the costume designer fall 09
TRANSCRIPT
Prsrt StdU.S. Postage
PaidSanta Ana, CAPermit No. 450
Costume Designers GuildLocal 892–I.A.T.S.E.11969 Ventura Blvd., First FloorStudio City, CA 91604
The Official Magazine of the Costume Designers Guild
Fall 2009 The Costume Designer 3
COSTUME DESIGNERS GUILD11969 Ventura Blvd., First Floor
Studio City, CA 91604phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
GENERAL CDG [email protected]
COVER1920’s black silk latticework shoes from
collectors Beth and Julie Guernsey of 1860–1960. See story on page 18 for
more details.
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 President’s Letter Executive Director Assistant Executive Director Labor Report
The Costume Department . . . . . . . . . . . . . . . 24 Meet the Assistants History of Dress Landis: UCLA’s Copley Chair
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 The Process: From Sketch to Screen, Prince Caspian A Look Back at Brazil Location: Boston Boldface Names
What’s In/What’s Out . . . . . . . . . . . . . . . . . . 44
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DEPARTMENTS
35
FEATURESCollecting for Costumes . . . . . . . . . . . . . . . . 18 A Treasure Hunt Piece By Piece
Tommy the Tailor . . . . . . . . . . . . . . . . . . . . . 22 Tomas Velasco, The Loss of a Master Tailor and Friend
3218
vol. 5, issue 4BEST PICTURE
©2009 Focus Features. All Rights Reserved.
BEST COSTUME DESIGN MARY ZOPHRES
SERIOUSLY.
For up-to-the-minute screening information, to read the script, hear the score and get a deeper look behind-the-scenes of A SERIOUS MAN, go to FocusAwards2009.com
“★★★★! ‘A SERIOUS MAN’ COMES FROM CRAFTSMEN AT THE PEAK OF THEIR GAME.” -MICHAEL PHILLIPS, CHICAGO TRIBUNE
“PITCH-PERFECT. WORKING WITH SUCH REGULARS AS COSTUME DESIGNER MARY ZOPHRES, THE COENSHAVE SO EXACTLY MADE THE FILM THEY ENVISIONED THAT IT IS HARD NOT TO BE DRAWN IN.”
-KENNETH TURAN, LOS ANGELES TIMES
4 The Costume Designer Fall 2009
s some of you may know, two of my several other CDG hats are Creative Rights Chair and Publicity Chair. In December of 2002, I was encouraged by Deborah Landis to lead a semi-nar based on my personal experience with merchandising issues. I learned quite a bit in the research, development and
conclusion of that well-attended seminar. To this day, designers and agents alike call me for counsel on the subject, as do writers looking for a new story angle. A trio of such stories appeared in Variety’s recent “Fashion Issue” (November 17) on the subject of merchandis-ing and fashion. I spent a great deal of time being interviewed for this issue, connecting the writer with our members and subsequently
being misquoted. Rather than reprint the misconceptions, misquotes and general lack of under-standing on behalf of our own industry trade paper, I’d like to offer the following facts…• Fashion houses buy advertising. Of course … we get it. It’s the reason the editors of our trade
papers and the fashion magazines always want to tie Costume Design to “Fashion.” True, a large part of being a Costume Designer today is shopping, but our first priority is never “what’s in fashion.” We will always be storytellers first. If we were to consider fashion (or free fashion for that matter) ahead of the story, everyone would fail. When the story moves you, and the characters are believable, and their lives are enviable or feared or understood on some level, that’s when the audience is reeled in and that’s when we can celebrate our suc-cess. And THAT is where the clothing trends start and the street takes over and the fashion designers can take it from there.
• I firmly believe that by consulting with, including and compensating the Costume Designer for the ancillary merchandise based on their designs, the products (Halloween costumes, dolls, toys, etc.) would be better, sell more, and positively impact the bottom line. Which in turn is a win-win for everyone.
• “Costume Designers” and “Costumers” are not only defined by two different job descriptions, they are also represented by two different IATSE locals. Costume Designers Guild Local 892 and Costumers Local 705. Despite countless letters to correct the confusion, we are still per-ceived as one in the same in print.
• For more on this subject, feel free to explore back issues of The Costume Designer at the CDG website (Spring 2006 & Fall 2006) www.costumedesignersguild.com
Another very personal matter … the industry recently lost two exceptionally talented men who were very special to me. Master tailor Tomas Velasco (see page 22), and my longtime agent and friend, Jon Furie, President of Montana Artists Agency. Jon Furie was one of a kind. As all who knew him could attest, Jon’s integrity in his dealings and his care and dedication to his clients was legendary.
On a lighter note … do enjoy the holidays. A new year is dawning and the CDG Awards will be here before you know it.
Deena Appel [email protected]
EDITOR’S NOTE
EDITOR/PHOTO EDITORDeena Appel
ASSOCIATE EDITORAudrey Fisher
MANAGING EDITORCheryl Downey
PRESIDENT Mary Rose
VICE PRESIDENT Hope Hanafin
SECRETARY Ann Somers Major
TREASURER Marilyn Matthews
EXECUTIVE BOARDSharon Day
[email protected] Perez
[email protected] Appel
[email protected] Ferry
[email protected] De Armond (Asst. Costume Designers)
[email protected] Sanchez (Illustrators)
BOARD ALTERNATESValerie Laven-Cooper
[email protected] Nininger
[email protected] Blackman
[email protected] Weiss
BOARD OF TRUSTEESJacqueline Saint Anne, Chair
[email protected] Peter Flaherty
[email protected] Froehlich
EXECUTIVE DIRECTORCheryl Downey
ASSISTANT EXECUTIVE DIRECTORRachael M. Stanley
ADMINISTRATIVE ASSISTANTSuzanne Huntington
RECEPTIONIST/SECRETARYCheryl Marshall
PUBLISHERIngleDodd Publishing
ADVERTISING DIRECTORDan Dodd 310.207.4410 x236
A
BEST ANIMATED FEATUREWritten ForThe Screen And Directed By
BEST COSTUME DESIGNDeborah Cook ( Lead Costume Design Fabricator)
For Your Consideration In All Categories Including
“GRADE A. A THRILLING STOP-MOTION ANIMATED ADVENTURE.A high point in ‘Nightmare Before Christmas’ filmmaker Henry Selick’s career of creating handcrafted wonderlands. Wow.”
–Lisa Schwarzbaum, Entertainment Weekly
Every costume included tiny handcrafted elements such as zippers, rivets and buttons, all of which are found on normal clothing, but were so small to fit the puppets that they
had to be applied using fine surgical tools such as pins, tweezers and syringes.
For a behind-the-scenes look at the craft of ‘Coraline’ and up-to-the-minute screening information, go to: FocusAwards2009.com
©2009 FOCUS FEATURES. ALL RIGHTS RESERVED.
MONDAY December 7 EBoard Meeting, 7 PM, Guild OfficesTUESDAY December 15 CDG Awards Submission Entries dueMONDAY January 11 EBoard Meeting, 7 PM, Guild OfficesTHURSDAY January 21 CDG Awards nomination ballots dueSATURDAY January 23 Announcement of CDG Awards nomineesMONDAY February 8 EBoard Meeting, 7 PM, Guild OfficesTHURSDAY February 18 CDG Awards final ballots dueTHURSDAY February 25 12th Annual CDG Awards
IMPORTANT DATES
2009
2010
Fall 2009 The Costume Designer 7
JR HAWBAKER(Meet the Assistants) joined the Guild in 2006 and currently works as an Assistant Costume Designer for film and television. Originally from Chicago and the Goodman School of Drama, she calls Los Angeles and the CDG home now. Excited to be writ-ing again, Hawbaker is thrilled to contribute to the magazine. “Our Guild members are all sto-rytellers, on screen and on the page, and I am only to happy to contribute to a magazine that narrates their stories”
SUZANNE HUNTINGTON(Boldface Names) Came to the Guild in 2005 as the administrative assistant after two years with the Editors Guild as their project event coordinator. Educated and work-ing in the fine arts and entertain-ment world keeps Huntington in a creative environment. Huntington stays busy with member inquiries, managing special projects, shep-herding Awards season info and serving as administrator of the CDG website, among other duties. “It’s a pleasure to stay in touch with the members and make a contribution to The Costume Designer.”
BONNIE NIPAR (Locations, What’s On/In) joined the Guild in 1997 and works as a Designer for TV. Born and raised in Pittsburgh, she was an art student at Carnegie Mellon before moving to Los Angeles and entering the industry. A huge fan of the CDG magazine, Bonnie happily took over two recurring columns. She adores the process of gathering new sources, thus writing Locations is a great fi t. And for the What’s On/What’s In, “It’s a treat to research the latest accomplishments of our peers.”
ROBIN RICHESSON (History of Dress, Illustrator) joined the Guild in 1992 and works currently as a costume illustrator, a storyboard artist, and an educator. “I trained to work as an illustrator for print (publish-ing) so when the CDG began the magazine, I was pleased to be asked to illustrate for it. I love working in film, but I have to admit, I missed seeing my work in print! The History of Dress column is a great way for me to learn more about clothing and participate in this publication.”
KARYN WAGNER (History of Dress, Copy) A Costume Designer for film and television, Wagner ran for the CDG Board four years ago. “I wanted to give back a little of what the Guild has given me. I have found the experience to be rewarding and inspiring. I trained as a historian, and I love to watch the evolution of culture and clothing, so I volunteered to write the History of Dress col-umn. I always learn something new and have so much fun writ-ing it.”
FOR YOUR CONSIDERATION
BESTCOSTUME DESIGN
“EVERY VISUAL FLOURISH AND DETAIL IN
IS FLAWLESS,
A METICULOUSLY CONCEIVEDAMALGAMATION OF THE ORGANIC
AND THE SURREAL THATCOMPLETELY CAPTURES THE LINES
AND AUSTERE BEAUTY OF THE
AUTHOR’S ORIGINAL DRAWINGS.”ANN HORNADAY
THE WASHINGTON POST
Contributors
AUDREY FISHER (Associate Editor, A Look Back, Boldface) joined the Guild in 2000 and is currently the Costume Designer for the new HBO original series True Blood. Fisher was in her second term representing Assistant Costume Designers on the Executive Board when she reclassified to Designer. “Associate editing the CDG magazine allows me to indulge one of my first loves and keeps up my writing chops. I appreciate the creative outlet and the opportunity to learn more about our colleagues and their designs.”
612.375.8722 or e-mail [email protected]
CostumeRentals offers year-round access to the Guthrie and The Children’s Theatre Company’s
combined inventory of extraordinary costume pieces.
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
Over 30,000 costumes Designs by leading theatrical designers
Storybook and fantasy characters Shoes, hats, masks and accessories
With triple-digit temperatures convincing us that summer would never end, November arrived with chilly mornings and even colder evenings. So on the first such Saturday morning, wrapped in a wool scarf and sweater, I headed to a New Member Orientation at the CDG offices. Arriving a few minutes early, I was surprised to find an almost full room of young men and women, all with bright faces, eager to be a part of this organization. How I wished that I could have painted a rosier picture for their professional futures; but the forecast at the end of this year is far from sunny. Now that we are into the 11th month under President Obama, buoyant post-Bush optimism is waning thanks to our slow economy, record unemployment, cyni-cism, frustration and doubt amongst the American public.
Other than a small number of TV projects employing our designers, recent job opportunities have been mostly in the states offering production tax breaks, rebates, and incentives—such as New York, Louisiana and the southwestern states. Basically everywhere, but here in Los Angeles.
After recent news that Iowa and Michigan are reevaluating the success of their incentive programs due to unrealized expectations, my hope is that the producers become more proactive. They need to put more effort into encouraging the State of California to bring production back to Hollywood where it belongs. The
experience and depth of crew in our state cannot be matched.For the past two weeks, the Finance Committee has been working diligently to balance our 2010 budget. One thing we were
adamant about was that this was going to be a positive finance budget. The membership’s equity would be guarded. Starting with a $40,000 shortfall, we did have to cut some things that weren’t essential; but we were able to add money to improve the CDG website and the Education Committee will remain an important focus. Thanks to my wonderful, hard-working and caring Compensation and Budget Committees, we were able to successfully put the budget to rest.
I have to commend our very busy Education Committee and Co-chair Ann Major on our first-ever joint seminar with the Art Directors Guild. The “Wacom Tablet” seminar (November 14) brought together both locals for the opportunity to learn about an important and valuable tool. The response and success of that pairing brought the goals of the Executive Board full circle. Our intention, in moving our offices to the ADG building, was not only to be in a more productive space, but to afford us the opportunity to col-laborate with our creative peers and to partner on shared goals. This is only the beginning of what we can do together.
On another front … about a month ago, I was asked to meet the CEO of the Irish Film & Television Academy, Aine Moriart. She invited me to be a special founding member of IFTA/LA (counterpart to BAFTA). As part of the invitation, I will be able to include CDG members who would like to become IFTA/LA mem-bers as well (with some requirements and stipulations). I will be sending a detailed email blast soon.
Lastly, wash your hands, wash your hands, and wash your hands! And stay well!
Mary [email protected]
Dear Members,
PRESIDENT’S LETTER
UNION LABEL
Fall 2009 The Costume Designer 9
F O R Y O U R C O N S I D E R A T I O N
warnerbros2009.com
BEST COSTUME DESIGN
Jenny Beavan
Some months back, your Guild leadership noticed an atypically high number of members having to withdraw from the CDG. In light of these tight times, we started scaling back discretionary expenses. Please know that by writing a confidential letter to the Eboard explaining your situation, all members are eligible for a one-time waiver of quarterly dues based on economic hardship.
The Motion Picture Foundation and The Actors Fund remain very supportive of all IA members. There are some unique opportunities to take retirement from the health and pension plans at different times in your life/career so please contact MPI to check what options pertain to your situation.
At the CDG General Membership Meeting in October, members unanimously supported universal health coverage with a public option. The AFL-CIO and IATSE are leading the charge on this front and your Eboard, and I urge you to repeatedly phone and email (belts and suspenders!) to send a strong message. Watch our weekly emails (GEMS) for the latest call to communicate with your Washington representatives and senators.
Until we get universal coverage that is not tied to employment, we remain dependent on MPI cover-age. As the costs go up, for example, remember that the number of qualifying hours for the Health Plan will remain at 300 every six months in 2010, but will rise to 400 hours in 2011.
Piracy is a big part of this increase, causing revenues into the MPI Plans to plunge. As many as 700,000 people see pirated films before they premiere, meaning the producers who hire us not only lose out on ticket sales, but worse, on back-end DVD sales. The MPI Plans get residuals from those DVD sales, which were already plummeting before this economic downturn. As more and more countries offer their citizens broadband access, we see how deadly serious this is for our film indus-try looking ahead. Allowing products to continually be given away for free is simply not a successful business model.
We cannot be part of the problem! Each of us must educate our children, colleagues, and neighbors about why intellectual property rights must be protected. The IATSE is united with other leaders like the DGA in making this case in Washington. Whether it’s health insurance or help in hard times, your union is working for you.
In Solidarity, Cheryl [email protected]
Dear CDG Members,
EXECUTIVE DIRECTOR
Fall 2009 The Costume Designer 1110 The Costume Designer Fall 2009
ASSISTANT EXECUTIVE DIRECTOR
UNION LABEL
12 The Costume Designer Fall 2009
Fighting the Flu
If you have the flu, you should not go to work.
Our work is generally stress-ful and involves working with large groups and in very close contact with others. In this economic climate, no one can afford to be sick and miss work so it is important to try to stay as healthy as possible. Take pre-cautions by eating well and getting
plenty of sleep. Pace yourself and find avenues of relaxation in the downtimes. Your health is your most important asset in your tool box.
This flu season is predicted to be severe. Here are some guidelines from the CDC to help you stay healthy and get you healthy if you’re already sick.
First know when you have the flu. Symptoms include but are not limited to:
Fever (usually high), headache, extreme tiredness, dry cough, sore throat, body aches, nausea, vomiting, diarrhea, runny or stuffy nose.
What is the difference between a cold and the flu?They are both respiratory illnesses caused by differ-
ent viruses. In general, the flu symptoms are much worse and are accompanied by the sudden onset of body aches, fever, and extreme tiredness. The only reliable way to tell the difference is to have your doctor test you for the flu. Do not try to self diagnose.
What should you do if you have the flu?See your doctor and take antiviral flu medications if
prescribed. Stay home and avoid contact with others. The flu is contagious. Get plenty of rest.
How can I avoid the flu?The CDC recommends a three-part plan. 1. Get vaccinated. Flu strains mutate so it is impor-
tant to get this year’s shot. The seasonal flu shot is now available at the MP Health Clinics and the H1N1 will be available shortly.
2. Take everyday precautions such as frequent hand washing with soap and water or an alcohol-based hand rub. Avoid touching your eyes and mouth. Avoid contact with sick people.
3. Take antiviral drugs if your doctor recommends them and stay home.
Have a healthy winter,Rachael [email protected]
© 2009 APPARITION LLC. ALL RIGHTS RESERVED.
“‘Bright Star’ is… a feast for the senses… A lush and pleasing plungeinto a world animated by poetry and longing and marvelous hats.”
-Ann Hornaday, The Washington Post
BRIGHTSTAR-MOVIE.COMAPPARITIONSCREENINGS.COM
F O R Y O U R C O N S I D E R A T I O N
BEST COSTUME DESIGNCOSTUME DESIGNER
JANET PATTERSON
“Scrupulously well-crafted.”-Michael Phillips, Chicago Tribune
14 The Costume Designer Fall 2009
LABOR REPORT
UNION LABEL 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
Excellence in
Costume Design for a
Period Feature Film
Sandy Powell
APPARITIONSCREENINGS.COM
THEYOUNGVICTORIAMOVIE.COM © 2008 GK FILMS, LLC. ALL RIGHTS RESERVED.
What Is the Los Angeles County Federation of Labor?
Since President Obama took office in January, the labor movement has had a friend in the White House. Locally, the labor movement is spearheaded by the Los Angeles County Federation of Labor, AFL-CIO. The organization was founded in 1885 to counter unfair labor practices put forth by employers. Their mission is to ensure that workers have a voice, encourage active participation in the political process and to advance public policies that support workers and their families. Local unions play an integral part in sustain-ing healthy communities by fighting for good jobs that will
rebuild the middle class of Los Angeles. The powerhouse leading the AFL-CIO is Maria Elena Durazo, elected in May 2006 to
serve as Executive Secretary-Treasurer. She has been instrumental in solidifying the effort to organize the unions here in Los Angeles. The local unions have made such an impact that the Los Angeles County Federation of Labor was honored with the AFL-CIO Union City Award, recognizing the success of local unions that elect allies to political office while organizing new workers, LA County.
There are more than 300 affiliated locals in the Los Angeles County Federation of Labor including the Costume Designers Guild and our fellow IATSE sisters and brothers. Combined, they represent more than 800,000 workers in every key industry, which serves as a powerful force in Los Angeles as well as in state politics.
In Solidarity,Dana [email protected]
The IATSE and the CDG strongly support Single-Payer Universal Healthcare
Here’s what we each must do:
• Repeatedly contact our House Representative and Senators by calling (877) 323-5246 and following the prompts to contact all three.
• Write and email our Representative and both Senators each time compromises are seriously considered.
• Make sure our family and friends are making their voices heard.• We have traded economic wage gains for spiraling health costs for too long.
We must each “counter the insurance company and right wing media assault,” as IATSE President Matt Loeb urges.
• Universal healthcare is a moral right of every American. We, in Labor, with persistent voices, must make it happen!
LABOR ACTIVISM
Fall 2009 The Costume Designer 1918 The Costume Designer Fall 2009
1860–1960Moorpark, California’s Beth Guernsey and her daughter Julie of 1860–1960, have always loved antiques and unique vintage finds. Ever since Julie was a small child her mother used to take her to yard sales and swap meets. Always look-ing for that unique one-of-a-kind item. For the last 40 years, they have been buying, selling, and collecting antiques. Ten years ago, Julie quit her job to work with her mother full time in the vintage clothing business. As the name suggests, they work with a century of clothing, but their collection’s strength varies over time as they buy and sell, and buy and sell again. Currently, they are very strong in the 1920’s and 1930’s fashions. Shoes being a passion for Beth, they always carry a range from the early 1800s onward. They’ve worked with Costume Designers from Deborah Scott to Judianna Makovsky. In 1999, they expanded their exposure and their business to the Internet by creating a very user-friendly web-site (several photos from the site are seen here). For certain local projects, they have been known to visit designers at their studios/offices. Beth acknowledges the treasure hunt. “I’m still looking for an affordable, wearable Fortuny gown.”
CATHERINE NASH’S CLOSETAnother well-known treasure chest stop is Catherine Nash’s Closet in Tucson, AZ. Catherine got her start as a young artist in the 1970s sewing her own clothing using antique laces. She spent two years in Europe where she fre-quented every antique market she could find. That led her back to Portsmouth, NH, buying up whatever clothing she deemed gorgeous and in superb condition to supply a localconsignment shop. Eventually, that included various clients in Manhattan. Several years later, she began to travel with her collection for trunk shows here in Los Angeles. After the Northridge earthquake, many of her boutique clients closed, which opened the door for Nash to sell her clothes directly to Costume Designers. Now her collection includes 1860’s through 1970’s men’s, women’s and children’s cloth-ing, accessories and costume jewelry dictated by quality first. Her purchases are guided by the needs of her clients and their particular project. The earlier she connects with a Costume Designer, the more time she can devote to search-
Designing a period show is really like a scavenger hunt. One source leads you to the next, which leads you to the prize: a single item so perfect in its ability to exemplify the period, only to start the search all over again. A treasure hunt, piece by piece. The further back in time you go, the less you’ll find, and the more you’ll have to hunt. Civilians believe that designing a period show must be one-stop shopping … oh no, not so! There are the special pieces that may be wearable but are they the right size? The per-fect dress but is it the right fabric? To amass enough clothes to dress a feature or telefilm does not happen easily. The stars, the supporting players and all those background actors! Of course, there are always stunts, or rain, or often eight weeks in the same jacket. For a Costume Designer to manufacture the costumes for any given period you have to start with the “real McCoy.” It’s imperative to understand-ing the construction, to appreciate the fabric or just to be inspired. At these times, we first turn to our trusty costume rental houses and local vintage shops here and abroad to get started. But when you’re dealing with the early 1900s or before … you have to dig deeper. That’s why there are some very special men and women all over the country (and the globe) you need to know. Enter The Collector. An independent collector may carry a little bit of everything or have a known specialty; but if you’re designing a period project, you’re only as good as your sources.
Collectingfor CostumesC
1860–1960
1860-1960
20 The Costume Designer Fall 2009
C
ing for specific needs. Nash thinks of herself as a professional buyer more than a collector but she just can’t pass up a great cocktail dress from the teens through the ’30s. Catherine Nash’s Closet is not a storefront. Her business is comprised of interested Costume Designers, supervisors and costume rental houses to whom she sells (never rents) her meticu-lous finds. She’s recently worked with Ann Roth for Doubt and Julie & Julia, Deborah Hopper for Changeling, Colleen Atwood for Public Enemies, Kasia Walicka-Maimone for Amelia, Joseph Porro for Alleged, and John Dunn for HBO’s Boardwalk Empire. “It has been an honor to have worked with Albert Wolsky on five productions now,” says Nash. Working with period TV shows over time has been satisfying as well. “I took a chance buying these Victorian mesh masks with Janie Bryant and Deadwood in mind,” which in turn inspired the directors to have them written into the script for a murder scene.”
ORIGINALS BY TERESATerri Gabriell of Originals by Teresa started wearing 1940’s and ’50’s clothing when she was in college, but she had no intention to start a business until “people started ask-ing if they could buy my clothes.” Soon, she was wholesaling vintage clothing in New York where she met her business partner, Tracy Carluccio, who happened to dress in the same period fashion. The first big film she supplied clothing for was Born on the Fourth of July (CD Judy Ruskin with ACD Mary Zophres). Terri and Tracy have been working with Costume Designers ever since. In the 1980s, they studied millinery at FIT in New York and began collecting antique hat blocks. They now rent two commercial buildings in New Jersey, filled with hat-making materials and vintage clothing. Their collection includes men’s and women’s period hats dating back to the Victorian era, 1950’s and ’60’s women’s foundations garments (mostly dead stock, aka new-old) that have never been worn. They also have dead stock clothing
from the ’50s and ’60s (some ’30s & ’40s) that includes hard-to-find children’s clothing and shoes. They mostly sell their clothing but choose to rent their hats which are “irreplace-able.” They too have worked with some of the most prolific Costume Designers in our business including Mary Zophres, Colleen Atwood, and of course, Judy Ruskin, who gave Terri her start. She is proud to say, “We often hear that it’s nice to work with us because when we send something, it’s right.”
ARCHIVE EDITION TEXTILESPaul Freeman is known as “The Textile Guy.” His business, Archive Edition Textiles (formerly known as Textile Artifacts) in Hawthorne, CA, started like most, as a hobby. His 30-year journey began with antique lace and linens and grew from there as Paul understood “the magic and beauty that came with wonderful old things.” His vintage fabrics include lace, ribbons, trims, buttons, printed and woven fabric, arts & crafts, tapestries, embroideries and pre-1940’s yardage. Most fabrics are yardage and large panels, and most laces & trims are available in volume. He also has hundreds of one-of-a-kind textile designs in small examples for research and manufacturing. Which brings us to his other business … reproductions. Paul offers a reproduction line of woven arts & crafts, art noveau and art deco fabrics and also does cus-tom reproductions “usually very fast—one to two weeks! He has an enormous warehouse in Hawthorne and has enter-
tained many of the designers we’ve already mentioned as well as Penny Rose and Trisha Biggar. He will also send out fabrics on approval.
WESTERN COSTUME CO.Western Costume Co. has been acquiring private col-lections since its inception. When Eddie Marks became President, it was his “mission to bring Western back to its proud beginnings.” He purchased Leathers & Treasures (1992) comprised of a great collection of leather jackets, vintage jeans and period cowboy boots. Dorothy Weaver’s pristine collection (2000) encompassed the early 1900s through the 1950s. Helen Larson (2003) had a similar business but her collection began in the late 1800s. Both Dorothy and Helen had a love of beautiful dresses. Costume and Production Designer Patricia Norris started collecting for her own use but later opened Private Collection as a rental business. Patty’s collection was full of character. Eddie remarks, “You know the old saying that we are known by the company we keep? In Patty’s case, you know she is a great Costume Designer just by the characters we envision in the clothes she kept.” It was a natural fit for Norris to sell her collection to WCC in 2005.
Western’s most recent acquisition (2009) is the amaz-ing 50,000 pieces known as Dykeman Young. The East Coast collection meticulously gathered over time by Mike Dykeman and Craig Young consists of men’s and women’s vintage clothing spanning the late 1800s thru the 1980s. Purchased from Mike Dykeman after Young’s passing in 2007, the Collection includes a great selection of women’s Victorian, men’s work wear and “the best collection of chil-dren’s clothing Western has ever purchased.” The Dykeman Young Collection will be housed in its own 15,000-square-foot building until Eddie can find the right way to incorpo-rate it into Western’s main Vanowen location.
How does WCC manage, in this economy, to continue to acquire new stock? Eddie explains, “We’ve been lucky with our timing. The Dykeman Young Collection is a different story. After 98 years, we are betting on the future of the busi-ness and of Western Costume.” Eddie worries that “We are coming to the end of an era for great costume collections. The economy is working against it in the difficulty to find and purchase good clothes and the cost for space and care. It’s very important that these independent collectors remain in business for the vitality of our industry.” When Eddie Marks became the President of Western Costume, he made a promise to himself that he would leave Western Costume Co. a better place than when he arrived. Thanks in part to these important acquisitions he says, “I’m half way there.”
Deena [email protected]
SOURCES
1860–1960*Beth & Julie Guernsey (805) [email protected]
ARCHIVE EDITION TEXTILES*Paul Freeman (310) 676-2424 [email protected]
CATHERINE NASH’S CLOSET*Catherine Nash (520) 740-1673
COSTUME DETAIL WESTAntonio (310) 314-9659 by appointmentwww.costumedetailwest.comExceptional vintage fabric, trim, gold bullion, feathers 1900s, ’20s, ’30s, ’50s. Lace dating from the 18th & 19th century. Jewelry to rent from 1900s to 1960s.
HOPKINS HABERDASHERSAlan and Vanessa Hopkins 02086725140A house full of treasures in Tootingbec, England (just outside of London). Ribbon, laces, fabrics. ORIGINALS BY TERESA*Terri Gabriell (609) 883-8905 [email protected]
STEPPIN’ OUTGary Franke (215) [email protected] County Pennsylvania collector. 1920–1965 men’s & women’s clothing. More middle to upper class than work wear. Sells & rents, project dependent.
WESTERN COSTUME CO.*Dykeman Young CollectionNancy McArdle – Project Manager(818) 760-0900 x 390, (818) 765-2131 direct7245 Fulton Ave., No. Hollywood, CA
WOODLAND FARMS VINTAGEJanet Schwarz (214) 373-0415 www.woodlandfarmsantiques.com [email protected] Dallas collector also shows at the Vintage Fashion Expo in Santa Monica.
*profiled in this feature
Fall 2009 The Costume Designer 21
Paul Freeman (r) and assistant Nancy Eaton, Archive Edition Textiles
1860–1960Originals by TeresaCatherine Nash’s Closet, Mad Men
Mike Dykeman and Eddie Marks, President Western Costume Co.
I learned of the passing of my dear friend, Tommy Velasco, the afternoon of his funeral. The loss to me and the loss to our industry is immeasurable. The fact that I did not know in time and could not say my public goodbye to this sweet man that day will stay with me for-ever. What could I have said to comfort the room? Tommy Velasco was a mas-
ter. Master tailor and master comedian. There was nothing that would surprise him, no design that could intimidate him and no situation that didn’t come with a hilarious anecdote. Tommy and I worked together over the years on many projects but I can person-ally vouch for the fact that Austin Powers (1 , 2, and 3) would simply not exist without him. Tommy built just about every costume worn by Mike Myers in the trilogy, including finely tai-lored suits constructed of fabric as thick and stiff as an area rug. When I was faced with creating a fully authentic Scots Guard uni-form (with an 80+ inch waist) for the second Austin Powers, I asked Tommy if he’d ever built a kilt before … his answer, “I made the kilts for Brigadoon!” And I will always smile thinking of Tommy pulling up a sleeve board atop his worktable for Verne Troyer, aka “Mini Me” to have a seat. Tommy had seen everything and made everything.
Though it’s been some time since Tommy has occupied his corner spot in the tailor shop at Universal, I will remember how much I looked forward to that impossibly long trip down the hallway, entering his workshop and seeing his face light up when I came in bearing a new project. I will never forget how Tommy could handle a pair of shears bigger than he was, how impeccably he executed his craft and how he loved to laugh.
He will be always remembered and forever missed.
Deena [email protected]
22 The Costume Designer Fall 2009
Tomas Velasco launched his career as a tailor in the costume department at Warner Bros. in 1940, having learned his consummate cut-ting and stitching skills from his father and uncle. During the Golden Age of Hollywood, he worked with many of Hollywood’s most talented leading men; James Cagney in the classic Yankee Doodle Dandy (1942), Errol Flynn in Adventures of Don Juan (Marjorie Best, 1948), Lionel Barrymore in Key Largo (Leah Rhodes, (1948), Burt Lancaster in The Crimson Pirate (Marjorie Best, 1952), Gregory Peck and James Stewart in How the West Was Won (Walter Plunkett/Ron Talsky, 1962), and Elvis Presley in Viva Las Vegas (1964) to name a few.
Tommy worked at Western Costume and MGM before joining Universal Studios in 1970 where he worked until 2008. As the supervisor of the busy tailor shop, renowned designers and legendary stars have consis-tently requested his special talents. He man-ufactured Al Pacino’s gangster ensembles in Scarface (Patricia Norris, 1983) and Warren Beatty’s sharp suits in Dick Tracy (Milena Canonero, 1990). Costume Designers Joanna Johnston (working with Tom Hanks) and Rita Ryack (working with Robert De Niro) are among his most ardent admirers, having partnered on multiple projects together. After he made the most beautifully accu-rate period costumes for Jeff Bridges in Seabiscuit (designed by Judianna Makovsky), Bridges presented Tommy with the Costume Designers Guild President’s Award in 2004.
TOMAS VELASCOApril 6, 1916 – September 2, 2009 Tommy
theTailor
The Velasco brothers, Carlos “Charlie” (left)and Tomas, worked together for more than 20 years before Carlos passed away in 2001.
Tommy and I fitting Verne Troyer, aka Mini Me
24 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
MEET THE ASSISTANTS
ELA
INE
DA
VIS
GLE
ND
A M
AD
DO
XBeaches, mountains, and the creative world of the film industry were call-ing this Texas girl from Austin west-ward to Los Angeles. She began her education studying costume design at the University of Texas and today she enthusiastically says, “the creative part of this business is everything I imagined and then some!”
Maddox sums up the big “O” as the key to ACD’s role, “You can never be too organized!” She adds, “Working in contemporary genres requires a lot of research into cur-rent fashion and trends.” She sug-gests watching people on the street and scanning magazines for up-and-coming trends that can help cre-ate a lexicon of current costume looks. Having worked mostly in film, Maddox welcomes the challenge of TV and commercial work and is eager “to really think outside of the box” in the costume world of fantasy or science fiction.”
Maddox explains, as an ACD, you are the Costume Designer’s right hand and must always keep the cre-ative vision of the CD in focus. In addition, you are there to “help them keep their sanity in this business we call show!” [email protected]
This L.A. native (yup, actually a native!) knows that communicating effectively is key to being a liaison. “As an ACD, I am able to act as the voice of the designer when neces-sary. I stay cool and unbiased in my interactions, which allows me to champion the goals of the designer and the department.”
Davis’ confidence in shopping, pulling, and swatching and her thorough, organized prep work are invaluable on the job. However, even with the best-laid plans, Davis knows that this business turns on a dime. “It’s important to be able to switch gears and go with the flow!”
Costume Designer Susan Matheson eloquently cuts to the nexus of the ACD role and to Davis’ superlative contribution to the design process by explaining, “Working with her and without her is day and night. When Elaine started work-ing with me, it was a revelation. Suddenly, I could go home at a rea-sonable hour and, for the first time, actually get some sleep. She helps me prioritize with a new set of eyes so that my work is accomplished far more efficiently and with a much greater sense of focus.”[email protected]
TIF
FA
NY
WH
ITE
Originating personally from the land between the Redwoods and the ocean in Santa Cruz and professionally from the Disneyland of shopping and costuming in Anaheim, FIDM alum Tiffany White “recently fulfilled a long-time dream of joining the Guild!” Today, she lists Costume Designers Janie Bryant, Audrey Fisher, Mirena Rada and Allison Leach among her col-leagues and mentors.
Among her biggest assets: a Capricorn’s skill in prioritizing, map-ping out efficient trajectories and constantly working toward the CD’s vision. White’s mind is “a high-pow-ered efficiency-making machine.” With a bachelor’s degree in psychol-ogy, there is an elegant wisdom in her ability to interface with a smile and finesse everyone’s expertise to get the job done.
This Santa Cruzian possesses an exuberance in life that fortifies and flat-ters her professional demeanor. White explains, “I look for the joy that each project can offer and concentrate on that.” Suggestions for the newbies to this wild and dreamy business: baby steps, have a hobby to enrich your soul, and “don’t admire sleep too much. You will only be disappointed!” [email protected]
can’t live withouta little humor and
root beer
can’t live withoutlaughter
can’t live withoutBlackberry, oak tags andgood God, I love Google
26 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
UAKER: Quaker dress is divided into two categories: “plain” and “gay.” Ideas of “plain” range from brown, grey, and olive to red. Women’s “plain” dress includes the white cap, kerchief and apron, and a bonnet, shawl or cloak. “Gay” dress is more colorful and some-what reflects current styles. Prints are allowed
but rarely used. Black is avoided as the dye was expensive and easy to fade; and because of its association with mourning
and its tendency to look chic.
AGLAN: A loose topcoat named for Lord Raglan, who devised the design for his soldiers during the Crimean War in the
1850s. Instead of the standard set in sleeve, this design features a long armhole line extending from
armpit to neckline.
REBOZO, rebosa, reboso: A long scarf or shawl, plain or embroidered, wrapped around
the head and shoulders, some-times crossed over the face. Worn by rural women in Latin cultures, it is also often tied around the
hips and shoulders and used as a carryall for almost anything.
REDINGOTE: French for riding coat, originally a man’s outer coat of the 18th century. This coat is double breasted with a large collar and revers and some-times includes a short cape. Full length or three quarters, it is tailored at the waist and generally has a fuller skirt. By the 1890s, the design had been adapted for women’s wear.
REVERS: Part of the turned back or facing of the lapel which folds back to show the reverse side or revers.
ROCKET, roquet: A short, full, smock-like, woolen garment worn since the Middle
Ages in various cultures. In the 15th century, it was worn by commoners and pages who added a hooded shoulder cape for warmth. By the 18th century, some version of it was seen in all classes. In the 19th century, it was worn by ecclesiastics; made of white linen with the lower half of the front incorporating heavy lace.
ROMPER: One-piece garment, originated for young children; a combination of waist and short bloomers. Also, worn by girls and women for gymnastic work and leisure.
RUFF: A pleated or crimped collar or frill, stiffly starched and completely encircling the neck
which became very popular in the late 16th and early 17th century. A large cartwheel, starched and wired, the width of the fashionable ruff was about a quarter of a yard wide and 18 to 19 yards in length. Made of fine linen lawn or Holland cambric, in various colors. A frame of wire covered with silk thread (rebato) was worn under it for support.
RUMBA COSTUME: Costume consisting of short bolero-style jacket with cap sleeves and a floor-length black satin skirt that is tightly molded to the figure to below the hips and from there
down is a mass of multicolored ruffles. Jacket and skirt do not meet at waistline, leaving the stomach bare.
Q
Illustrations by Robin [email protected]
Text by Karyn [email protected]
HISTORY OF DRESS A-Z
R
28 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
ased on the unprecedented gift of $6 million from San Diego philanthropist David C. Copley, UCLA has estab-lished the David C. Copley
Center for the Study of Costume Design naming Costume Designer and former CDG President Deborah Nadoolman Landis as Chair and Director of the Center. “The Copley Center is dedi-cated to the deeper understanding of Costume Designers in the collaborative process of the cinematic and perform-ing arts,” Landis said, “a goal that I have always pursued. This is a great honor and a priceless opportunity.” The Center will be the the first of its kind, building an academic base for a new generation of Costume Designers through research, course work, and the participation of the foremost industry professionals in the world.
UCLA Dean Robert Rosen said, “Establishing the Copley Center will
break new ground in academia and help secure the school’s future preem-inence in this artistic endeavor. Areas of study will include the history of Costume Design in Hollywood, genre research, costume illustration as an art form and the influence of Costume Design on fashion and culture.”
The new Center’s mission is threefold:• To become the world leader in the
academic study of Costume Design, crossing media boundaries and enhancing the already top-ranked Theatrical Costume Design program at UCLA with a bold new focus on film, television and digital media;
• To prepare graduates for successful artistic careers through a balanced curriculum of theory, practical expe-rience, and mentorship from the most accomplished practitioners;
• To honor the cultural significance of Costume Design and its relation-ship to aesthetic theory, and the role
of Costume Design as the nexus of artistic vision and narrative.
This appointment acknowledges Landis’ professional and academic excellence, and recognizes the profound creative contribution of the Costume Designer. “The artistry of Costume Design deserves significant attention from a great educa-tional institution such as UCLA, and I’m confident (this gift) will pay dividends for scholars and practitioners for years to come,” said benefactor Copley.
BLANDIS: UCLA’S COPLEY CHAIR
Deborah Nadoolman Landis, David Copley, Dean of UCLA’s School of Theater,
Film and Television Teri Schwartz
Up in the Air ad to come
Fine men’s and women’s fabrics for stage and screen from Gladson Ltd.
West Coast Scott Anderson323-650-8875
East Coast201-708-1600
Toll Free800-227-1724
30 The Costume Designer Fall 2009
IN FOCUS
Materials: Nedavniaya started with a pencil sketch and then worked with Arches Aquarelle watercolor blocks and Winsor & Newton Artists’ paints.
In this fi nal scene of Prince Caspian, the children return to England through the magic tree in the town square. Susan, played by Anna Popplewell, wears a French silk, embroidered brocade dress, trimmed in silver metal with white silk pongee sleeves.
Isis fi rst met Oksana during the autograph session that followed the Comic-Con Film Designer Panel in 2006. Oksana, fresh from California State University, Long Beach, had brought her portfolio in tow. The pair have sub-sequently collaborated on Caspian, Voyage of the Dawn Treader and the animated DreamWorks feature Puss in Boots.
Mussenden: “Oksana’s sketches were rich with color and texture. Her ren-derings had a sophistication that was quite striking considering we were in the middle of Comic-Con where everything is pulp.”
Nedavniaya: “We look at different research images and talk about the con-cepts, fabrics, details, etc. Most of the time Isis provides a rough pencil sketch, usually with tons of notes; which are really helpful when I fi nally sit down at the drawing table. My next step would be a preliminary pencil sketch, which might need some tweaking and reworking. Once that was approved, I moved on to the watercolors.”
Oksana worked with Isis on Prince Caspian for nine months creating early concept sketches and approximately 100 costume sketches.
THE CHRONICLES OF NARNIA:PRINCE CASPIAN 2008Designer: ISIS MUSSENDEN Illustrator: OKSANA NEDAVNIAYA
THE PROCESS: SKETCH TO SCREEN
Fall 2009 The Costume Designer 31
IN FOCUS
32 The Costume Designer Fall 2009
IN FOCUS
he cult classic Brazil, written by Terry Gilliam with playwright Tom Stoppard, is set in a futuristic dystopia burdened by mindless bureaucracy, terrorist attacks, and red tape. This dark farce of a film premiered Christmas Day ’85 to qualify for Academy consideration, and the Christian holiday figures prominently as a sad vestige of
spirituality within the bleak reality of a dictator state. Brazil is named for the 1939 popular song, which haunts the film, offering a tantalizing contrast to bombs and cement.
Gilliam’s vision borrows many recognizable icons from Nazi art and architecture, and James Acheson’s costume design, in perfect harmony with production design, strongly sup-ports his fascist nightmare. Acheson’s costumes take their cue from the sharply defined but often sensual silhouette of the 1930s, and this masterful design standardized the look of every level of Brazil’s society. The many “uniforms” for the workforce include Nazi-inspired military garb, beautifully monochrome gray suiting for the hordes of office drones, and both the official (and very humorous) “Central Services” coveralls and the SWAT–like jumpsuits for the rogue heating technicians/terrorists. Acheson’s complex “civilian” cos-tumes also offer a layered rebuke of Brazil’s cruel and bro-ken society. Well-heeled aristocrats, still thriving at the top of the bankrupt hierarchy, bustle through the filthy urban streets looking like exotic birds in gorgeous hats, wide lapels and plush furs. The impoverished masses, however, wear the faded depression-era clothes of Dorothea Lange photos, eking out their miserable lives in decrepit council flats. Battleship grey monoliths, squalid public housing and
micro office cubicles, dosed with retro steam-punk gadgetry and wheezing pneumatic tubes, demonstrate that a future run by madmen and machines is a dangerous proposition.
Brazil’s story focuses on Orwellian anti-hero Sam Lowry, a gray-suited “Information Retrieval” specialist who escapes his daily grind through fantasy. In his dreams, Sam is Icarus, encased in silver armor and locked in battle for a beautiful maiden. In reality, Sam has a dead-end job, his tiny auto-mated apartment has a serious HVAC problem, and his meddling socialite mother, Ida, is addicted to radical plastic surgery. The ever-younger Ida is like a demented Auntie Mame, and appears in a parade of fabulous Schiaparelli-esque confections, topped with a replica of the infamous 1937 upside-down shoe hat co-designed with Salvador Dali. Sam’s unlucky journey leads him to madness at the hands of his old friend, a sadistic government torturer named Jack, who wears a grotesque blood-splattered baby mask while executing his victims.
James Acheson’s ambitious costume design for Brazil per-fectly supports the film’s critical narrative of mind control, greed, and abuse of power. And the story is even better served because Acheson amplified his detailed design to partner the film’s satiric soul. Gilliam’s heady cautionary tale is brought to visual life by his extraordinary design team, making Brazil one of the most inventive, influential, and important films of the 1980s.
Audrey [email protected]
James Acheson & Brazil: Costumes Fit for a Fascist Parody
A LOOK BACK
TB
razi
l, U
niv
ersa
l/E
mba
ssy/
Th
e K
oba
l C
ollec
tion
Fall 2009 The Costume Designer 35
IN FOCUS
MALLSCambridgeside Galleria Mall100 Cambridgeside Pl., Cambridge 02141(617) 621-8666 cambridgesidegalleria.comA bit more urban, cheap and cheerful.
Copley Place Mall2 Copley Place, Boston, MA 01126(617) 369-5000Barneys, Neiman Marcus, Jimmy Choo Tiffany & Co. Most stores do studio.
Natick Collection1245 Worcester St., Natick, MA 01760(508) 655-4800 natickcollection.comThe largest mall in New England, 30 minutes outside of Boston.
The Prudential Center800 Boylston St., Boston, MA 02199(617) 236-0834 prudentialcenter.comAttached to Copley Place, Saks 5th Ave.
SHOPPING AREASCharles StreetLocated in historic Beacon Hill section. Boutiques and vintage jewelry.
ChinatownSome good fabric and leather stores, and thrift stores to buy in bulk.
Newbury Street THE shopping street of Boston. High-end designer shops & boutiques.Vintage and resale shops.
Washington StreetStores open late to 10 p.m. Macy’s, Marshalls, TJMaxx, H&M, DSW
BOUTIQUESAlan Bilzerian34 Newbury St., Boston, MA 02116(617) 536-1001McQueen, Margela, Lanvin, Yamamoto, etc.
Bodega6 Clearway St., Boston, MA 02115(617) 421-1550Cutting-edge sports clothes for hipsters
ER Butler & Co.38 Charles St., Boston, MA 02114-4643(617) 722-0230 www.erbutler.comAmazing jewelry on the side!
Holiday53 Charles St., Boston, MA 02114(617) 973-9730Private label and custom and designer
LouisBoston234 Berkeley St., Boston, MA 02116(617) 262-6100Renowned high-end fashion boutique
MDF17 Brattle St., Cambridge, MA 02138(617) 491-2789One-of-a-kind jewelry and custom makers
Moxi 51 Charles St., Boston, MA 02114(617) 557-9991Designer shoes, handbags, accessories.
Turtle619 Tremont St., Boston, MA 02118(617) 266-2610Emerging urban designers. Classy & arty.
Uniform511 Tremont St., Boston, MA 02118(617) 247-2360 Very cool men’s shop
Wish49 Charles St., Boston, MA 02114(617) 227-4441Young contemporary designers
VINTAGE & RESALE20th Century Limited 73 Charles St., Boston, MA 02114(617) 742-1031Designer vintage costume jewelry.
Bobby From Boston 19 Thayer St., Boston, MA 02118(617) 423-9299Fantastic vintage menswear and shoes Owner has a huge warehouse in Chelsea
The Closet 175 Newbury St., Boston, MA 02116(617) 536-1919Boston’s finest consignment store
Keezer’s Resale Shop140 River St., Cambridge, MA 02139(617) 547-2455Men’s formal and vintage wear.
Second Time Around176 Newbury St., Boston, MA 02116(617) 247-3504Contemporary, new and resale designer
Poor Little Rich Girl166 Newbury St., Boston, MA 02116(617) 425-4874
The Garment District200 Broadway, Cambridge, MA 02139(617) 876-5230 Very cheap vintage. On Fridays, they sell clothes for $1 a pound.
SPECIALTYAalok International (Indian)404 Moody St., Waltham, MA 02453(781) 642-1200 aalokfashion.com
Lady Grace Intimate Apparel 1364 Beacon St., Brookline, MA (617) 566-8194 www.ladygrace.comBras, bathing suits and some lingerie.
Salmagundi765 Centre St., Jamaica Plain, MA 02130(617) 522-5047 salmagundiboston.comHats and vintage jewelry
FABRIC & CRAFTBeadworks167 Newbury St., Boston, MA 02116(617) 247-7227Bead store, contemp. - vintage baubles
Pearl Art & Craft579 Massachusetts Ave., Cambridge 02139(617) 547-6600
Zimmans80 Market St., Lynn, MA 01901(781) 598-9432Best fabric store in Boston area.
DRY CLEANERSClevergreen Dry Cleaners109 Charles St., Boston, MA 02114 (617) 523-6925 Green & overnight service.
location, location, location:
FOOD & DRINKAquitaine 569 Tremont St., Boston, MA 02118 (617) 424-8577 www.aquitaineboston.comFrench bistro
B&G Oysters550 Tremont St., Boston, MA 02116(617) 423-0550 www.bandgoysters.comExcellent for lobsters and oysters
Bricco241 Hanover St., Boston, MA 02113(617) 248-6800 www.bricco.comItalian with a spectacular Tasting Menu.
Craigie on Main853 Main St., Cambridge, MA 02139(617) 497-5511 craigieonmain.comFrench-inspired rustic cuisine
Davios75 Arlington St., Boston, MA 02116(617) 357-4810 www.davios.comNorthern Italian steakhouse
District Lounge180LincolnSt.,Boston,MA(617) 426-0180 www.districtboston.comFun bar with dancing
Erbaluce69 Church St., Boston, MA 02116(857) 362-7358 www.erbaluce-boston.comCozy, Exceptionl Italian. Theater District.
Eastern Standard Bar 528 Commonwealth Ave., Boston, MA(617) 532-9100 easternstandardboston.comCocktails and food in a beautiful bar.
Flour Bakery & Café1595 Washington St., Boston, MA 02118(617) 267-4300 www.flourbakery.comSticky buns are fabulous!!!
Marco253 Hanover Street, Boston, MA 02113(617) 742-1276 www.marcoboston.comAward-winning chef, Marc Orfaly.
Fall 2009 The Costume Designer 37
IN FOCUS
38 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 39
FOOD & DRINK Neptune’s Oyster63 Salem St., Boston, MA 02110(617) 742-3474 www.neptuneoyster.comIncredible oysters and lobster roll.
Oleana134 Hampshire St., Cambridge, MA 02139(617) 661-0505 www.oleanarestaurant.comGourmet Middle Eastern twist.
O Ya9 East Street Boston, MA 02111(617) 654-9900 oyarestaurantboston.comBest sushi in Boston!
Pomodoro319 Hanover St., Boston, MA 02113 (617) 367-4348 www.pomodoroboston.comTiny. Homemade Italian food.
Scampo215 Charles St., Boston, MA 02114 (617) 536-2100 www.scampoboston.comFamous for their Lobster Pizza
Sonsie327 Newbury St., Boston MA 02115-2710(617) 351-2500 www.sonsieboston.comFun bar, great food, best martinis
South End Buttery314 Shawmut Ave., Boston, MA (617) 482-1015 www.southendbuttery.comCoffee & cupcakes, brunch & dinner
The Butcher Shop 552 Tremont St., Boston, MA 02118(617) 423-4800 thebutchershopboston.comWine bar and full-service butcher shop!
The Upper Crust222 Newbury St., Boston, MA 02116(617) 262-0090 theuppercrustpizzeria.comGourmet thin crust pizza. Toro1704 Washington St., Boston, MA 02118(617) 536-4300 www.toro-restaurant.comFantastic tapas!
Tremont 647647 Tremont St., Boston, MA 02118(617) 266-4600 www.tremont647.comA foodie favorite.
R & RBella Sante38 Newbury St., Boston, MA 02116-3267(617) 424-9930 Fun, laid back, modern
Emerge Spa and Salon275 Newbury St., Boston, MA 02115(617) 437-0006 Good deep tissue
Exhale Spa28 Arlington St., Boston, MA 02116(617) 532-7000 Excellent
G Spa35 Newbury St., Boston, MA 02116(617) 267-4772 Fast mani/pedi
Grettacole Salon & SpaWestin Lobby at Copley Place 10 Huntington Ave., Boston, MA 02116(617) 266-6166 Elegant full-service
Lauren’s Nails164 Newbury St., Boston, MA 02116(617) 267-1496 Quick, cheap mani/pedi
COMPILED BYBonnie Nipar [email protected]
CONTRIBUTORSMark Bridges, Ellen Lutter, Susan Matheson, Mona May, Karen Patch, Arianne Phillips, Alexandra Welker
IN FOCUS
*WE HAVE PLENTY OF VALIDATED PARKING.
818 S. Broadway Suite 801
Los Angeles, CA 90014
323-653-9155
TO ALL MY NEW AND OLD FRIENDS WHO WERE USED TO FINDING ME
ON MELROSE, WE ARE PLEASED TO
WELCOME YOU TO OUR NEW LOCATION.
Fall 2009 The Costume Designer 41
IN FOCUS
40 The Costume Designer Fall 2009
CD Shoshana Rubin just wrapped the Comedy Central pilot Ghosts/Aliens, based on Trey Hamburger’s comic novel about two potheads’ quest to prove the existence of the things that go bump in the night. Also on the topic of the supernatural, CD Jenni Gullett is designing the second season of Fox’s sci-fi series Fringe, and Audrey Fisher and ACD JR Hawbaker are back to work on Season 3 of HBO’s True Blood. After airing only three episodes, Fox ordered a full season of the musical comedy show Glee, and CD Lou Eyrich is happily at the helm. CD Joyce Kim Lee designed the costumes for Nickelodeon’s The Fresh Beat Band, which centers on four friends who attend music school and love to sing and dance. Created by Emmy-award winners Nadine van der Velde and Scott Kraft, the half-hour series teaches preschoolers how to express their feelings through movement, song and instru-mental music. Frank Helmer is the new CD for Season 2
of 90210 with new mem-ber Kime Buzzelli as his ACD. Follow them: Twi tter.com/90210Costumes. CD Ane Crabtree is de-signing Lawman, an FX episodic drama based on Elmore Leonard’s short story, Fire in the Hole. The story was adapted for tele-vision by Graham Yost and stars Timothy Olyphant. In NYC, CD John Dunn is designing the costumes for the new HBO series Board-walk Empire. Set in 1920’s
Atlantic City, the sprawling story revolves around Prohibi-tion’s impact on American Society, and Martin Scorsese di-rected the pilot.
Here in Los Angeles, CD Valerie Laven-Cooper designed Minkow, a fi lm based on the ’80’s ponzi schemer Barry Minkow’s ZZZZ Best carpet cleaning service, starring Jus-tin Baldoni and James Caan. Fellow CD Susan Niningerteamed up on the project as supervisor. CD Ariyela Wald-Cohain just wrapped Slumdog Virgin, a spoof of Judd Apatow’s movies. CD Mary Vogt, along with ACD Laura Frecon, designed Jay Roach’s film Dinner for Schmucks, starring Steve Carell and Paul Rudd. CD Sarah De Sa Rego is excited to be designing the costumes for the new Larry Clark film Wild Child. CD Catherine Marie Thomas is cur-rently working on her third collaboration with Drew Bar-rymore, the comedy/romance Going the Distance, starring Barrymore, Christina Applegate, and Justin Long. From the canine department: CD Kristin Burke is designing a lot of dog costumes for Disney’s Beverly Hills Chihuahua 2. Kris-tin asks: When was the last time you saw a Chihuahua on top of a table in the Warner Bros. workroom?
Up in Portland, OR, Danny Glicker designed Gus Van Sant’s new film Restless, the complex tale of a teenage boy and girl who share a preoccupation with mortality. Danny recently returned from Holland, MI, after designing What’s Wrong With Virginia, a drama written and directed Milk’s Oscar-winning writer, Dustin Lance Black. The film stars Jennifer Connelly as a disturbed mother whose secret affair with the local sheriff is put in jeopardy when her son starts dat-ing the sheriff’s daughter. ACD Michele K. Short worked with Glicker on both projects. CD Deborah Scott designed the costumes for Avatar, the highly anticipated live-action movie with a new generation of special effects conceived and directed by James Cameron. Deborah is now collabo-
BOLDFACE AT WORKBOLDFACE NAMES rating with Edward Zwick on Fox 2000’s Love and Other
Drugs, shooting in Pittsburgh, PA. The film, starring Jake Gyllenhaal and Anne Hathaway, is based on Jamie Reidy’s memoir Hard Sell: The Evolution of a Viagra Salesman, about the cutthroat world of pharmaceutical sales.
CD Sanja Hays just wrapped Sony/Columbia’s apocalyp-tic thriller Battle: Los Angeles, which was ironically shot in Shreveport and Baton Rouge. Also in Shreveport, CD Christopher Lawrence is re-teaming with Simon West on the thriller The Mechanic, starring Jason Stratham for Mil-lennium Films. On location in Kentucky and Louisiana, CD Michael T. Boyd designed the period film Secretariat. The Disney feature is about the legendary stallion “Big Red” who won 1973’s Triple Crown, and stars John Malkovich and Diane Lane. CD Julie Weiss designed Ms. Lane’s costumes, and Lois De Armond served as Michael’s assistant designer. In Atlanta, CD Ruth Carter is designing Tyler Perry’s For Colored Girls. The Lionsgate film is based on a play made up of 20 poems of love, abandonment, abuse and other issues faced by African-American women in contemporary society. Mary Zophres is gearing up for her next Coen Bros. col-laboration (could this be number 10?!) the remake of True Grit, 1969. ACD Jenny Eagan will be sharing the reins in Austin and Park City. CD Susanna Puisto finished work on MacGruber, a comedy based on the Saturday Night Live parodies of the late ’80s action/adventure TV show Mac-Gyver. Shot in Albuquerque, NM, the film stars Will Forte and Val Kilmer.
In and around NYC, CD Susan Lyall and ACD Amy Ritch-ings have begun photography for Summit Entertainment’s The Beaver, starring Mel Gibson and Jodie Foster. Ms. Foster is also directing the film. CD Carol Ramsey is also in the Big Apple designing the action-packed comedy The Other Guys starring Will Ferrell and Mark Wahlberg as an unlikely cop-buddy duo. Teaming up with Ramsey are CD Ellen Fal-guiere as ACD and Lois De Armond as Illustrator/ACD. CD Erin (Topaz) Lareau was part of a team of costume design-ers whose work is featured in the Michael Jackson film, This Is It. Erin designed costumes for dancers, aerialists, backup singers, and even provided crystallized guitars with match-ing straps for the band! Erin’s fall was busy as well: she de-signed costumes for VH1 Divas Live, the Scream Awards, and two commercials: Healthy Choice (starring Don Lake and Julia Louis Dreyfus) and the DIRECTV campaign.
CD Jacqueline Saint Anne recently designed Owen Win-grave at the Chicago Opera Theatre. Here at the Pasadena Playhouse this November, CD Lizz Wolf designed a produc-tion of the 1960’s musical Baby It’s You, which is headed to Broadway. In September, CD Monique Long styled an info-
mercial for Knockout Abs. CD Marilyn Vance is busy with a film creation of her own, a series entitled Verotique. Ghost Lovers, the first erotic thriller in the series, has Marilyn serv-ing double duty creating story content as well as directing. CD Cendra Martel is balancing the roles of production and costume designer.
BOLDFACE ENTREPRENEURSCD Johnna Lynn has created a custom guitar strap and ac-cessory company, Copperpeace. CP’s custom guitar straps were featured in the film Fame, worn by both Kevin Skinner and Drew Stevyns on America’s Got Talent, and are favored by many established and up-and-coming bands. Please visit
copperpeace.com. CD Kathryn Langston Orindgreff has been working on her Etsy store, making children’s clothing, eco-friendly gift bags, and more! Check out: www.redket tleco.etsy.com. CD Liuba Randolph started a business with her mother called Little Popka, which makes customized and embroidered hooded towels for babies and toddlers. Contact Liuba for details: [email protected].
After being featured as a couturier for Vogue’s Fashion Night Out, CD Diana Orr started a couture business called Capstone Couture Designs. Diana creates one-of-a-kind
CD Lee’s Fresh Beat Band
90210, CD Frank Helmer
Lawman, CD Ane Crabtree
CD Randolph’s Little Popka
Lynn’s custom Copperpeace guitar strap
by Daphne Merkin, detailed Phillips’ life and work. Fashion photographer Jean-Baptiste Mondino took this cool portrait for the piece. Check out the excellent article at: http://www.nytimes.com/indexes/2009/08/16/style/t/index.html#pagewanted=0&pageName=16phillipsw&. Mad Men CD Janie Bryant worked diligently to put a face to the Designer behind the scenes contributing to several projects during the series’ third season. The Oprah Winfrey Show featured a Mad Men–themed episode, for which Janie created original dresses for both Oprah and Gayle King. Simultaneously, Brooks Broth-ers debuted Bryant’s exclusive ’60s-inspired Mad Men suit in select stores; and Variety’s prestigious Women’s Impact Report ’09 featured an article about Mad Men’s “spillover effect” into contemporary fashion. In the same report, CD Catherine Marie Thomas was interviewed about her
dream design job for HBO’s biopic Grey Gardens as well as other aspects of her career, including her styling for Women’s Wear Daily. To read both articles, got to the link and scroll down to “Below the Liners:” http://www.variety.com/index.asp?layout=hottopic&id=womensimpact09. This October, Entertainment Weekly’s “On the Set” covered CD Tom Broecker who divulged juicy informa-tion about gay pirates and chicken suits on the set of his show 30 Rock. Check out: http://www.ew.com/ew/ar ticle/0,,20309487,00.html. CD Mary Zo-phres was profiled by Tina Daunt for the Los Angeles Times (Image, Nov. 11). She shares her thoughts about dressing her 1967 characters for A Serious Man from the undergarments out, “whether you’ll see them or not” and how she still “gets those fitting-room butterflies when costumes and charac-ter kind of click.” http://www.latimes.com/entertainment/news/la-en-costumezophres11-2009nov11,0,3401228.story
42 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 43
clothing for her clients and works with recycled and renew-able textiles. Her couture creations are available exclusively through Roseark www.roseark.com. Diana is also designing exclusive burlesque costumes with the famed dancer and designer Catherine D’lish.
BOLDFACE PRESS The New York Times magazine’s 5th Anniversary Fashion Issue prominently featured CD Arianne Phillips’ illustrious career. The blockbuster article, “Who’s That Girl?” written
BOLDFACE NAMESBOLDFACE ENTREPRENEURS
Zophres’ LA Times “Image”
CD Phillips “Vogues” for The NY Times
Bryant’s designs for Oprah & Brooks Bros.
Diana Orr’s couture
IN FOCUS
In September, CDs Hope Hanafi n and Robert Blackman gave a presentation at DreamWorks Animation entitled Cos-tumes and Storytelling, which highlighted some of Bob’s award-winning contributions to both the Star Trek juggernaut and TV’s Pushing Daisies. The seminar, broadcast throughout the campus, was also intended to stress the importance of collab-oration with Costume Designers on animated projects. Hanafin also contributed to a fun article this fall about “political” Hallow-een costumes on the website The Hill. Read it: http://thehill.com/capital-living/cover-stories/65265-a-capi tol-hill-halloween. CD Kristin Burke was tapped by Copley Center Director (and former CDG President) Deborah Landis to teach an MFA class at UCLA this fall entitled “Costume Design for Film: From Con-cept to Camera.” See related story on page 28.
BOLDFACE HONORS
CD Colleen Atwood re-ceived the Hollywood Film Festival Award for Costume Design on October 27 at a black-tie gala in the Beverly Hilton Hotel for her work on this year’s Public En-emies and Nine. Director/presenter Michael Mann spoke eloquently and at length about their collabo-ration on this year’s En-emies as well as their early work together on Man-hunter (1986). Legendary Costume Designer Ann Roth was honored for her beautiful work on Julie & Julia this year with the 2009 Movieline/Hamilton Behind the Camera Award. Actress Tippi Hedren pre-sented Roth’s statuette at the Highlands Club on No-vember 8 in Hollywood.
Compiled by:Suzanne Huntington [email protected] Fisher afi [email protected]
BOLDFACE NAMES
Hedren & Roth
BOLDFACE EDUCATION
Atwood & Mann
44 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 45
Invictus
Costume Designer:DEBORAH HOPPER
Assistant Designer: TERRY ANDERSON
Tra
uma/
NB
C; T
he F
orgo
tten
/AB
C; V
ampi
re D
iari
es/C
W; A
ccid
entl
y on
Pur
pose
/CB
S; C
omm
unit
y/N
BC
; Hun
g/H
BO
; Gle
e/Fo
x; M
elro
se P
lace
/CW
; Mod
ern
Fam
ily, E
astw
ick,
Cou
gar
Tow
n, F
lash
For
war
d/AB
C
Accidentally on Purpose
Costume Designer:LINDA BASS
Community
Costume Designer:SABRINA ROSEN
Trauma
Costume Designer:JILL OHANNESON
Modern Family
Costume Designer:MARISSA BORSETTO
Eastwick
Costume Designer:EDUARDO CASTRO
The Forgotten
Costume Designer:LUKE REICHLE
Vampire Diaries
Costume Designer:JENNIFER BRYAN
Hung
Costume Designer:ALIX FRIEDBERG
Glee
Costume Designer:LOU EYRICH
Assistant Designer: JENNIFER EVE
Melrose Place
Costume Designer:EMMA TRASKAssistant Designer:
DANIEL MUSTO
Flash Forward
Costume Designer::MARI-AN CEO
Men Who Stare at Goats
Costume Designer:LOUISE FROGLEY
Surrogates
Costume Designer:APRIL FERRY
Assistant Designer: DONNA BERWICK
Illustrator: JACKIE WAZIR
Where the Wild Things Are
Costume Designer:CASEY STORM
Zombieland
Costume Designer:MAGALI GUIDASCI
Assistant Designer: JOULLES WRIGHT
A Single Man
Costume Designer:ARIANNE PHILLIPS
The Invention of Lying
Costume Designer:SUSIE DESANTO
Amelia
Costume Designer:KASIA WALICKA-
MAIMONEAssistant Designer:
CORI BURCHELL
Motherhood
Costume Designer:SUSAN LYALL
The Lovely Bones
Costume Designer:NANCY STEINER
Assistant Designer: JILL LOSQUADRO
Up in the Air
Costume Designer:DANNY GLICKER
Assistant Designer: MICHELE K. SHORT
WHAT’S ON WHAT’S IN
Zom
biel
and/
Col
umbi
a; T
he I
nven
tion
of
Lyi
ng/W
arne
r B
ros.
; A S
erio
us M
an/F
ocus
Fea
ture
s; A
mel
ia/F
ox S
earc
hlig
ht; S
urro
gate
s/T
ouch
ston
e; M
en W
ho S
tare
at
Goa
ts/O
vert
ure
Film
s; T
he L
ovel
y B
ones
/Par
amou
nt;
Mot
herh
ood/
Free
styl
e Re
leas
ing;
A S
ingl
e M
an/T
he W
eins
tein
Co.
; Inv
ictu
s/W
arne
r B
ros.
; Up
in t
he A
ir/P
aram
ount
; Whe
re t
he W
ild T
hing
s A
re/W
arne
r B
ros.
A Serious Man
Costume Designer:MARY ZOPHRESAssistant Designer: JENNY EAGAN
Cougar Town
Costume Designer:KIM TILLMAN
46 The Costume Designer Fall 2009
SCRAPBOOK
April Ferry gets cozy with James Woods & Glenn Close, Immediate Family, 1989