the costume designer fall 07

Western Issue

For screening information: DisneyStudiosAwards.com©Disney Enterprises, Inc.


F O R Y O U R C O N S I D E R A T I O NF O R Y O U R C O N S I D E R A T I O N

BEST COSTUME DESIGNPenny Rose

BEST COSTUME DESIGNPenny Rose

“The sets, costumes, stunts and special effects are beyond what anyone could have dreamed about during the Golden Age of the pirate movie.”

Richard Roeper, CHICAGO SUN-TIMES

“The sets, costumes, stunts and special effects are beyond what anyone could have dreamed about during the Golden Age of the pirate movie.”

Richard Roeper, CHICAGO SUN-TIMES

FEATURES

vol. 3, issue 4

Fall 2007 The Costume Designer 3

COSTUME DESIGNERS GUILD11969 Ventura Blvd., First Floor

Studio City, CA 91604phone: 818.752.2400 fax: 818.752.2402

email: [email protected]

COVERJane Fonda strikes a pose as Cat Ballou.

Designed by Bill Thomas, 1965.

Photo: courtesy of Kobal Collection

The Wild, Wild, WestDesigning a Western world . . . . . . . . . . . . . . . . . . . . . . 20

Western Wear: Camp, Corsets and RealismHow costume design sets the tone and feel. . . . . . . . . . . . . . . 26

CollaborationsJames Mangold, Cathy Konrad & Arianne Phillips . . . . . . . . . . . 28

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

President’s LetterFrom the Desk of the Executive DirectorAssistant Executive Director’s ReportLabor Report

The Costume Department. . . . . . . . . . . . . . . 30Meet the IllustratorsHistory of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35A Look Back at Blade RunnerBoldface Names

What’s On/What’s Out . . . . . . . . . . . . . . . . . 44Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

DEPARTMENTS

20 28 35

EDITOR/PHOTO EDITORDeena Appel

ASSOCIATE EDITORAudrey Fisher

MANAGING EDITORCheryl Downey

PRESIDENT Mary Rose

[email protected]

VICE PRESIDENT Hope Hanafin

[email protected]

SECRETARY Ann Somers Major

[email protected]

TREASURER Karyn Wagner

[email protected]

EXECUTIVE BOARDSharon Day

[email protected] Perez

[email protected] Appel

[email protected] Chally

[email protected]

BOARD ALTERNATESValerie Laven-Cooper

[email protected] Nininger

[email protected] Broughton Ramsey

[email protected] Butler

[email protected]

ASST. COSTUME DESIGNER REP. Audrey Fisher

[email protected] ILLUSTRATOR REP.

Dana [email protected]

COMMERCIAL COST. DESIGNER REP. Tanya Gill

[email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Saint Anne

[email protected] Matthews

[email protected] REPRESENTATIVE

Betty [email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected] EXECUTIVE DIRECTOR

Rachael M. [email protected]

ADMINISTRATIVE ASSISTANTSuzanne Huntington

[email protected]/SECRETARY

Cheryl [email protected] CDG [email protected]

PUBLISHERIngleDodd Publishing

ADVERTISING DIRECTORDan Dodd 310.207.4410 x236

[email protected] The Costume Designer Fall 2007

s Sharon Day mentioned in the summer issue, there aremany changes brewing. With every issue, we strive tobring you a new and improved magazine.Your window tolearn something new, share your experiences and cele-

brate one another.First of all, I’d like to thank Sharon for filling in for me last quar-

ter as I took my maternity leave from the magazine. Sharon is lettinggo of her full-time participation in the magazine to focus on hermany other Guild commitments. She will not only devote her timeand energy to her dual chair of the Website and the Education

Committees but she will also take the reigns as the sole editor of the Newsletter, herfirst CDG baby.

I’m very excited to introduce AudreyFisher, your EBoard Assistant DesignersRep, who will be taking over as associateeditor.Audrey has been a regular contribu-tor and in this issue she’ll launch her newcolumn called “A Look Back.” It will serveas a loving review and nostalgic look atcostume-driven films and TV shows fromthe recent past. Audrey’s support and hervoice will help us continue to move the magazine forward.

I would also like to welcome Mary Rose, our new President.As the CDG’s firstDistinguished Service Award recipient, Mary will bring a new and yet seasoned per-spective to both the magazine and the Guild.

Jacqueline Saint Anne has diligently brought you “Meet the Illustrators” since thenewsletter days; profiling and showcasing our unsung talent behind the seams. Aswe’re coming to the end of our roster of Illustrators,we’re hoping to reinvent her col-umn and turn the spotlight on our Assistant Designers.

The theme of this issue,“The Western,”was clearly sparked by a growing numberof Western projects on the large and small screen of late. I’m grateful to all the busydesigners who’ve shown us a glimpse into a genre that some of us may never havethe opportunity to explore. Thank you for your contribution.

As always, I encourage you to share your ideas, your stories and your comments.If you have a story to tell, write it!

Deena [email protected]

EDITOR’S NOTE

A

“”

Good judgmentcomes from

experience, and alotta that comes

from bad judgment

— ANONYMOUS COWBOY

Catherine Nash’s ClosetHELPING DESIGNERS SINCE 1983

ANTIQUE CLOTHING & JEWELRY1860S-1970S SHIPPED ON SPEC

experienced wholesale to the trade (520)740-1673

<[email protected]>BURBANK TRUNK SHOW DEC 10-13!

For up-to-the-minute screening information visit: www.focusfeaturesawards.com ARTWORK ©2007 FOCUS FEATURES,LLC. ALL RIGHTS RESERVED.

“Rarely has a book sprungso vividly to life, but also

worked so enthrallingly in pure movie terms, as

‘Atonement.’ Technicians likedesigner Jacqueline Durran

provide a richly decoratedframe. Smart and

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“The most beautiful film ofthe year. Truly sumptuous.”

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“Rarely has a book sprungso vividly to life, but also

worked so enthrallingly in pure movie terms, as

‘Atonement.’ Technicians likedesigner Jacqueline Durran

provide a richly decoratedframe. Smart and

dazzlingly upholstered.”–Derek Elley, VARIETY

“The most beautiful film ofthe year. Truly sumptuous.”

–Mariella Frostrup, HARPER’S BAZAAR

For up-to-the-minute screening information visit: www.focusfeaturesawards.com ARTWORK ©2007 FOCUS FEATURES, LLC . ALL RIGHTS RESERVED.

WINNERBEST PICTURE

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2007 VENICE INTERNATIONAL

FILM FESTIVAL

“ANG LEE’S MASTERY OF THE FILMMAKING PROCESS

INCREASES WITH EVERY PROJECT.Surrounding himself with an excellent team,

including production/costume designer Pan Lai, he has made a film of ambition and accomplishment,

one that is a summation of all he knows. ‘Lust, Caution’ gets under your skin.”

— Kenneth Turan, LOS ANGELES TIMES


Dear Members,

e are now happily settled in our new CDG offices. From the moment you enter the beautiful glass

doors etched with our Award Statuette and are met by the smiling face of Cheryl Marshall at the

receptionist desk, you are filled with pride that you belong to Local 892.

On October 9, we held our first General Membership Meeting at our new digs with our new

Executive Board and Officers. We filled the large conference room adjoining our offices with enthusiastic new

members and returning experienced members all marveling at the

user-friendly, new space. Despite some opposition and controver-

sy, it appears that our move was the right decision. Great harmony

was in the air.

At our request, IA West Coast Vice President Mike Miller graced us by speaking

to the general membership. His frank and knowledgeable comments on the poten-

tial writers’ strike and its effect on our future delivered a strong impact. Mike also

touched on some gloomy but realistic aspects about what this “Non IA–Strike”could

mean to us financially.There was no doubt this had a very sobering effect. My greatest appreciation goes to Mike Miller for taking

the time to educate us, and my apologies for taking him away from his N.Y.Yankees playoff game. It was a great evening and our

members now have a better understanding of what it means to be part of the IATSE: the guardian of below-the-line workers.

The Finance Committee met on October 17 to preliminarily discuss the 2008 budget and the forecast is good! It’s the first time

in 14 years that I’m not the treasurer of this committee,but our newly elected treasurer,Karyn Wagner, is a bright and fast learner.The

other committee members are Van Ramsey, Nanrose Buchman, Cheryl Downey and Rachael Stanley.We are lucky to be surrounded

by those I consider to be the Best and Brightest. Our members can have my assurance that their money is in capable hands. Even

with the dark cloud of a strike hanging over us, we feel we can manage our finances without getting into deep water. Our Guild has

been through strikes before, and after reviewing our budget/investments, I feel confident that we will weather this storm.

On a brighter note, I am happy to announce that Anjelica Huston will once again grace us as our host for the CDG’s 10th

Anniversary Awards event.The Career Achievement Award for film will be given to Ruth Myers and the Career Achievement Award

for Television to Raymond Aghayan; an award long overdue to both honorees.We look forward to seeing all of you at the Beverly

Wilshire Hotel on February 19, 2008.

In Solidarity,Mary [email protected]

PRESIDENT’S LETTER

UNION LABEL

W

IMPORTANT DATES ��EXECUTIVE BOARD MEETINGS

CDG Office, 7 p.m.

2007November 12December 10

2008January 7 • February 4

GENERAL MEMBERSHIP MEETINGFebruary 25, 2008

CDG HOLIDAY OPEN HOUSEDecember 1, 2007

4–6 p.m.

CDG leadership celebrates the new Board over dinner at RachaelStanley’s home: (l-r) Sharon Day, Cliff Chally, Marilyn Matthews,Cheryl Downey, Helen Butler, Susan Nininger, Deena Appel, HopeHanafin, Jacqueline Saint Anne, Tanya Gill, Mary Rose, Oliver Appel,Jim Lapidus, Karyn Wagner, Valerie Laven-Cooper, Rachael Stanley

Anyone who limitsher vision to the

memories of yesterdayis already dead.

— LILLIE LANGTRY

“”

know you join me in warmly welcoming President Mary Rose and our newly elected slate of Board,Trustee

and Delegate members. That this many exceptionally gifted CDG members are willing to serve and even

serve again is an indication of the highly talented constituency present in all categories of our Guild. It is also

a reflection of respect for this Guild and its future.

One key to the Guild’s success is more member involvement in the many committees chaired by our volun-

teer Board members. Committee work is a way to meet and learn from other Designers,Assistant Designers and

Illustrators while contributing to the greater good. It is also a way to “grow” future leadership. It is essential that

newer members join the more seasoned representatives on such efforts as this Magazine. Contact editor Deena

Appel at [email protected] with your ideas.

The Education Committee needs dedicated volunteers; its agenda is full. The Committee sponsored a recent seminar with

straightforward tips on negotiating a good deal. Several members participated in a panel at the DGA, yet other CDG members presented

a panel at Woodbury University.The Committee needs you to help decide what types of classes you most need:computing Photoshop? finan-

cial planning? interviewing techniques? networking tips? Share your ideas, your time and your talent by contacting Chair Sharon Day at

[email protected] or President Mary Rose at [email protected].

You don’t have to meet here in the office to contribute.The Website Committee, for example, can benefit from volunteers who can

only participate via e-mail or conference call. Continually enhancing our redesigned site is a pressing goal. Now that members can update

their public and members-only information on the website 24/7, we will encourage more producers and directors to become frequent vis-

itors.Both our members and those who hire us expect current information.During a work slowdown, for instance,adding an accurate avail-

ability list to the public portion of the website may facilitate hiring.The Guild needs many hands to make little work of this big, ongoing

job. Be part of the solution and contact Sharon Day or myself now!

I look forward to seeing you at the Guild’s Holiday Open House, Saturday, December 1. Come welcome the holiday season with us, and

please bring an unwrapped child’s charity gift for the County Fed’s Turkeys & Tots!

In Solidarity,[email protected]

IFrom the Desk of theExecutive Director

UNION LABEL

8 The Costume Designer Fall 2007

Dear Colleagues,

On hand to celebrate were (l-r) Designer/Labor Rep BettyMadden, Executive Director Cheryl Downey, Helen Mirren,and EBoard Illustrator Rep Dana Onel.

(l-r) Oksana Nedavniaya, Antoinette Messam, Julie D.Weiss, Jennifer Austin, Erika Walthall, President Mary Rose,Brigitta Romanov, Hazel Yuan, Marcia Zigler, SuzyMagnin, Olivia Miles.

The Motion Picture & Television Fund hosted its third annual “AFine Romance” fundraiser on Sat., Oct. 20. IATSE PresidentThomas C. Short received the Silver Medallion Award for hiscommitment to the Motion Picture & Television Foundation.

NEW MEMBERS A FINE ROMANCE


UNION LABEL

Dear Members,his year has brought manychanges for the Guild officeincluding our move to our newuser-friendly location.The office

Executives and staff could not be happierwith our new home and invite you all todrop by and say hello.

This fall, our tri-annual general elec-tions were held and on October 1 abrand-new Executive Board was sworn in

by Vice President Michael Miller.Although the number of membersvoting was not as high as we expected,we still had a good responsefrom the membership.We hope that more members will exercisetheir right to be heard and participate in future elections.

I am also pleased to report that many of our members are nowcalling in their work.This is so helpful for all our members tryingto find each other, for the office when making set visits, determin-ing current rates, and for compiling information for the press.Please remember to call us if you are not already doing so.

Congrats to those members calling the Guild to verify and clar-ify the terms of the various contracts.Without your calls it is impos-sible for us to know if our contracts are being undermined. Don’tsign anything that is questionable without calling the office firstand never go to labor relations without having your Guild represen-tative present.

As a member of the Industry Safety Committee, I am proud toannounce a new wallet-sized “Accident to Do List” that you willsoon receive in the mail. Safety at work should be everyone’s firstpriority but when an accident does happen, the proper protocolneeds to be followed.We would like to remind you to call or havesomeone call the Guild office if you are ever hurt on a set or dur-ing work for a production.

As a last note, remember to keep all your contact informationcurrent. You can now go to the website 24/7 and update yourrecords. Just log on to the member area and follow the simpleinstructions.

Keep up the good work.

In Solidarity,

[email protected]

Assistant Executive Director’s Report

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F O R Y O U R C O N S I D E R A T I O N

B E S T C O S T U M E D E S I G N

Mona May


ollywood’s writers’ contract isup and the fight overresidual pay continues. If thereis a strike, here are some

resources for your family and friends.• If you have an economic need now or

at any time, call 211 for L.A. CountyServices.

• Contact the People’s Guide toWelfare Health & Other Services atwww.peoplesguide.org.

IT’S OUR HEALTHCARE• The AB-8 Bill was vetoed by Governor Schwarzenegger.A spe-

cial session to produce a healthcare bill that we can afford tolive with is ongoing. A 48-hour vigil had union representativescamped at the offices of Governor Schwarzenegger as a visi-ble reminder that we, in Labor, are serious about passing ahealthcare bill this year.

GOV. SCHWARZENEGGER—CALIFORNIA DRIVERS’ FEE HIKES• This was one of the issues that got Governor Gray Davis

recalled and Arnold Schwarzenegger elected.• Registration fee increase $3 per year.

THE MAY DAY IMMIGRATION MARCH• The MacArthur Park/LAPD calamity was followed up by the

LAPD self-examination.• Reform fixes good until the next tension produces the next

misstep.

TURKEYS & TOYSThe Labor Community Services Food and Emergency Program hasstarted.You can drop your new unwrapped toys for children ages8 to 18 at the CDG office by December 8.Your gift will brightenthe holiday season for the children of our Labor brothers and sis-ters.Thank you!

Betty Madden, CDG Labor [email protected]

UNION LABEL

HLabor Report

Michael Boyd

Mark BridgesJanie BryantLouise de TeligaAudrey FisherBetty Madden

Patricia NorrisArianne PhillipsVan RamseyRobin Richesson

Jacqueline Saint AnneKaryn Wagner

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The Kobal Collection for their generous support

THANK YOU TO OUR GENEROUS VOLUNTEER CONTRIBUTORS:


IATSE PRESIDENT SHORT ORDERS MEMBERS TO HONOR THEIR CONTRACTSLOS ANGELES – IATSE President Thomas C. Short sent an open letter on October 31, 2007, to all IA members and locals workingin film and television, in both the U.S. and Canada, who might be affected should a strike be called by the Writers Guild ofAmerica. The current IATSE motion picture contracts have the same no-strike clause that has been in effect in previous contracts.

President Short’s letter is quoted below in its entirety:OPEN LETTER TO ALL IATSE MEMBERS AND LOCALS ENGAGED IN MOTION PICTURE AND TELEVISION PRODUCTION FROMTHOMAS C. SHORT, INTERNATIONAL PRESIDENT

As you are aware, the Writers Guild of America (WGA) is currently in negotiations for a successor contract to the current agreement thatexpires on October 31, 2007.While the IATSE remains hopeful that a new agreement can be reached between the WGA and the Employers, thereis a potential for a work stoppage.

The IATSE has over 50,000 members in two countries engaged in motion picture and television production.Any work stoppage may have aprofound and long-lasting impact on you and your families.

The IATSE contracts contain provisions that require us to continue to honor our contracts.These “no strike” provisions require the IATSE tonotify our members of their obligation to honor these contracts and continue working.Any individual member who chooses to honor any picketline is subject to permanent replacement.

It is important for each IATSE member to be aware of their contractual obligation as well as the potential impact on them personally if theychoose to not cross and are replaced. Contact your local union with any questions regarding this potential labor dispute.

The IATSE is an international union that represents members employed in the stagecraft, motion picture and television production, and tradeshows industries throughout the United States, its territories, and Canada.(For background information on the International Alliance of Theatrical Stage Employees: www.iatse-intl.org.)

UNION LABEL

F O R Y O U R C O N S I D E R A T I O NI N A L L C A T E G O R I E S

BEST PICTUREBEST COSTUME DESIGN

SHAREN DAVIS

INCLUDING

Artwork © 2007 The Weinstein Company. All Rights Reserved.


��In MemoriamSandy Berke Jordan, President of Local 705, died unexpected-ly on October 21, 2007. Sandy was a 40-year member of theCostumer’s Local she loved so much. She is pictured here at705’s recent 70th Anniversary celebration.

After 25 years working as a Costumer on shows such asGodfather II, Rocky II, Heaven’s Gate, Lost in Yonkers, andMaude, Sandy became 705’s Assistant Business Rep in 1992. In1993, she was elected Business Rep and served until sheretired in 2000.That same year she was elected President. Astaunch supporter of the IATSE and friend to all, Sandy will besorely missed by all her sisters and brothers in the CDG.

UNION LABEL


HOLIDAY GREETINGSThe Costume Designers Guild’s 2007 holiday card

illustrated by Oksana Nedavniaya

CDG EDUCATION COMMITTEEThe CDG’s Education Committee participated in aDirectors Guild–sponsored panel discussion for ADsand UPMs at the DGA on Sunset Boulevard, September29, 2007.The goal was to encourage better communi-cation and to understand and facilitate the costumedepartments’ creative process during production.Sharon Day, Cheryl Downey, Hope Hanafin, AudreyFisher and Ann Major represented the CDG on thepanel, and both Susan Nininger and Marilyn Matthewshelped with detailed preparation for the event. TheEducation Committee looks forward to nurturing thisvaluable relationship.

This graphic, created by the EducationCommittee, was included in the CDG informationpacket handed out to the panelists and participants,and depicts how the costume department interfaceswith all departments during production.

UNION LABEL


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S A N T A M O N I C A • N E W Y O R K • L O N D O N

The CostumeDesigners Guild

invites CDG membersand their guest tolaunch the holiday

season withour Cocktail Party

Open House

SaturdayDecember 1, 2007

4 to 6 p.m.

at our new location11969 Ventura Blvd.

Studio City, CA 91604(Enter parking

from alley)

Festive attire

Optional:Bring unwrapped

child’s toy for toy drive

RSVP:818.752.2400 ext. 7

��

�

�

esterns just plain scare me. Not as an

audience member but as a Costume

Designer. Maybe it’s the dirt, the stunts,

the feathers or the hats… No, I think it’s

the difficulty in getting it right.Westerns

are a beloved genre that takes a great

deal of special care (and no small

amount of elbow grease) to pull off. Now that there’s been a

complete resurgence of Westerns in film (with Oscar buzz)

and on television (Emmys galore), I thought I’d go to the

designers who’ve recently survived “The Western” with the

hope of demystifying this hallowed ground.

Five-time Oscar-nominated Costume Designer and CDG

Career Achievement honoree, Patricia Norris, is no stranger

to the West.Take Days of Heaven for instance; a film that has

become a visual blueprint for countless followers. Norris was

the CD for The Assassination of Jesse James by the Coward

Robert Ford but she also took over as the Production Designer.

Patty’s been doing double duty for years, starting with her long-

time collaboration with David Lynch on Blue Velvet.Her biggest

hurdle with the 1880’s and 1890’s costumes was that she had

only seven weeks to prepare.“The greatest misconception with

a Western is that you just go to a rack and it’s all there. The

clothes we made had to look older so I had all the wool washed

several times,which makes it thicken up before cutting.”Norris

built most of her costumes at Western Costume in Los Angeles,

but she had no workroom on location in Canada.At one point,

she had three different stitchers building duplicates of the

same coat, a Chinese tailor making suits in downtown Calgary

and dresses being made at the Winnipeg Opera House. Norris

also rented costumes, mainly from Western Costume and

Cosprop in London.“These people were famous outlaws.As a

designer you always have to read between the lines and trans-

fer real to serve the actor and the script,”Norris cautions.When

asked why Westerns seem so popular again,Norris believes “it’s

because they are so far from the reality we know now.” Patty’s


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most proud that “they survived, did not go over budget and

that no one had to work naked.”

Arianne Phillips was warned.While shooting Walk the

Line (her costumes were nominated for an Oscar and CDG

Award), the director, Jim Mangold, mentioned his next film,

3:10 to Yuma, was a Western and that Ari should “get ready.”

Having hardly seen many Westerns, she took this as an imme-

diate call to immerse herself in the genre.She spent two years

watching Westerns and reading about the period. Although

she strived for authenticity, it was important to avoid cliches.

Ari built all of the principal costumes, 80% of the day players,

supplemented with bought pieces that were recut, dyed,

embellished and aged, and rented from Western Costume and

Motion Picture.With lead ager/dyer Phyllis Thurber Moffit by

her side, she knew that the key would be prototypes. It was

also a huge task to match the progression of dust, dirt and

blood. They were going nonstop, seven days a week for a

while there. Ari calls Moffit “a real artist and a mad scientist


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who was a well-spring of energy and creativity.” Did anyone say

hats? Phillips says,“Hats are the most misunderstood element when

designing a Western. Hats are up front, filling the frame.They are a

key necessity for informing the period, the geography, the econom-

ic and social standing of a character.They are not to be underesti-

mated!” Once again, lack of time and money is the biggest com-

plaint—from researching to building to ageing. As for her crew,“I

am so proud of my crew and grateful for their tireless and resource-

ful work, their enthusiasm, humor and work ethic all while shoot-

ing in the coldest winter in New Mexico.”

Michael Boyd has done seven Westerns in all. He won an

Emmy for Son of the Morning Star and was nominated for an

Emmy and a CDG Award in 2006 for Into the West. The 12-hour

miniseries explored the American West from 1826 to 1902 told

from both the white settlers and the Native Americans’perspective.

“What makes this one different is the span and scope of the proj-

ect; ALL the cultures of the Westward Expansion Movement from

the Native culture, Pre-Revolutionary War America descendants,

recent foreign immigrants and more,” says Boyd. “If a designer is

lucky enough to snag a Western project, especially one with scope,

it is as difficult and rewarding as any other historical genre.A Native

brave in his/her finery can be just as opulent and regal as any

European monarch. It is not the 1950s anymore where actors wore

modern blue jeans and denim shirts in a Western. Many people are

elevating the Western genre with accuracy, authenticity and atten-

tion to detail. One would hope that it will be recognized someday.”

Michael goes on to say,“The story of the West is indeed ‘our’ story.

The themes of Westerns, whether it is lessons learned in The

Oxbow Incident or the harshness of life in Jeremiah Johnson, flow

through the story. Morality, right and wrong, honor, deceit … are all

present in the genre.”

Mark Bridges’ first experience in this genre, There Will Be

Blood, begins with silver miners in 1898 and moves to oil explo-

ration from 1902 to 1911.“This is not a traditional Western but had

a similar landscape.A man alone against the elements, trying to sur-

vive often dangerous situations in still unchartered territory in

California at the turn of the century,”Mark tells us.“The sheer scale

of the mining operation as well as the special effects employed

while maintaining a sense of historical accuracy; creating different

and distinct costumes for a variety of male characters while using

the narrow vocabulary of menswear of the period was sometimes

daunting.”Bridges’biggest challenge was acquiring enough clothes,

fabric and shoes to take to a remote location to cover whatever sit-

uation came his way. He was in an area of West Texas with no

overnight shipping and very few stores within a 50-mile radius. He

jokes that he was going to “Gilligan’s Island” where you had to

make due with whatever was on hand. Bridges’ budget wouldn’t

allow for an ager/dyer to go on location but he believes that “dye-

ing and distressing is part of the artful beauty of a finished cos-

tume” so he had to do it himself and teach his local crew in the

process.Bridges mistakenly thought it would be “fun”somehow in the

middle of the desert but the reality was dirty and dusty and then there

were those rattlesnakes to watch out for. He’s proudest that “the cos-

tumes seem real to the character and the period but that they disap-

pear into the world of the film.”

Van Broughton Ramsey certainly knows his way out west.

Van won an Emmy for Lonesome Dove and Oldest Living Confederate

Widow Tells All and was nominated for Sarah, Plain and Tall and

Buffalo Girls. His latest project is Comanche Moon, is the prequel

to the Pulitzer Prize–winning book Lonesome Dove.Unlike his pre-

vious Westerns, this one mainly dealt with Comanches and

Kikapoos, the latter having very little historic documentation.“I had

to take most of their costumes from the written word and then

work with Bill Volker, our Indian adviser. Bill is the keeper of the

Eagle Feathers for the Comanche Nation. He provided us with

authentic Eagle feathers for the Comanches, which involved an

Indian blessing as he passed them out each morning.”

Ramsey built all of the principal costumes since he needed dou-

bles and triples and rented background from every costume house in

Los Angeles.“We had several sources for brain-tanned leather which Th

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There Will Be Blood Comanche Moon

CLOTHING:

RIVER JUNCTION TRADE CO.866.259.9172 or 563.873.2387312 Main Street, McGregor, IA52157www.riverjunction.com/Manufacturers & dealers in 19th-century dry goods

MELET & CASSIEMERCANTILEBob Melet212.925.835384 Wooster Street, NY 10012By appt. onlywww.cattlepressleather.comSpecializes in period clothing,uniforms, and antiquities. Sells tothe fashion design industry(Ralph Lauren, etc.) Key items asresearch and inspiration for pro-totypes. Able to find vintage fab-rics and clothing.

EBAYExtremely helpful for period find-ings, buttons and some fabrics.

CATHERINE’S CLOSET520.740.1673Tucson, [email protected] trunk shows and will shipon speculation, 1860s–1970snew/old stock for sale only

CUSTOM HATS:

DIRTY BILLY’S HATS410.755.186520 Baltimore St.Gettysburg, PA 17325www.dirtybillyshats.comCivil War reproductions madefrom original blocksRetail & mail order

MONTECRISTI CUSTOM HAT WORKS505.983.9598322 McKenzie StreetSanta Fe, NM 87501www.montecristihats.com

BARON HATS818.563.30251619 W. Burbank Blvd.Burbank, CA 91506www.baronhats.comHollywood’s Hat Maker

TEXAS HATTERSManny Gammage512.398.4287800.421. HATS911 S. Commerce St.Lockhardt, TX 78644www.texashatters.com

CUSTOM BOOTS & SHOES:

WILLIES SHOE SERVICE323.463.5011801 N. Cahuenga Blvd.Los Angeles, CA 90038Custom “period” boots and shoes

CB WESTERN WORKSClint Bryant661.822.3355805.479.4121Tehachapi, CaliforniaCustom boots, shoes, saddles & leatherwork

FABRIC & TRIMS:

SUPER TEXTILE CO.212.643.8700800.548.1722134 W. 37th St. #4New York, NY 10018

INT’L SILKS & WOOLENS323.653.64538347 Beverly Blvd.Los Angeles, CA 90048www.iswfabrics.com

M. GRABIE WOOLENS718.268.7444Forest Hills, NY 11375www.grabiewoolen.com

MOOD DESIGNER FABRICS212.730.5003225 W. 37th St. 3rd Fl.New York, NY 10018

323.653.MOOD6151 W. Pico Blvd.Los Angeles, CA 90035www.moodfabrics.com

HEMP TRADERS310.637.333311301 W. Olympic Blvd.Los Angeles, CA 90064www.hemptraders.com“wonderful, natural and unusual fabrics”

RAGFINDERS784 S. San Pedro St.Los Angeles, CA 90014“seviceable basics”

LEATHERWISE831.425.3560300 Potrero St.Santa Cruz, CA 95060www.leatherwise.comBrain-tanned leather

FILMS FOR INSPIRATION:

The Culpepper Cattle Co. (1972)Days of Heaven (1978)Destry Rides Again (1939)The Hired Hand (1971)Jeremiah Johnson (1972)McCabe & Mrs. Miller (1971)Once Upon a Time in the West

(1968)Pat Garrett & Billy the Kid (1973)The Searchers (1956)The Wild Bunch (1969)Sergio Leone Trilogy:

A Fistful of Dollars (1964)For A Few Dollars More (1965)The Good, the Bad and the Ugly

(1966)

WESTERNsources

& contacts

is only available certain months of the year.It’s a process of tan-

ning done by American Indians where they rub the brains of cat-

tle into the leather to soften it during a smoking process.” Van

has also been collecting period fabrics, buttons and trims for

more than 25 years and his supervisor,Betsey Potter,contributed

from her private collection as well.


Ramsey’s sketches for Comanche Moon


Three’s a magic number for Katherine Jane Bryant. Janie’sfirst foray into the Western genre, Deadwood, earned her threeCDG and three Emmy nominations, winning the Emmy in 2005.Accomplishing the 1870s with a huge cast of principal actors anda town of background artists on a weekly-episodic-TV-show budgetwas no small task. Bryant built 75% of the principal costumesweekly. Add to that Bryant’s concept of aging and dyeing “the audi-ence should be able to imagine the living conditions and even thesmell of Deadwood just by looking at the costumes. The biggesttrick was making sure that the costumes maintained the same levelof distress and dirtiness throughout an entire season of shooting. Ittakes a ton of manpower and an artistic eye to consistently main-tain.” Janie’s most proud that she was able to create original designsfor a period show and at the same time give a freshness to thedesign of a Western.

Van Ramsey tells me his favorite line from Lonesome Dove,is when Gus tells Lorena ‘you have to learn to be grateful forthe everyday things in life.’ He goes on to say,“so many charactersin Westerns must face that hardship and I’d like to think as I getolder I’m truly grateful for what life brings my way.”

Maybe Westerns aren’t so bad after all.

Deena Appel

[email protected] Deadwood

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Marlene Dietrich in The Blue Angel, 1930


he Western film has forged a trail as vast asany that the pioneers, outlaws and trailblaz-ers of the real Wild West ever roamed.Throughout the years we have seen moreboots, spurs, hats, vests, kerchiefs, corsets,and belt buckles up on the screen thanmay have actually existed in reality. TheWestern genre displays the perfect exam-

ple of the importance of costume in setting the tone andfeel of story. Embracing the basic elements of theWestern—the philosophical battle (good vs. evil) and thevisual spectacle (character vs. landscape)—Western cos-tumes have run the gamut from gritty realism to high-camp comedy.

Who can forget the opening scene of High Noon.Theinnocent beauty of Grace Kelly, neatly swathed in whitecotton broderie Anglais, as she weds Gary Cooper. He’sthe embodiment of utilitarian elegance in a soft-collaredcream shirt, pin-dot bow tie and pinstriped vest, adorned

with a watchfob and thesilver star ofa u t h o r i t y.Later, we areintroducedto the saloonowner, abeguiling Katy Jurado, darkly resplendent in a quietly risquésheer top, under which can be glimpsed her corset. Weimmediately understand the characters and the theme is set.

Corsets were almost ubiquitous. Rare was the Westernfilm that did not make use of this waist-cinching body shaper, in keeping with the period fashion. Thereseems to have always been a saloon, above which residedthe fallen woman, luring the wild drinking, gunslingin’patrons away from their travails with her provocative cleav-age thrusting from a tight corset and a tiered petticoatobscuring the final vestiges of her chastity. It was all innuen-

Camp,Corsets RealismWestern Wear

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Grace Kelly in High Noon, 1952

Madeline Kahn in Blazing Saddles, 1974


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Annie Get Your Gun, 1950

do.We knew she was a hussy, but she was somehow the very representa-tion of good.The woman who understood what dark places our heroes andvillains descended to in pursuit of the American Dream.

Consider the brilliant Madeline Kahn as cabaret singer Lili Von Shtuppin Blazing Saddles (Nino Novarese). She’s tired, she whines, corseted andgartered as she blousily straddles a chair on stage; hilariously riffing onMarlene Dietrich’s Lola from The Blue Angel,or framed in a cloud of marabouand a saucy pink negligee, as she suggestively offers sheriff Cleavon Little agiant knockwurst sausage for breakfast.

The corseted hussy may have been the distraction, but the salt-of-the-earth women who endured impossibly harsh conditions were the unsungheroines of the Western, largely relegated to second fiddle behind theirmen. An exception was Maureen O’Hara as the estranged wife of JohnWayne in Rio Grande.Her strong will only enhanced her beauty.She arrivesat Wayne’s fort to rescue her young son from the military, looking demure-ly fetching in a cream partially sheer top tucked into a big skirt.There wereno corsets on this set. Costume Designer Adele Palmer gave the women amore real prairie look, albeit with a slight nod to 1950’s Vogue.

At the far end of the spectrum is the wonderful musical, Annie GetYour Gun. Designers Helen Rose and Walter Plunkett clearly had a whaleof a time creating the fabulously kitsch costumes for Betty Hutton and therest of the cast. As wildly colorful as Annie Oakley herself, each outfit shesports supports her character’s strength as a pioneering woman in a male-dominated world.

Today, the new Western is raw,natural and totally realistic. Stylized ver-sions of period costume have disappeared, only to be gloated at lovinglyon remastered DVDs.

Louise de Teliga [email protected]

John Wayne & Maureen O’Hara in Rio Grande, 1950

Betty Hutton in Annie Get Your Gun, 1950

ollaborations has been reborn into the form itwas always meant to take. This installmentbrings together two talented filmmakers,director James Mangold and producer CathyKonrad, and their longtime collaborator,Costume Designer Arianne Phillips. It’sthrough their mutual respect,appreciation andloyalty that this true collaboration is born.

YOU SEEM TO HAVE A VERY SPECIAL RELATIONSHIPWITH ARIANNE PHILLIPS. WHAT MAKES THATCOLLABORATION WORK?JM Some collaborators bring a restrictive, branded “vision” totheir work and frankly, that limits how often you want to usethem. It becomes more about them than the film.CK Ari puts no boundaries on the participation of the actorsor the filmmakers. In fact, she seems to feed off it, but amazingly,is never compromised. The actors feel the costumes are agenuine extension of their character. Ari always has a freshperspective that uses the period appropriately but doesn’t stayconfined to it. She finds her inspiration in music and rock androll. She goes outside the conventions, which we find exciting.JM On any film, the earliest intimate relationship with an actor,besides the director, is the Costume Designer. I have to trust thedesigner with my actors at a time when they are most vulnerable.And I trust Ari because of the open process Cathy describes.There is no agenda except to make an unforgettable character.

ARIANNE: WHAT MAKES YOUR COLLABORATIONWITH JIM & CATHY UNIQUE?AP Jim and Cathy are extremely intelligent and thoughtful,and have an energy and passion for storytelling. They are bynature open creatively. They are INTERESTED and UNDER-STAND the value costumes serve in the filmmaking process.They protect and support me creatively and allow me the free-dom to try new things. From filming through the editingprocess I’m always amazed at their unsolicited, positive feed-

back and appreciation of my work.They’ve created a film “fam-ily”and are inclusive and value not only my work but my crew.

I’ve had the great fortune of working with some of the mostextremely talented artists of our generation. Jim and Cathy topthat list and with great reverence, I thank my lucky stars!

HOW DO YOU THINK COSTUME DESIGN CON-TRIBUTES TO THE STORY, THE CHARACTER AND EVENTHE ACTOR’S PERFORMANCE?JM A designer’s influence on performance can’t be over-stated. They are not just finding the clothes that “fit” a pre-existing character. The process of finding the right clothes is simultaneous with the actor finding his or her character.

WHEN IT COMES TO A PERIOD PIECE, WHERE DOYOU STAND ON AUTHENTICITY VS. ARTISTRY?JM I have a healthy mistrust of historical accuracy.I trust my gut and my eye. It has to feel real which is a mid-ground between contemporary style and historical.

IS THERE AN EXAMPLE OF HOW A COSTUME DESIGNERSUCCESSFULLY TRANSFORMED A CHARACTER FROMYOUR ORIGINAL VISION? JM So many with Arianne.Three that come to mind—AngelinaJolie in Girl Interrupted, Ben Foster in 3:10 to Yuma, and ReeseWitherspoon in Walk the Line. In each case, the resulting char-acter, their movement and style, was both more and differentand bolder than I imagined.And a careful dance between accu-racy and vision.

I WAS IN THE ROOM WHEN YOU BOTH TOLD THESTORY OF PUSHING WALK THE LINE FOR ARI’SAVAILABILITY. CAN YOU EXPLAIN?CK I could never have told the studio that we were pushing aweek to make the film possible for Arianne. It would haveseemed irrational. But that’s what we did. In a film like Walkthe Line with costuming, character and period issues so criti-

James Mangold

Arianne PhillipsCathy KonradDIRECTOR

COSTUME DESIGNER

PRODUCER

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COLLABORATIONS


James Mangold & Cathy Konrad Arianne Phillips

cal and the budget so tight, waiting for a brilliant and trusted friend was easilyworth the wait and very rational.

ARIANNE: DO YOU FIND THAT THE TRUST JIM AND CATHY HAVE INYOU SPARKS A DIFFERENT LEVEL OF CREATIVITY?AP They have a magical way of working collaboratively, and completely trust meto delve deep and bring ideas to the table.That energy is inspiring and raises thebar to whole other levels of vernacular and creative language.

WHAT ADVICE WOULD YOU GIVE TO FRESHMAN DIRECTORS & PRO-DUCERS WHO BELIEVE THAT COSTUME DESIGN THESE DAYS IS “JUSTSHOPPING”?JM Obviously I would advise them that they are misguided and being myopic.CK For those who believe that a Costume Designer’s job is to go shopping, thenyou shouldn’t be making a movie. Just go to the mall and look around. I bet youwould be bored—and your film would have the same outcome.

Deena [email protected]


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SELECTED CREDITS

JAMES MANGOLDProducer:Men in Trees (2006)Lift (2001/I) (executive producer)Director:3:10 to Yuma (2007)Men in Trees (one episode, 2006)

-pilot (2006) TV episodeWalk the Line (2005)Identity (2003)Kate & Leopold (2001) Girl, Interrupted (1999) Cop Land (1997)Heavy (1995) Writer:Walk the Line (2005) (written by)Kate & Leopold (2001) (screenplay) Girl, Interrupted (1999) (screenplay) Cop Land (1997) (written by)Heavy (1995) (written by) Oliver & Company (1988)

CATHY KONRADProducer:3:10 to Yuma (2007) (producer)Men in Trees (2006–2007)Walk the Line (2005) (producer)Identity (2003) (producer)The Sweetest Thing (2002) (producer)Kate & Leopold (2001) (producer)Lift (2001/I) (executive producer)Scream 3 (2000) (producer)Girl, Interrupted (1999) (producer) Teaching Mrs. Tingle (1999) (producer)Wide Awake (1998) (producer)Scream 2 (1997) (producer)Cop Land (1997) (producer)Scream (1996/I) (producer)Beautiful Girls (1996) (executive producer)Citizen Ruth (1996) (producer)

… a.k.a. Meet Ruth StoopsThings to Do in Denver When You’re Dead

(1995) (co-producer)Kids (1995) (co-producer)

Reese Witherspoon in Walk the Line, Angelina Jolie in Girl, Interruptedand Ben Foster in 3:10 to Yuma

THE COSTUME DEPARTMENT


MEET THEILLUSTRATORS

Dana Onel has just been elect-ed by the membership of the CDGto represent the Illustrators onthe Executive Board. Dana will

serve a three-year term bringing her talentand imagination to the cause of ourIllustrators in an administrative capacity.

Dana was born in a smalltown in Romania and

moved to Bucharest where she studied finearts at the George Apostu School of the Arts.

Here in California, Dana attended SantaMonica College to hone her skills as the won-derful Web designer she is. Dana also wanted to utilize her finearts training and passion for character delineation through cos-tume, so she became an Illustrator in the Guild. Recently, Danahas been illustrating costumes for commercials, for MariahCarey’s video and for Secrets of a Small Town.Currently,Dana isillustrating the opera I Capuleti e I Montecchi for DesignerJacqueline Saint Anne. Now you can call her for work as anIllustrator or for anyquestion or suggestion you have regardingwork as an Illustrator. See Dana’s work on our website or here [email protected]

Oksana Nedavniaya was bornin Moscow, Russia. She received train-ing as a concert pianist and graduatedwith honors from The Gnessin College

of Music. While pursuing her music degree, sheconstantly turned to drawing as a source of inspi-ration.

Upon moving to Los Angeles, Calif., in 1999,she decided to follow her long-cherished dream

of becoming a fashion designer.While taking a class in fashion illus-tration, Oksana soon discovered that she was more passionate aboutthe illustration aspect of fashion design and dedicated herself to fineart. She continued her formal art training at California State, LongBeach, where she received her bachelor of fine arts degree in illus-tration.

Oksana was still searching for a way to combine her passion forcostumes and fine art when she met Guild Illustrator RobinRichesson, who suggested she join the Costume Designers Guild asa Costume Illustrator.

At Comic-Con last year,Oksana met leading Costume Designers inthe fantasy/science fiction genre and received positive feedback abouther portfolio.Two days later, she was invited to work as an Illustratoron Prince Caspian, the sequel to the beloved The Chronicles ofNarnia with Costume Designer Isis Mussenden. Oksana sketched forIsis in Prague, Czech Republic, from August 2006 through May 2007.

Oksana works in various mediums, with watercolors being herparticular favorite. Her renderings are recognized for their brilliantcolors, with special attention to detail and texture. Her holiday illus-tration was chosen for the 2007 CDG Holiday Card (see page 18).

She currently is at work on Hotel for Dogs illustrating thedesigns of Beth Pasternak and can be reached at [email protected]

Jacqueline Saint [email protected]

THE COSTUME DEPARTMENT

BUFFALO SOLDIERS:Black troopers who wished toremain in the Army after theCivil War were reassigned to

the 9th and 10th Cavalry regiments.They came to be respected by thePlains Indians, who named them theBuffalo Soldiers. The buffalo was

sacred to the Plains tribes and thename stuck. The buffalo was the

insignia of the 92nd Division, “Negro”division, in WWII. Like everything elseafter the Civil War, this regiment wasunderstaffed, undersupplied and theirequipment was out of date.They contin-ued to wear their forage caps, five-buttonsack coat and cavalry breeches.These uni-forms were made of blue wool,blue beingthe color of the U.S. Army starting with

the Revolutionary War and still reflectedin contemporary mess dress.

PIONEER WOMANSlate Bonnet: The brim is reinforcedwith pieces of cardboard or wood to keep itstiff anD it has a “skirt” to keep sun off ofher neck and shoulders.Calico: Her dress was made of calicowhich was still a relatively new productat around the time of the Civil War. It wasmade in andimported from Calcutta, hencethe name,“calico.” Factory-woven of cotton,instead of the usual linsey-woolsey thatmost people had to spin and weave them-selves. It originally came in 18-inch-widthbolts and was known for a print with asmall repeating flower or geometric pat-tern. Buttons that matched “calico but-tons” were often produced by thesame factories.

COWBOYSTheir gear is all about protection from the elements.

Bandana: The cotton bandana wasoriginally dyed in a tie-dye processin India called bandhnu and wasavailable in many colors and pat-terns by the 1860s. This eventuallyevolved into the classic red and bluethat we know now.Chaparajos: Or chaps for short,were made of leather, horsehide,sheepskin and sometimes buffalohide to protect the leg from brush.Sombrero: Pictured is theMexican sugar loaf sombrero, and themore classic style is the plainsman’shat.They seem to have been a hybrid ofthe U.S. Cavalry hat and the Mexicanvaquero style.The most famous maker isStetson, who named his most famousshaped hat “Boss of the Plains.”Summerhats were made of straw, winter, orwarmer hats were made of felted ani-mal fur; beaver, sheep, buffalo, rabbit,and hare and most commonly came intwo colors, a grey and a pale tan. Asmanufactured, the hat came with around, uncreased crown, whichwas then folded by the store

or the customer intothe desired shape.

Karyn [email protected]

Illustrations by Robin [email protected]

HISTORY OF DRESS:WESTERN EDITION


Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna

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IN FOCUSB

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isually spectacular, intensely action packed andpowerfully prophetic since its 1982 debut, direc-tor Ridley Scott’s Blade Runner has returned in adefinitive final cut, including extended scenes andnever-before-seen special effects.Blade Runner isa complicated mixed-genre film, a sci-fi noirthriller with the thematic structure of a classicWestern like High Noon.

The extraordinary costumes, designed by Charles Knode and

Michael Kaplan, are key in creating a dark, dystopian vision of the

industrial wasteland of 2019 Los Angeles. Drawing from the outlaw

style of the American West, and both 1940’s and 1980’s fashion

(with a heavy dose of Medieval, Renaissance and Edwardian cyber-

punk thrown in), Knode and Kaplan build a costume vocabulary

which seems both familiar and futuristic.

Blade Runner’s artfully layered costumes showcase the designers’

inspirations, presenting the audience with an eclectic pastiche of

time, place, and genre.While certain costume details anchor us to

1982, others reference those many styles and eras the futuristic

movie encompasses. The patterned shirts and ties worn by

Harrison Ford as anti-hero Rick Deckard are distinctly ’80s, but his

long, brown overcoat references both the Western lawman’s duster

and a noir detective’s signature trench coat. Gaff, a Mexican-

Japanese police lackey, played with panache by Edward James

Olmos, is a Wild West Edwardian dandy in a skinny bow tie, quilted

double-breasted jewel-toned vests and overcoats,and the cool twist

of a ’40s stingy-brimmed porkpie.Murderous Replicants Leon (B.J.)

and Roy (R.H.) stalk the grimy city streets outfitted as classic

Western villains in menacing black coats,but in 1980’s leather.Sean

Young's Rachael is a seductive femme fatale encased in Adrian-

inspired suits designed with sculptural oversized shoulders to cre-

ate a sharp futuristic look.When Deckard finds himself in a night-

club teeming with party girls, they have the whiff of 1890’s Wild

West prostitutes decked out in Schiaparelli-esque confections and

’80s prom dresses. Finally, the street people of 2019 Los Angeles—

gangsters, punks, and Asian and Spanish hawkers—are dressed in

intricately trashed but beautiful apocalyptic garb.

Weaving their inspirations into densely-detailed visions of the

future, Charles Knode and Michael Kaplan have created costumes

which seem as sophisticated in 2007 as they were in 1982.Their

costumes animate Blade Runner, gracing the story with both his-

torical specificity and creative artistry, and helping to establish the

film as a compelling cult classic.

Audrey [email protected]

VThe Costumes of Blade Runner : Imagination, History and Pastiche


A LOOK BACK

WANTED

PLEASE CALL ME: JEFF AT [email protected]

(I am a 27-year member of the WGA)

COSTUME SKETCHESACCESSORIES & PROPS

PRODUCTION ART & DESIGNSCRIPTS

AUTOGRAPHS & PAPERWORKPHOTOGRAPHS & POSTERS

AWARDSVINTAGE & DESIGNER

CLOTHING MINIATURES & MOCK-UPS

ANY OTHER MEMORABILIA?

CostumesI BUY AND COLLECT

HOLLYWOOD MEMORABILIA OF ALL KINDS.

DO YOU HAVE ANYTHING I MIGHT WANT?

DO YOU HAVE RETIRED INDUSTRY FRIENDS WHO DO?

I WILL PAY HANDSOMELY IN CASH FOR ITEMS I WANT.

ONE ITEM OR A COLLECTION.


BOLDFACE NAMESBOLDFACE AT WORK

April Ferry has returned from her five-year sojourn in Italy.On her way home she designed The Edge of Love in Londonwith Keira Knightley and Sienna Miller and next she’ll be inBoston designing the thriller The Box starring Cameron Diazand Frank Langella. Nancy Steiner is currently designingLovely Bones for Peter Jackson in Pennsylvania and NewZealand, starring Ryan Gosling and Rachel Weisz. CD LouiseFrogley is in England prepping the new James Bond movieBond 22. CD George Little and ACD Dan Lester are cur-rently in Amman, Jordan, wrapping The Hurt Locker, acat–and-mouse thriller directed by Katherine Bigelow.Daniel Orlandi just completed Frost/Nixon about the post-Watergate television interviews and is already headed toLondon with director Ron Howard for Angels & Demons.Laura Goldsmith is on location in Hong Kong designingPush, a sci-fi action-packed thriller.

Ellen Ryba is designing Prohibition Era Little Chicago,set in upstate New York with a cast that includes severalSopranos’ alumni. Jennifer Soulages is in Charlotte, N.C.,designing April Fool’s Day. Jennifer thanks her CDG col-leagues Kristen Burke, K.D. Dover, Denise Wingate, andAlexandra Welker for the wealth of information regardingcrew and resources in North Carolina. Jennifer also recentlydesigned Virgin Love at the Ricardo Montalban RepertoryTheatre Co. playing through early December. Michael Boydis designing The Kings of Appletown. Shooting on location inNew Branfels, Tex., will give Michael the opportunity tospend time with his family. Durinda Wood is on location inStamford, Conn., designing the Tim Allen film The Six Wivesof Henry Lefay. Michael Dennison is designing The Spirit

and Alix Friedberg isdesigning Game, bothon location inAlbuquerque, N. Mex.

CD JeffreyKurland is preppingthe romantic comedy,Confessions of aShopaholic, based onthe novel. BetsyHeimann is justwrapping the thrillerThe Happening fordirector M. NightShyamalan. CDAriyela Wald-Cohaindesigned the pilot

Porcelain and recently wrapped a biker feature called HellRide,produced by QuentinTarantino. Jacqueline Saint Annedesigned Bellini’s opera I Capuleti e i Montecchi at the BingTheatre. She will soon start work on Christina, a movie setin 1945, filming locally. Beth Pasternak is designing Hotelfor Dogs for DreamWorks starring Emma Roberts. CarolRamsey is currently designing the send-up comedySuperhero! shooting in Los Angeles. Carol’s working withtwo ACDs,Ellen Falguiere and Lois DeArmond.CD MariaSchicker recently styled cover shoots featuring speed skaterApolo Ohno and tennis star Jelena Jankovic, and is currentlydesigning the contemporary feature Still Waiting. CD ShayCunliffe recently completed the star-studded He’s Just NotThat Into You adapted from the popular book. MarkBridges is designing Yes Man about a man, Jim Carrey, whochallenges himself to say “yes” to everything for one year.Michael Kaplan is starting principal photography forParamount’s highly anticipated Star Trek XI,directed by JJ Abrams.

IN FOCUS

continued on page 38

BOLDFACE AT WORKACD Stacy Caballero is working with Michael.Since joiningthe Guild this January, Illustrator Phillip Boutte Jr. hassketched for Star Trek XI and The Mummy 3 for CD SanjaHays. He also working on the TV revival of AmericanGladiators. Phillip thanks both Robin Richesson andRachael Stanley for their inspiration and support. Thealways busy Debra McGuire recently designed DavidMamet’s Redbelt. Currently she is designing Righteous Killfor Jon Avnet and Year One for Harold Ramis. Debra contin-ues prepping Heroes, while designing Atlanta, a Civil Warmusical for the Geffen Playhouse.

CD Rita Ryack has just completed the Brett Ratner pilotBlue Blood with CDG Assistant Designer Shanna Knechtand N.Y. Asst. Chris Peterson. Jenni Gullett just wrappedthe miniseries Andromeda Strain for A&E, directed byMikael Soloman and is currently designing an untitled 1950’scomedy. Jessica Torok is assistant costume designing forCD Heidi Kazenski on ABC’s Notes From the Underbelly.

Dan Lester will design the WBTV/Bruckheimer pilot The11th Hour directed by Danny Cannon and shooting here inLos Angeles. Laura Frecon, an ACD who recently joinedLocal 892, assistant designed the play Third at the GeffenPlayhouse, as well as the short film Meridian. MoniqueLong is currently in Las Vegas designing Proline, a nation-wide weekly sports talk show in production for more than20 years on the USA network.

BOLDFACE ENTREPRENEURSCliff Chally has opened an IA union costume shop with Local 705 members John Van Hout, David Matwijkow, andHeidi Hafer.They offer custom-made and alteration services.Contact them at: Costume Co-Op, 11501 Chandler Blvd.,North Hollywood, (818) 752-7522/(818) 752-7524 fax.Deborah Landis’ new book Dressed: A Century ofHollywood Costume Design will be available November 27.Showcasing Hollywood’s most tantalizing costumes and thecharacters they helped bring to life, Landis includes quotes

Holiday Greetings

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BOLDFACE NAMES

and sketches and more than 800 pictures in this lavishtribute. Meet the author: Dec. 6, 7:30 p.m. Barnes & Noble,

The Grove LA. Visitdressedthebook.com. ChrisiKarvonides expressedanother side of her talents atthe “Beverly Hills Affair in theGardens” juried art show inOctober. You can view

Chrisi’s abstract and impres-sionist work at paintingsby-chrisi.com. Sherrie Jordan hasstarted a new business venturerenting wardrobe trailersdecked out with all the bellsand whistles! It took her a yearto get the trailers perfect, andit’s finally available. Find photosand specs at jscwardrobetrail-ers.com. Michele Michel’scompany, Designed byHollywood, showcases lines byHollywood professionals and provides those designers withboth a social and professional support network.Michele’s sil-

ver jewelry is featured on herwebsite, alongside the work ofLis Bothwell and RochelleBest.Visit www.dbyh.com.


IN FOCUS



CORRECTIONAlexandra Hughes’ companyDancing Dog Design creates apparelfor the discriminating dog lover, fea-turing jackets showcasing 11 breeds,and whimsical T-shirts. Check outdancingdogdesign.com.

BOLDFACE PRESSEduardo Castro was named as one of Us Weekly’s Behind-the-Scenes Powerhouses for his work on Ugly Betty. Janie

Bryant’s designs for MadMen will be featured inGQ’s Men of the Yearissue. Bryant’s costumesfor star Jon Hamm werealso the subject of an L.A.Times story thanks to hisdapper Don Draper char-acter. The official MadMen website includes a

Costume Design Photo Gallery where Bryant explains herapproach to the characters. Arianne Phillips’ creative workon 3:10 to Yuma was the subject of a feature story in the L.A.Times new Image section. Patricia Field’s current work onthe new series Cashmere Mafia and the feature version ofSex and the City were also covered at length in the Imagesection, labeling Field as the “style queen” for her memorablecontributions. Maria Schicker contributed her design tal-ents to the cover of the German novel Jung und Jünger byLeni Ohngemach. Maria has also been invited to participateas a fine arts painter for the fifth time in the annual art showat the Royal College of Art this November. Costume DesignerSal Perez was featured in a recent interview about hisdesigns for CBS’s Moonlight in the online style guide Spork.Aggie Rodgers’ costumes for theStar Wars films are being honored byappearing on U.S. Postage stamps!Elle Werlin’s 22-page fashion spread“The Blond”will appear in the winterissue of Monte Carlo Fall. She alsorecently did editorials for Interview,944 and Florida International, aswell as styled both Dereon and EmaSavahl’s upcoming ad campaigns.Check out ellewerlin.com. Erin Lareau has a new website:TopazWardrobe.com. Deal or No Deal’s CD DinaCerchione was interviewed on set by The Insider’s StevenCojocaru for a behind-the-scenes piece that will run duringNovember sweeps.

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BOLDFACE HONORSColleen Atwood was honored with the “2007 HollywoodLife & Hamilton Watches Behind the Camera Awards,” cele-brating creative excellence in filmmaking. Two of our mem-bers have been nominated for Ovation Awards (the L.A.equivalent of the Tonys). Marcy Froehlich has garneredtwo nominations for her costumes for Hamlet and Man ofLa Mancha, both at the Rubicon Theatre in Ventura.Audrey Fisher has been nominated for Tryst, a play set atthe turn of the century, directed by Robin Larsen at theBlack Dahlia Theatre.

BOLDFACE FESTIVALS & EVENTS

Mary Rose just closed her latestcostume exhibit “Starstruck” atthe Women’s Museum in Dallas,

TX. Costumes from classics to contemporary films were fea-tured. The Motion Picture Academy is showcasing the cos-tume design of James Acheson, Ruth Myers, MilenaCanonero and others with “Period Costumes for the

Screen,” from the collection of Cosprop, London.The exhib-it will run through December 16 in the Academy’s fourth-floor gallery, Tue.–Fri. from 10 a.m. to 5 p.m. and on week-ends from noon to 6 p.m.Francine Lecoultre designed thecostumes for award-winning short films Deface and Hudsonand Rome. Deface won awards at the Austin Film Festival,the Palm Springs Int’l Festival of Shorts, and the SidewalkMoving Pictures. Hudson and Rome was featured at thePalm Springs Int’l Festival of Shorts, Dances with Films andL.A. Shorts.

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COSTUME BOLDFACE NAMES


JIMMY AU’S FOR MEN 5’8” AND UNDEROur clothing has been used in wardrobe on over20 Primetime TV programs this 2006/2007 season.

Featured on The Today Show,10 Years Younger,L.A. Times,and N.Y. Times.

Can You Guess How Tall Our Models Are? No Camera Tricks, Clothing Alterations, or Digital Editing in these photos.

Your Actors Can Look This Good… Taller and SlimmerYour time and reputation is valuable.—Don’t have clothing for taller men

altered until they look completely disproportionate on a shorter actor.

A full collection of tailored clothing & sportswear in shorter sizes. Suits, Sportcoats and Blazers in Short and Extra Short Sizes

34sh to 50sh including odd sizes to 43sh, for men 5’5” to 5’8” 34xs to 48xs including odd sizes to 43xs, for men under 5’5”

Short Rise Dress Slacks and Casual Pants in a flat front or pleated style, and a huge selection of jeans in a true short rise (not a regular low rise)

28w to 46w including odd sizes to 35wDress Shirts and Sport Shirts in accurate proportions from collar to shirt tail

14 to 16½ neck in 31 sleeves 14½ to 17½ neck in 32 sleeves 15 to 19 neck in 33 sleeves

Leather Jackets, Overcoats, Trench Coats, Sweaters, Camp Shirts, Polos, Casual Jackets, Silk Ties, Knits and Socks in Proportioned Shorter Sizes

XS - S - M - L - XL - 2XL Dress and Casual Shoes from Alden Shoe Company

Sizes 5D and 5E to 8D and 8E

Talk Show

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(Answer: All of our client models are under 5’5”)

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Jimmy Au is personally available

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One-Stop shopping for your

shorter actors.

Select Itemsavailable in multiples.

Alterations available


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Justice

Costume Designer:KATHLEEN DETORO

Pushing Daisies

Costume Designer:BOB BLACKMAN

Samantha Who?

Costume Designer:LORI ESKOWITZ

Journeyman

Costume Designer:LINDA BASS

Big Shots

Costume Designer:MICHELLE REDEN

Bionic Woman

Costume Designer:JENNI GULLETT

Chuck

Costume Designer:ROBIN WEST

Cavemen

Costume Designer:ROEMEHL HAWKINS

Assistant Designer: BRIGITTA ROMANOV

Dirty Sexy Money

Costume Designer:ROBERTA HAZE

Private Practice

Costume Designer:MIMI MELGARD

Mad Men

Costume Designer:JANIE BRYANTAssistant Designer:

ALLISON LEACH

Moonlight

Costume Designer:SAL PEREZ

Saving Grace

Costume Designer::PATIA PROUTY

WHAT’S ON


Justice

Costume Designer:KATHLEEN DETORO

Love in the Time of Cholera

Costume Designer:MARIT ALLEN

Sweeney Todd

Costume Designer:COLLEEN ATWOOD

Assistant Designer:COLLEEN KELSALL

Illustrator:WARREN HOLDER

Enchanted

Costume Designer:MONA MAY

Assistant Designer: MIRENA RADA

Illustrator:ADAM FORMAN

Mr. Magorium’sWonder Emporium

Costume Designer:CHRISTOPHER

HARGADONAssistant Designer:

PAULINE CHUNG

The Jane Austen Book Club

Costume Designer:JOHNETTA BOONE

American Gangster

Costume Designer:JANTY YATES

Assistant Designers: DAN BRONSON,

AMY ROTH & BRIAN RUFFMAN

The Heartbreak Kid

Costume Designer:LOUISE MINGENBACH

Assistant Designer: ALISON MC COSH

Lions for Lambs

Costume Designer:MARY ZOPHRESAssistant Designer: JENNY EAGAN

Margot at the Wedding

Costume Designer:ANN ROTH

Across the Universe

Costume Designer:ALBERT WOLSKY

Assistant Designers: SUSAN HALL &CHRISTOPHER

PETERSON

Walk Hard:The Dewey Cox Story

Costume Designer:DEBRA MC GUIRE

Illustrator:ANNA WYCOFF

I Am Legend

Costume Designer:MICHAEL KAPLAN

Assistant Designers: MARIAN TOY & RON GARNEY

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SCRAPBOOK

Designer Omar Kiam fitting Francis Farmer for Come and Get It, 1936

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WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES: Fine & Decorative Arts,Antiques, Rare Coins & Currency, Comics & Comic Art, Civil War & Americana,American Indian Art, Rare Books & Manuscripts, Entertainment Memorabilia, Jewelry & Timepieces, Sports Collectibles, and Vintage Movie Posters.

Auctioneers: TX licenses: Samuel Foose: 11727; Scott Peterson: 13256; Robert Korver: 13754; Steve Roach: 16338; Ed Griffith: 16343; Bob Merrill: 13408. This auction is subject to a 19.5% Buyer’s Premium.

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Costume Designers GuildLocal 892–I.A.T.S.E.11969 Ventura Blvd., First FloorStudio City, CA 91604

the costume designer fall 07

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