the glamorous, animated, Jessica Rabbit. Originally, she wanted her gown to be sequined, but animating reflected light
was so expensive the animators were only able to realize her
vision for the performance scene.
I illustrated Joanna’s designs for Forrest Gump, Contact,
Cast Away, and The Polar Express and observed that
Zemeckis trusted Joanna to develop the characters through
Costume Design. On The Polar Express, we thought we
might do concept drawings and build a handful of garments.
Many pajamas later, the whole film had been designed and
BUILT from the slippers up. In the motion-capture process
the actors’ movements and expressions are transferred onto
digital characters in the computers to ‘animate’ them. This
involves actors wearing suits during filming that resemble
wet suits covered with sensors.What we found was that the
design process really didn’t change very much.
Joanna: The Polar Express really was that dream of the
roundtable. We were sharing ideas in early development,
pooling ideas, with diversity coming from every department.
Robin: Ideally, the Costume Designer should be invited
into the process at that early stage, when many concrete
images are being created. The most important thing is to
work toward that ‘early inclusion’ on films with digital components, as soon as the conceptualizing starts.
JJ: Yes. Designers may be getting involved as consultants
in the visualization. The Costume Designers and the digital
artists can get so much from each other, concerning movement, action and how it applies digitally to the costumes.The
22
The Costume Designer Fall 2006
digital designers benefit from our understanding the technical construction of costumes, fabrics, and their textures.
RR: Stuart Little had only a few digital characters and
the process could be much more involved than on Polar,
which had an entire digital cast. On Stuart Little, the digital
designers actually ‘made’ the pattern pieces in the computer
and ‘sewed’ them together.There were actual seams to help
create more realistic tension on the ‘digital fabric.’ On Polar
that would have been impossible with the volume of costumes. Instead, they painted the seams on digitally and unfortunately the tension of those seams as part of the garment
was missing.
JJ: On our current project, The Spiderwick Chronicles,
the technology has made huge advances since Polar. On
Spiderwick, animation supervisor Phil Tippett was so happy
The Polar Express, Castle Rock / Shangri-La Entertainment / The Kobal Collection. Who Framed Roger Rabbit, Touchstone / Amblin / The Kobal Collection
Designing With Technology:
A Conversation
The Polar Express, Illustrations, Robin Richesson
Robin Richesson
[email protected]
NBC Universal
COSTUME
UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK • UNIVERSAL STUDIOS • NBC BURBANK
to have the collaboration of a Costume Designer.
Industrial Light & Magic (ILM) and Tippett wanted my
input as much as I wanted theirs. They showed me a
reel illustrating how far the technology had come and
I found that the process had really moved forward. I
find working in this territory so exciting. It’s a great
collaboration—breaking new ground together—with
traditional expertise—but applying it another way. It’s
an adventure.
RR: Have there been any struggles?
JJ: There can be struggles in any collaborative
process. This (digital) world exists and if you enjoy
collaboration, it is exciting new territory. I’ve been really lucky to work with people like Bob Zemeckis the
“King of Mo-Cap,” Ken Ralston, Phil Tippett and the
people at ILM. It is great to have a producer like Kathy
Kennedy (The Spiderwick Chronicles), who understands the value of blending traditional expertise with
new technology.
RR: Right. The idea that as talented as the digital
artist is—the expertise of the Costume Designer can
help to elevate the realization of a digital character and
bring it to life … with a creative collaboration.
JJ: Yes. I just want to say to anyone who feels that
it’s an alien world, it’s really not.... It’s just an expansion of what we already do.
Costume Rentals,
Manufacturing,
Alterations,
Alterations,
Fitting Rooms
& Offices
818.777.3000 • 800.892.1979 • 818.840.4724
THE FILMMAKERS DESTINATION
WWW.NBCUNI.COM/STUDIO
Fall 2006 The Costume Designer
23
needed maximum exposure for my portfolio, to
reach as many people as
possible with a minimum
of effort, to look professional, and for potential
employers to be able to access
my work as quickly as possible—it was time to design a
website.
As designers, we care
deeply about how we present
ourselves to the world. I wanted
control over the look of my site
and to be able to update and
change the Web pages. I wanted
to design the site myself rather
than paying a graphic designer
and Mac made it very easy for
me to create my own website.
iWeb, part of the iLife package,
can be purchased online
(mac.com) or at the Mac store
for $79.99.The program is easy
and the first step is to choose a
template for the pages of your site. I
wanted my work to stand out against a
relatively neutral background.
Once I selected the template, it
was time to plan the layout of the site.
In addition to a homepage, I wanted
my biography, a page with contact
details, and a printable resume. These
were easy to set up. I simply opened a
new template, then cut and pasted
from existing Microsoft Office documents. I wanted a page with one image
from each of my films. The images I
I
dragged into the new template were
from a few different sources; from my
files of digital photos, from scans of
photographic prints, and from searches on the Internet. I made sure that the
files were the right size—not so large
that they would take a long time to
load when the page was opened
online, and not so small that the resolution was poor. The program showed
me how to set up this page and when
I clicked on an image from each film, it
would link me to another page which
had detailed information on that film. I
dragged in trailers, photos,
recorded interviews and links
to the films’ official sites. Most
of it can be found using a film’s
page on imdb.com.
Now comes the hard part—
posting your pages on the
Internet.The least painful way is
to use a Mac account and pay
$99.99 each year for Mac to be
your Web host.After registering a
domain name with them (i.e.the
name of your website), then use
a command on iWeb to send
(upload) the pages onto the
Internet. If you have a Mac
domain name (with “mac”) it is
even easier. But to save some
money, I contacted an independent Web host—iPowerweb.com.
I got the domain name a lot
cheaper ($3.95 per month for
basic hosting—including an
e-mail account). This made
uploading my pages trickier and
I had to import my Web pages onto a
second program (choosing “Fetch” from
fetchsoftware.com) and then the upload
command on this program to post the
pages onto the Internet. After calls to
customer support and the Mac geniuses
(genii?!), my website was up. You can
see the results at www.michaelwilkinsondesign.com
Now it’s your turn...
Michael Wilkinson
[email protected]
CDG MEMBER SITES TO EXPLORE
Cate Adair .................www.cateadair.com
Iananna Bantu ...........www.house-of-ianna.com
Nicole Beckett ...........www.nicolebeckett.com
Wendy Benbrook.......www.RodeoKitty.com
Joel Berlin .................www.joelberlin.com
Christine Bieselin .......www.christinebieselin.com
Astrid Brucker ...........www.astrid3d.com
Stephen Chudej ........users2.ev1.net/~coojay
Sharon Day ...............www.sharon-day.com
Diana Eden................www.dianaedendesigns.com
24
The Costume Designer Fall 2006
Tami Eldridge.............www.tamieldridge.com
Deborah Everton .......www.deboraheverton.com
Deborah Ferguson.....www.rougeartists.com
Erin Lareau ................www.topazwardrobe.com
Deborah McGuire ......www.debramcguire.com
Fern Mitchell..............www.costumedesigner.fernmitchell.com
Dana Onel .................www.danaonel.com
Niklas Palm ...............www.niklaspalm.com
Mirena Rada..............www.rsthetic.com
Liz Shelton ................www.sheltondesigns.com
The film page from Michael Wilkinson’s website.
Time to Design Your Website
THE COSTUME DEPARTMENT
MEET THE
ILLUSTRATORS
obert L. Cron was born and raised in
a small town in northeastern Pennsylvania
and studied fine art and theater design at
Carnegie Mellon. CDG’s late President Al
Lehman Carnegie alum steered Robert to the CDG
Illustrator category, a deciding factor to pursue film
and television.
As an Illustrator, Robert characterizes himself as
“very fast.” He finds the illustration
on the paper quickly and
knows the flow of a pose
and the line. Although
Robert began by using watercolor, he has recently discovered the exciting world of digital art. He uses Photoshop on the
drawing tablet and finds this
technique is just as versatile and
useful as other more traditional
media.
The maxim “Content dictates style” is central to Robert;
and he uses the medium suggested by the script and the style of
the designer. Before drawing,
Robert sees all the research, fabrics, and any notes the designer
may have. They then discuss the
pose, body type of the actor and
the amount of detail needed from
the bare-bones sketch to the final
brush stroke. His website is a preview of his future work.
rober [email protected]
www.costumesketch.com
R
Illustrated By
Robert Cron
Illustrated By
Anna Bae
A
nna Bae is one of the newest
Illustrators to have joined the
CDG. Born and raised in Long
Beach,Anna ventured north to San
Francisco State for her BA in art education.
She took a year abroad in Florence honing
her skills in life drawing and art history.
Upon returning to Long Beach, Anna got a
second degree at Brooks College.
Anna has discovered several things about herself as an
artist. She is versatile and has the ability to illustrate within the
style of a designer’s work. Anna has done freelance illustrations
for commercials, worked on the parades at the Disneyland
Resorts, on First Daughter designed by Francine Le Coultre
and on a music video with Anna Wycoff.
Currently, Anna is an art instructor with the North Orange
County Community College District. She has created a line of
popular hand-painted silk scarves and accessories available at
the Long Beach Museum and Artisans Lair.
This passionate young artist constantly challenges herself
to improve her skills and to increase her understanding of the
relationship between man and nature. She is eager to draw for
designers (in any medium) and make Costume Illustration her
career. [email protected]
Jacqueline Saint Anne
[email protected]
26
The Costume Designer Fall 2006
THE COSTUME DEPARTMENT
HISTORY OF DRESS A-Z
E
gyptian Dress: Their few light cotton or linen garments were fabricated of material grown in the Nile Delta;
the more expensive the garment, the more transparent.
Although the predominant color of dress was white, all colors were worn. Draping and pleating were of primary
importance and each group had their own system of
draping.
The primary male garment, the
schenti (loin cloth), was a long
oblong wrapped around the hips
and tied in place by a belt or girdle. Worn by a higher ranking
person, it was finished in front
with a pleated apron. The pleats
radiated upward from the low
corner of the apron representing
the sun. An exotic animal skin or
shoulder wrap might be added.
Women wore a kalaris (a straight anklelength narrow sheath gown), which hung from
under the breasts and held up by one or two
straps. Sophisticated Egyptian ladies wore greenand-black kohl on their eyes and outlined the
veins of their chest with blue.They painted their
lips with carmine.They completed the look with red
and white for their cheeks and tipping the ends of
their fingers in orange henna.
Both sexes shaved their heads for reasons of
cleanliness and heat.The rich wore wigs of
hair, wool or palm-leaf fiber and the poor
wore skull caps of wool felt. The men
were clean shaven, but pharaohs (kings
and ruling queens) and high dignitaries
wore false beards
In early Egypt, only priests wore
sandals made of leather, papyrus
or wood. In later periods, the
popularity of sandals grew
and an oriental style with
turned-up toes was introduced. Sandals for the
upper classes were made of
soft leather dyed purple or crimson and embellished with jewels
and gold embroidery. .
From 1500 B.C. to 1150 B.C. was
a time of great extravagance and wealth
for Egypt. Men and women wore earrings, pendants, necklaces, bracelets,
signet rings, and anklets (in pairs) and jeweled girdles.Turquoise, carnelian, lapis lazuli and
coral were popular and further embellished with pearls and amber.
Flat bead collars were preferred, but strings of beads, with or without pendants where also worn.
Karyn Wagner, [email protected]
Illustrations by Robin Richesson, [email protected]
YOUR CDG RESEARCH LIBRARY
The Costume Designers Guild Research Library
is an incredible resource. It has been the beneficiary
of endowments from members over the past 50
years.The shelves are lined with modern and vintage
costume history books from the collections of the
late designers William Ware Theiss and Al Lehman
among many other generous donors. Most importantly, the CDG Research Library is home to an important
and impressive collection of fashion periodicals
including:
• Vogue 1920–1987 (every issue)
• GQ 1958 –1980 (every issue)
• Sears Catalogue 1942–1985
• Montgomery Ward Catalogue 1955–1990
• Vogue Patterns & Knitting Books 1922–1977
• Godey’s Lady’s Book 1848–1900,
pamphlet and hardcover editions
28
The Costume Designer Fall 2006
Selected topics included in the library are: history of dress, history of textiles,Western dress, military
uniforms, ethnic dress, history of costume in dance,
theater, film, biographies of designers and couturiers,
accessories: hats, gloves, shoes, bags and hair and
makeup research. Hundreds of hand-colored 19thand early 20th-century costume plates are available
to copy. The Library boasts more than 50 original
19th-century volumes on fashion, these include
Peterson’s Magazine and Godey’s Lady’s Book.
The Library is open during CDG Office hours.
A color printer, scanner and computer are available
to members researching a production. Please call the
office for further information.
Library hours: Monday–Friday, 9 a.m.–5 p.m.
Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
West Coast
Scott Anderson
323-650-8875
East Coast
201-708-1600
Toll Free
800-227-1724
[email protected]
WHAT’S ON
Help Me, Help You
Costume Designer:
Costume Designer:
LAURA GOLDSMITH
HEIDI KACZENSKI
The Nine
Ugly Betty
Costume Designer:
Costume Designer:
LINDA BASS
EDUARDO CASTRO
The Class
Shark
Costume Designer:
Costume Designer:
BONNIE NIPAR
RUTH CARTER
Justice
Heroes
Costume Designer:
Costume Designer:
KATHLEEN DETORO
DEBRA MCGUIRE
’Til Death
Friday Night Lights
Costume Designer:
Costume Designer:
LORI ESKOWITZ
CARTER
KARYN WAGNER
Studio 60
30
Dexter
Costume Designer:
Costume Designer:
AMY STOFSKY
JILL OHANNESON
Assistant Designer:
Assistant Designer::
KATE CROWLEY
ZHANNA TATARYAN
The Costume Designer Fall 2006
Brothers & Sisters ABC-Disney / Scott Garfield ABC, Help Me, Help You ABC / Michael Becker / ABC, The Nine / ABC / Craig Sjodin / ABC, Ugly Betty ABC-Disney / Richard Cartwright / ABC,
The Class CBS-WB / Robert Voets / CBS, Shark CBS / CBS Photo, Justice FOX-WB / Andrew MacPherson / FOX, Heroes NBC / Mitch Haaseth / NBC, Friday Night Lights NBC / Michael Muller / NBC,
’ Til Death FOX-Sony / Scott Schafer / FOX, Studio 60 NBC-WB / Art Streiber / NBC, Dexter Showtime-FX / Christopher Weber / Showtime.
Brothers & Sisters
Déjà Vu Disney / Ron Phillips / Touchstone Pictures, Jerry Bruckheimer, Inc., Eragon 20th Century Fox / James Dittiger / 20th Century Fox, Dreamgirls Paramount / David James / DreamWorks Pictures, LLC,
Flags of Our Fathers Paramount / Merie W. Wallace / DreamWorks LLC and Warner Bros. Ent. Inc., Running With Scissors TriStar Pictures / Suzanne Tenner / TriStar Pictures, Inc., Marie Antoinette Sony / Columbia /
Leigh Johnson / Columbia Pictures, The Good Shepherd Universal / Andrew Schwartz / Universal Studios, The Fountain Warner Bros. / Takashi Seida / Warner Bros., The Good German Warner Bros. / Melinda Sue
Gordon / Warner Bros., We Are Marshall Warner Bros. / Frank Masi / Warner Bros., Bobby Weinstein MGM / Sam Emerson, The Weinstein Co., Fur Picturehouse / Abbot Genser / Picturehouse.
WHAT’S OUT
Déjà Vu
SHAREN DAVIS
Assistant Designers:
CAROL CUTSHALL &
LIZ WOLFE
The Good
Shepherd
Costume Designer:
ANN ROTH
Costume Designer:
Eragon
Costume Designer:
Costume Designer:
ELLEN MIROJNICK
KYM BARRETT
Assistant Designer:
Assistant Designer:
ANN FOLEY
HOLLY DAVIS
Dreamgirls
Costume Designer:
Flags of Our Fathers
DEBORAH HOPPER
Costume Designer:
FELIPE SANCHEZ
Illustrator:
Running With
Scissors
Costume Designer:
Marie Antoinette
LOU EYRICH
Costume Designer:
Illustrator:
MILENA CANONERO
JUDE CHRISTIAN
ORLANDO
The Fountain
Costume Designer:
RENEE APRIL
We Are Marshall
The Good German
DANNY GLICKER
Costume Designer:
LOUISE FROGLEY
Costume Designer:
AUDREY FISHER
Assistant Designer:
LOIS DE ARMOND
Illustrator:
Bobby
Fur
JULIE WEISS
Costume Designer:
Assistant Designer:
MARK BRIDGES
LAURA ANGOTTI
Fall 2006 The Costume Designer
31
An Open Invitation
to Join Us
for a Cocktail
and a Viewing of
Our Collection
WA R D R O B E
C LOTH I N G R E NTA L S E RVI C E
Wardrobe carries a range of designer wear that includes, but is not
limited to: gowns, cocktail dresses, suits, jackets, blouses, shirts,
sweaters, t-shirts, jeans, swimwear, handbags, shoes, and sunglasses.
Wardrobe is the only company that has built designer relationships
facilitating receiving merchandise at the same time as department
stores. We rent at approximately 10% of retail pricing.
2 1 2 6 0 9 0 9 2 0 • 9 17 3 6 5 70 9 9
4 5 1 G R E E N W I C H S T. , 7 T H F L O O R , N E W YO R K , N Y 1 0 0 1 3
W W W. WA R D R O B E - N YC . C O M • I N F O @ WA R D R O B E - N YC . C O M
IN FOCUS
MY TRAVELS WITH ISIS
As a sequel to our adventures in New Zealand, on The Chronicles of Narnia: The Lion,
the Witch and the Wardrobe, Costume Designer Isis Mussenden and I are currently prepping
The Chronicles of Narnia: Prince Caspian.We are now based in the beautiful city of Prague,
and we have set up our own costume shop at the Barrandov Studios. All of our manufacturIsis Mussenden and Kimberly Adams
ing,textile design and cosprops will be made in-house, our armor outsourced.While our new
scouting Tirelli Costumi in Rome, Italy
shop was being constructed, we toured the European fabric shops and costume houses.
We began in Rome, at Tirelli Costumi and Peruzzi Costumi D’Arte. It was exciting to finally visit the famous Tirelli costume house that
Umberto Tirelli founded in 1964. Pictures of Tirelli lined the walls with legendary Italian designer Piero Tosi, as well as other legends of the
Italian cinema.The lovely staff gave us a tour of the main building and the Medieval/Renaissance warehouse to look at their stock. Isis and I
met with the celebrated shoemaker, Pompei, who showed us his shoes and boots for rent. Our fantastic local assistant, Rossano Marchi, saw
that we were treated very well everywhere. At Pieroni we met with the talented craftsmen who make armor and hats.They were creating
pieces for April Ferry’s Rome and for Penny Rose’s Pirates 3.We then took the train north to Prato (just outside Florence) to swatch fabrics at
Obstock, a jobber with huge pallets of fabrics at good prices.The owners invited us to see the Prato Textile Museum, which was fascinating.
We are so grateful to April Ferry and her team for their help in planning our perfect trip to Italy.
Next we were off to Madrid and the fantastic costume house Cornejo.At Julian Lopez we swatched from walls of gorgeous wools and
beautiful silks and specialty fabrics. Jose Maria Ruiz had all types of silk, specialty laces and beaded fabrics.Then we went to the most amazing
trim store! Packed with buttons and trims, and little old Spanish ladies pushing their way to look at the button cards.There were huge spools
of buttons and buckles, organized by color.We were overwhelmed at the choices. The energy in the shop was crazy and it was a great experience. As we wandered through Madrid we discovered outdoor kiosks that housed antique book vendors and found great research material.
Isis and I will prep for five months, and shoot six to seven months, starting in February in New Zealand. Afterward, we will return to Prague
for stage work at Barrandov Studios. Finally, we will shoot on locations around Czech Republic continuing our journey shooting at various locations around Europe.The fabric and source scout was productive and well worth the exhausting travel before we headed back to Prague.
Both Isis and I feel very fortunate for this experience. Narnia is always a magical world to work in.
Ciao! Kimberly [email protected]
IN FOCUS
location, location, location:
SOURCES
THRIFT SHOPS
Hobby Lobby
2020 Cerrillos, Santa Fe
(505) 471-1199
Double Take
Santa Fe Quilting
320 Aztec at Guadalupe St., Santa Fe
3018 Cielo Ct., Santa Fe
(505) 473-3747
(505) 989-8886
“Modern and collectible vintage. Cowboy
and Indian clothing and beautiful jewelry.”
Hancock Fabrics
Buffalo Exchange
3157 San Mateo, Albuquerque
(505) 881-0336
3005 Cental Ave. NE, Albuquerque
(505) 262-0098
Quiltworks
Off Broadway
3110 Central Ave. SE, Albuquerque
(505) 268-1489
BOUTIQUES
Bodhi Bazaar
500 Montezuma Ave., Santa Fe
(505) 982-3880
“Hippest in town: Joie, Seven, DVF”
Robert Bailey (Men’s traditional)
150 Washington St., Santa Fe
(505) 983-8803
6640 Indian School Rd., Albuquerque
(505) 881-2750
1117 Menaul,Albuquerque
(505) 298-8210
MALLS
Santa Fe Place
4250 Cerrillos Road, Santa Fe
(505) 473-4253
Dillard’s, JC Penney, Mervyns, Sears
Villa Linda Mall
4250 Cerrillos Road, Santa Fe
(505) 438-3431
Dillard’s, JC Penney, Mervyns, Sears
DeVargas Mall
564 N. Guadalupe St., Santa Fe
(505) 982-2655
Ross, Office Depot, United Artists Theatres
FLEA MARKET
Tesuque Pueblo Flea Market
Coronado Center
6 miles north of Santa Fe on U.S. 84/285
(505) 995-8626
Fri., Sat. & Sun. 8 a.m.–5 p.m. Mar.–Nov.
6600 Menaul NE,Albuquerque
(505) 881-2700
Macy’s, JC Penney, Mervyns, Sears
FABRIC
Cottonwood Mall
Common Thread/Uncommon Fabrics
120 Bent St. #A, Taos
(505) 758-8987
“An hour drive from Santa Fe—worth the
investment.Exotic fabrics & modern basics.
Open to memo-ing with credit card.”
10000 Coors Bypass NW,
Albuquerque
(505) 899-7467
Mexico. A workhorse. Although she
doesn’t have much experience in film, she
has been working on touring stage shows
for the last 25 years. Great on set. Great
personality.”
Lyn Bernay “Longtime member of 705 locat-
ed in Santa Fe. A seasoned professional and
true artist who can’t be thrown for a loop.”
R&R
Ten Thousand Waves
3451 Hyde Park Rd., Santa Fe
(505) 982-9304
www.tenthousandwaves.com
“Buy a book of spa entrances to and save.”
Santa Fe Outlet Center
I-25 to Exit 278 Cerrillos Rd.
(505) 474-4000
Jo-Ann Fabrics
3140 Cerrillos, Santa Fe
(505) 473-1032
Plus three locations in Albuquerque
Bobbi Langhofer “Best trooper in New
CREW
SEAMSTRESS
Pilar Agoyo
Barbara Brice “Great seamstress & asset to
La Posada De Santa Fe Resort & Spa
330 East Palace Ave.
(505) 986-0000
www.laposada.rockresorts.com
“Reflexology by Kea,who studied in Japan.”
La Bella Spa & Salon
0126 Coors Blvd. NW, Albuquerque
(505) 899-5557
www.labellaspasalon.com
any Designer.”
Chezd’or Hair Salon
COSTUMER
Daniela Moore
117 Gold Ave. SW, Albuquerque
(505) 243-6777
“They serve wine while you wait!”
John Deering “Works extremely well with
the actors and director, communicative
with design & on-set staff.Twenty years of
experience in New York theater and film,
before moving to Albuquerque.”
YMCA Santa Fe
4001 Office Court #306
(505) 424-8077
“Cheap yoga classes”
continued on page 36
Fall 2006 The Costume Designer
35
GOOD EATS
BREAKFAST
Cafe Pasqual’s
121 Don Gaspar, Santa Fe
(505) 983-9340
Tesuque Village Market
County Road 73,Tesuque
(505) 988-8848
Los Potrillos
1947 Cerrillos Rd., Santa Fe
(505) 992-0550
Mu Du Noodles (Asian fusion)
1494 Cerrillos Rd., Santa Fe
(505) 983-1411
La Casa Sena (Southwestern)
125 E Palace Ave., Santa Fe
(505) 988-9232
“Mostly Italian with a bit of chili mixed in.”
Geronimo (Global fusion)
724 Canyon Rd., Santa Fe
(505) 982-1500
“Expensive, but worth it.”
Crazy Fish (Sushi)
Downtown Subscription
376 Garcia St., Santa Fe
(505) 983-3085
“Best coffee, café and great int’l newspapers & magazines.”
DINNER
The Cowgirl (BBQ & Western Grill)
319 S. Guadalupe St.
(505) 982-2565
“A Santa Fe institution, great nachos and
photos of cowgirls from all eras adorn the
walls.Fun research while having a cocktail.”
The Compound
653 Canyon Rd., Santa Fe
(505) 982-4353
“Best Chef of the Southwest 2005”
3015 Central Ave., Albuquerque
(505) 232-3474
Zinq (Tapas)
3009 Central Ave. NE, Albuquerque
(505) 254-9462
Artichoke Café (Continental)
24 Central Ave. SE, Albuquerque
(505) 243-0200
Gruet Grille (Bistro)
4243 Montgomery Blvd. NE, Albuquerque
(505) 888-7004
MISC.
SHORT-TERM HOUSING
SPECIALIST
Pilar West of Luna Luz Properties
653 Don Gaspar Ave. Santa Fe
(505) 820-6977
“Pilar helps with housing and knows everyone—great advice for whatever you need.”
ADVICE
“New Mexico is overworked and its
resources are strained. Beware of inexperienced crews.”
“Take everyone you can, especially your
supervisor and ager/dyer.”
“Bring an L.A.Assistant Designer, Costume
Supervisor, tailor shop head and key.”
“Bring woolens or interesting fabric, the fabric is either polyester or quilting cottons.”
CONTRIBUTORS:
Jordanna Fineberg, Arianne Phillips, Dan
Lester, Michael Boyd, Mary Malin, Denise
Wingate, Allison Leach and Sharon Day
P ROFILES
IN
H ISTORY
Hollywood Memorabilia Auction
Currently accepting consignments for our next Hollywood auction March 30, 2007
Original Walter Plunkett
costume sketch for
Vivien Leigh in
Gone With The Wind.
Worn during the sensational
bedroom scene when she
spurs Rhett and tells him
that she “hopes to have
no more children!”
(MGM, 1939)
VISIT OUR WEBSITE
@
W W W . P RO F I L E S I N H I S T O RY . C O M
OR CALL
310-859-7701
TO ORDER A COLOR CATALOG WITH HUNDREDS OF ITEMS!
PROFILES
IN
HISTORY • 110 N. DOHENY DRIVE • BEVERLY HILLS • CALIFORNIA • 90211 • USA
IN FOCUS
BOLDFACE NAMES
BOLDFACE HONORS
Congratulations to Penny Rose, awarded “Costume Designer of the
Year” by the Hollywood Film Festival for her design for the Pirates of
the Caribbean. Penny was honored at a star-studded gala at The
Beverly Hilton Hotel on October 23. Debra McGuire has been nominated for a 2006 Ovation Award for her theatrical costumes for Boston
Marriage at the Geffen Playhouse. Sharen Davis received a Hamilton
Behind the Camera Award for Dreamgirls on November 12 at the
Hamilton Watch and Hollywood Life fete! Sharen’s costumes will also be
on display with a very special “road show” preview of the film in New
York, Los Angeles, and San Francisco the week of December 15. The
awards season is starting off with a bang and the HOT TICKET will be
our own Costume Designers Guild Awards to be held on Saturday,
February 17, 2007, at the Four Seasons Regent Beverly
Wilshire. Purchase your tickets early—make it a huge success!
BOLDFACE PRESS
The Hollywood Reporter, Next Generation Issue Oct. 17, profiled
Casey Storm, Adaptation and Being John Malkovich, and B., best
known for her extensive commercial work. Emmy winner Randall
Christensen and his team were featured in a behind-the-scenes
segment of the hit series Dancing With the Stars (10-18-06) highlighting the insane pace of designing and building a live show every
week. People magazine also profiled the costumes for the show.
Milena Canonero’s luscious costumes for Marie Antoinette made
the cover of Vogue with a two-page spread inside (October), and
have since been touring the
country with film openings in
Los Angeles, New York and
Boston. Member Elena
Baranova was involved with
the 16-part Russian documentary about life in the U.S.A.
Elena persuaded the filmmakers to include Sal Perez—
one of only three people interviewed in Los Angeles for
Russia’s Channel One series.
Kym Barrett, designer of
The Matrix trilogy, is featured
in a companion book to her
new film Eragon. Diana Eden’s designs for Passions and her fashion tips can be found at www.seenon.com/blog/Diana%20Eden.php.
Hollywoodland and Bobby designer Julie Weiss was interviewed
at length for the L.A. Times new section “The Envelope.” Julie was
referred to as “a psychoanalyst, a psychic, an interpreter of dreams, a
soothsayer, historian and a wardrobe memoirist.” The Envelope
online, http://theenvelope.latimes.com also features a photo gallery
of “Best Costume Design”showcasing 11 Costume Design Oscar winners from 1982 to 2005.
38 The Costume Designer Fall 2006
BOLDFACE ENTREPRENEURS
Cate Adair recently launched her own small leather goods line—
Cate Adair Los Angeles.Wallets with contrasting leather & embossing
and handbags & totes with tassels are available at Kitson, Fred Segal
Melrose, and Bloomingdales NY and SF. www.cateadair.com
Congratulations Cate! In addition to designing the sixth season of
Scrubs and the third season of The Office, Carey
Bennett has launched
her company—Best Ever
Scrubs. After you’ve tried
recutting and tailoring
those polyester potato
sacks; her, stretch-poplin,
tailored, figure-flattering
beauties will be a
godsend! Best Ever
Scrubs are the “scrubs
that Hollywood wears.”
They were featured in
TV Guide magazine.
www.besteverscrubs.com
Sharon Day’s company, RAGDOG, is donating
its entire stock of canine
Halloween and Christmas
Costumes to the PAWS LA
in honor of her beloved
Boston Terrier, Charlie Girl.After retiring as editor of this magazine,
Sharon is launching the CDG Education Committee focusing on outreach to the DGA, SAG,ADG and WIF as well as providing member
support seminars and DVDs for life in these changing times.
BOLDFACE AT WORK
Mary Malin is in Albuquerque, N.M., on West Texas Children’s
Story, a period film set in 1962 starring Val Kilmer, Matthew Modine
and Lara Flynn Boyle. Susan Nininger completed work on a
Nissan commercial for the college football season. Emmy winner
Erin Lareau designed three spots for the new VW Cars & Guitars
Campaign starring Slash, John Mayer, and Christopher Guest and
music videos for Mario Winans and Italian superstar Piero Esteriore
and Anna Netrebko/Rolando Villazon for L.A. Opera’s Manon.
Jacqueline Saint Anne is designing the opera Powder Her Face
at USC with Anna Bae illustrating. USC will display the design
sketches in the lobby of the Bing Theatre for the previews and the
performances. Michael Boyd, Emmy nominated for the miniseries
Into the West, is designing The Company, a six-hour miniseries for
Ridley Scott and TNT. Michael started mid-June filming the first segment in Toronto, traveled to Budapest, Hungary, and then will head
to Puerto Rico to film the Bay of Pigs sequence. Louise Frogley
has begun her fourth collaboration with George Clooney on
Leatherheads, a romantic comedy set in the world of 1920’s football.
Alexandra Welker is back from location in South Carolina,where
she was shooting Asylum with David R. Ellis directing … written up
in USA Today (9/6/06). Kristin Burke was also in South Carolina
designing Death Sentence. Shay Cunliffe is home in England
designing The Bourne Ultimatum.The production will be filming in
Morocco and London before setting off for Russia, Spain, France and
the U.S.A.
Costume Designer Amy
Westcott and Assistant
Costume Designer
Roemehl Hawkins will
be on location in
Pittsburgh in November
and December filming
Smart People with Dennis
Quaid, Rachel Weitz and
Thomas Hayden Church,
produced by Michael
London,
Sideways.
Valerie Laven-Cooper
is back in Las Vegas, where
she worked on The Grand
—a mockumentary of the
World Championship of
Poker. Currently, she is
designing a modern version of The Merchant of
Ve n i c e d i r e c t e d b y
Micheal Almereyda with Patrick Stewart and Sir Ian Mckellan.
Inanna Bantu is in Northern California working on the new Ed
Harris film, Winston, an autobiography about two brothers’ love of
baseball and their relationship with their alcoholic father. CDG
Illustrator Derek B. Sullivan is thrilled to be designing an independent comedy, Disconnected, in Staunton,Virginia. Principal photography began on October 26. Costume Designer Carol
Ramsey and Assistant CD Ellen Falguire are off to Argentina to
begin work on The City of Your Final Destination, sadly, the first
film from Merchant Ivory Productions without Ismail Merchant.
Hope Hanafin is just wrapping up Honeydripper with director
John Sayles. The indie film, shot on location in Alabama, captures
“The Blues” in the south during the 1950s. Michael Kaplan is on
location in New York filming I Am Legend. The sci-fi drama stars
Will Smith as the last man alive.
continued on page 40
COSTUME DESIGN CENTER
Costume Rentals • Manufacturing • Prep Spaces
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this magazine possible by advertising
in The Costume Designer is
encouraged and appreciated.
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Fall 2006 The Costume Designer
39
IN FOCUS
BOLDFACE NAMES
BOLDFACE FESTIVALS
Landis and Wilkinson at the Scottsdale Film Festival
40
The Costume Designer Fall 2006
After producing a successful series of panels at Comic-Con 2006 in
San Diego, CDG Film Festival Co-chairs Mary Malin and Susan
Nininger are gearing up for a CDG spotlight at The Palms Springs
International Film Festival. The committee is also spearheading a
stand-alone panel at the Santa Barbara International Film Festival
(January 25 through February 4). Winterthur Gardens hosted an
inside look at the world of feature film Costume Design this
November with a panel that included Sophie de Rakoff
Carbonell, Juliet Polcsa, and Nancy Steiner.The committee
recently helped the Scottsdale International Film Festival (October
18, 2006) organize a panel with Ruth Myers, Infamous, and
Michael Wilkinson, Babel, after the films were screened. Ruth
Myers was in London prepping The Golden Compass, so our CDG
President Deborah Landis interviewed Myers by phone and
then moderated the festival discussion with Michael Wilkinson who
just finished the Nanny Diaries and is on his way to Morocco to
shoot Rendition.
Courtesy Photofest
SCRAPBOOK
Faye Dunaway and Theadora Van Runkle, Bonnie and Clyde (1967)
42
The Costume Designer Fall 2006
“A compassionate, cautionary tale speaks eloquently about
a time when America needed heroes, and does so when
we are no longer sure what they look like.”
– Richard Corliss, TIME
F
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Best Costume Design
Deborah Hopper
For screening information please visit
www.paramount2006.com
Costume Designers Guild
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Sherman Oaks, CA 91423-2400
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