the costume designer summer 07

October 26th - 29th • The California Market CenterHeld in conjunction with LA Fashion Week

Meet the Best Fine Jewelry Designers at

Introducing In Front—an exciting new event showcasing the best in fine jewelry to buyers, costume designers and stylists. Presented by National Jeweler magazine, the jewelry industry’s fashion “turn-to,” In Front brings the worlds of fine jewelry and fashion together at the California Market Center, October 26-29, 2007 during LA Fashion Market — Spring ’08.

Imagine thousands of new fine jewelry designs, all under one roof alongside the designer fashion apparel featured on the runway.Costume Designers are invited to meet key and cutting edge designers directly. Form the relationships you need with the artists that can help you elevate your work to the next level.

To register and formore information, go towww.njninfront.com

FEATURES

vol. 3, issue 3

Summer 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] BabcockInanna Bantu

Nicole BeckettAlycia Belle

Livba BelyanskyJennifer Eve

Audrey FisherMarcy Froehlich J.R. Hawbaker

Katrin Hoffman

Hillari JamesTashiba Jones-Wilson

Jill KliberEstee OchoaJude Orlando

Beth PasternakQ Quamie

Bess StansellLouise de Teliga

Diana Tenes

The CDG Office and committees wishto thank the following members for

their generous volunteer work.

COVERCostume Designer Robert Turturice’sdesign for Bette Midler in the televisionEarthday Special. Photo: Greg Gorman (1989)

Our New LocationCDG moves headquarters . . . . . . . . . . . . . . . . . . . . . . . 14

FIDM/ATAS“The Outstanding Art of Television Costume Design” . . . . . . . . . 16

EmmyQ&A with the nominees. . . . . . . . . . . . . . . . . . . . . . . . 18

Comic-Con CDG Costume Design panel & costume competition . . . . . . . . . . 22

Designers ExpressAn interview with Robert Turturice . . . . . . . . . . . . . . . . . . 24

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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

The Costume Department. . . . . . . . . . . . . . . 26Meet the IllustratorsHistory of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Boldface NamesLocation, Location, Location: Louisiana

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

DEPARTMENTS

4 The Costume Designer Summer 2007

h…ch…ch…changes. Change is in the air!Celebrating our accomplishments and spotlight-

ing our members has been our general theme andfor the past nine years we have taken the opportunity tosharpen the film community’s focus on who we are and whatwe do. We launched our awards, improved the website andcreated an entire publishing tradition with the Newsletter and

CDG magazine, The Costume Designer! We now step into a higher echelon of collaboration with the move into

the International Center of Design for the Moving Image where we occupythe FIRST floor!

Our membership in the HollywoodChamber of Commerce opens the door forus to participate in the explosion of growthand new blood that is flowing in the re-gen-eration of Hollywood.As you turn the pagesof this issue you will see that the air of pro-active change is everywhere.

The exhibits and the events of the pastand coming months are proof that theartistry of Costume Design is not only achronicle of our social experience, it is avery important part of the world view andcelebration of humanity which everyone finds fascinating.The articles andimages inside take you there. We extend heartfelt gratitude to FIDM, ATAS,and Mary Rose for the beautifully curated television exhibit and to DeborahLandis, Mary Malin, Susan Nininger and the entire Film Festivals andExhibitions team that presented another enthusiastically received CostumeDesign panel at Comic-Con.

Take each of the steps with us toward being 100% pro-active in your careerand in your community. Enjoy the success that has been achieved by yourExecutive Board,Officers & staff;with your support we are really going places!

Sharon DayGuest Editor [email protected]

EDITOR’S NOTE

C

Change your thoughts

and you change your

world.

— NORMAN VINCENT PEALEU.S. CLERGYMAN (1898 - 1993)

“”

EDITOR/PHOTO EDITORDeena Appel

ASSOCIATE EDITORSharon Day

MANAGING EDITORCheryl Downey

PRESIDENT Dr. Deborah N. Landis

[email protected]

VICE PRESIDENT Pamela Shaw

[email protected]

SECRETARY Barbara Inglehart

[email protected]

TREASURER Mary Rose

[email protected]

MEMBERS AT LARGEDeena Appel

[email protected] Hanafin

[email protected] Saint Anne

[email protected] Ramsey

[email protected]

BOARD ALTERNATESValerie Laven-Cooper

[email protected] Day

[email protected] Wagner

[email protected] Malin

[email protected]

ASST. COSTUME DESIGNER REP. Audrey Fisher

[email protected] ILLUSTRATOR REP.

Robin [email protected] COST. DESIGNER REP.

Susan [email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Chally

[email protected] Matthews

[email protected] Cunliffe, Alternate

[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 x229

[email protected]

IMPORTANT DATES 2007

Executive Board Meetings7 PM, New CDG Offices

September 10October 1 (New Board & Trustees sworn in)November 5December 3

General Membership MeetingOctober 8 7 PM, New CDG Offices,(New Board,Trustees, Delegatesintroduced to membership)

SAVE THE DATE!

10TH ANNIVERSARYCDG AWARDSFEBRUARY 19,

2008

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

West CoastScott Anderson323-650-8875

East Coast201-708-1600

Toll Free800-227-1724

[email protected]


Dear Friends,oodbye! As of October, I will no longer have the privilege of serving you as President.The letter belowis a portion of my first newsletter column published on November 30, 2001. During my two 3-yearterms much has been achieved. But as you may judge for yourself—there is much, much more to do.Now,at the cusp of our upcoming election, I urge you to make these goals a reality. Above all else; stick

to a Strategic Plan with benchmarks. Elect fresh leadership and give them the opportunity to serve you. Demandaccountability. Remember always—you are the boss at the CDG.

“Dear Friends, Brothers and Sisters of 892,The following list of ‘Goals’ is a culmination of thoughts, ideas, and aspirations culled from a survey of our

members attending the October 22, 2001 General Membership Meeting. Each member listed both the major goals they hoped theGuild could bring about—and their major gripes. ‘Goals’ simply represents a starting point for my short tenure as President.Without the participation of our talented membership, nothing on this list will be accomplished; and time will continue to standstill at this Local. Please decide not IF you will contribute, but how. Reevaluate your commitment. Forget the past. It is the futureof Costume Design and Costume Designers that we can change together. Clearly, there is a consensus about what our memberswant.

Improve 892 Infrastructure: Education: Raise Respect for Costume Design Through Education. Create basic train-ing courses for members and a required seminar for new members. Speakers Bureau: Designer outreach/connect toDGA/SAG/PGA and universities. Design Symposium/Film Festivals: Raise status and awareness of Costume Design. RetiredDesigners: Include retired/inactive members in all events and programs. Biography/Oral History: Establish an annual sched-ule of oral histories. Board Education: Seminar on Union Law, AFL/CIO Labor Education, Roberts Rules of Order, BoardCommunication. Guild Library: Establish a library fund for costume research materials. Newsletter: Publish on a regular sched-ule. Website: Create one.

892 Intermediate and Long Term Goals: Financial: Balance Budget and Createa Line Item Budget. Trustees: Create positions. CDG Awards: Financiallyindependent/solvent. Dues: Tie dues to IA contract at 3% a year. Organize: CommercialDesigners and Stylists. Merchandizing: Revise existing non-representation when mem-bers’ designs are exploited beyond the actual production. TV & Film Contracts: Convenetelevision/film designers/assistants/illustrators to evaluate current standards ofcontracts/deal memos. Credits: ‘Up Front Credits’ for television designers. Artist’s Rights:USA829 Keeps Their Sketches… Why Can’t We? IATSE: Increase union visibility andimprove communication with President Short, strengthen bond with 705 and IA Locals.Publicity: Hire a full-time publicist and upgrade relationship with the press. Promote ourmembership. Create a Strategic Plan and Mission Statement. Establish a Building Fund:For our future financial security.”

What I wished for the CDG on November 30, 2001, is what I wish for us today—remu-neration, recognition and respect. Now it is up to you to make it happen.

Thank you for a wonderful six years.

In Solidarity,

[email protected]

PRESIDENT’S LETTER

UNION LABEL

G

NEW MEMBERS

Left to right:Alexa BabcockJennifer EveMary Rose, CDG Treasurer Darragh MarmorsteinJoyce Kim LeeKaren MathiesonWendy GreinerBrian ValenzuelaLouise de Teliga

What I wish for us today isremuneration,

recognition andrespect. Now it isup to you to make

it happen.

— DEBORAH LANDIS

“

”

TheCollectionAT

WESTERN COSTUME COMPANY

Dedication To

ExcellenceSINCE 1912

WESTERN COSTUME COMPANY

11041 Vanowen Street, North Hollywood CA 91605Phone: (818) 760-0900 • Fax: (818) 508-2190

www.westerncostume.com

Dear Friends,mbrace change!”was some of the best advice I’ve ever been given. Big changes are in the air for ourgrowing CDG.As of August, Design Central will be the corner of Radford and Ventura where Costumeand Production Designers will gather as peers.Both crafts are vital to visualizing the story, so our 700members and the ADG’s 1,500 members are clearly natural allies. Putting these two design power-houses under one roof is a natural fit, and we thank the ADG for making this financially viable for us.

We are “not in Kansas anymore!” The Board and staff look forward to welcoming you there soon.Also in August, you will be receiving your ballots to vote for the next CDG leadership team. It’s time to salute and

thank the present Officers and Board for their truly countless hours of charting new waters and building new founda-tions.With smart talk and big dreams, this Guild’s forward momentum can’t be missed. I join Beth Pasternak and her

entire Election Committee in urging you to take pride in your Local and vote.Like the IATSE,which is constantly growing by organizing nonunion films, the CDG has already grown past the 700-member mark.Helping

service all of you is our new Receptionist/Secretary,Cheryl (nice name!) Matthews.We sure aren’t a small Local anymore.Our new members bringan abundance and diversity of talent. It is inspiring to see them literally glow with pride when they join our ranks and volunteer for committees.Our leadership and its Education Committee will be offering more seminars as well as social opportunities to learn from each other in our newdigs that afford the wonderful space we lacked in our old offices.

I hope the changes in your lives involve new jobs that pay more! On July 29 all CDG scale wages increased at least 3% while the amount con-tributed to your Individual Account Plan went up 1⁄2%. In these times of pension cuts, endangered health coverage, and threatened wage freezes,we in the IATSE are blessed with steady benefit and salary increases.Our strength is in our numbers and leadership. Thank you,President Short!

Remember, work all you can, and save all you can, because a work slowdown is inevitable in 2008. Meanwhile, phone in your work, unionAND nonunion, fax in your deal memo, write down your hours on your time card and in your log, then get that log to me for future negotiatingstrength.Embrace change! Cheryl [email protected]

“EFrom the Desk of theExecutive Director

UNION LABEL



UNION LABEL

Box and Car Rentals

ith the onslaught of tech-nology over the last fewdecades, the tools of ourtrade have dramatically

changed. Our box no longer consistsof just art and sewing supplies. Thelist of our electronic equipment hasgotten longer and more expensive.

Some members have recentlyencountered problems negotiating for a box or car rental.Most companies require our designers to e-mail fitting photosto production and studio execs, to keep detailed computer-ized inventory lists, and to keep accurate computer account-ing of all budgetary expenditures. These tasks need specialequipment and software to meet this requirement. If a compa-ny does not want to pay a fair box-rental price, then providethem with your box-rental list and ask them to purchase theitems you need in lieu of a box rental.

Ask the company to provide the computer, printer, videoequipment, digital camera, photo printer, Polaroid and 35mmcameras, fax machines, adding machines, software programs,racks, aging tools, jewelry, art supplies, sewing supplies, etc.,that you will need to do your job. When you are asked by acompany to provide the “value”of your box equipment,be sureto use replacement cost as the “value price.”

The car allowance is also under attack.We are no longerprovided with a “driver and company vehicle” to take us tostores, rental facilities, work rooms, fabric stores, stages, etc.,that are spread all over the greater Los Angeles area. The carallowance was put in place to compensate members for thecosts involved with providing their own vehicle. The insur-ance, wear and tear, and gas costs were included in a carallowance but now the car allowance which is taxable barelycovers the high cost of gas for a week.

If your production does not want to pay a fair carallowance or mileage, then do not provide a vehicle to them.Ask them to provide a company car, complete with gasoline,and insurance, to be used during the day while on companybusiness.

Be fair with production about what you need in order todo your job but expect fairness in return.Stand up for yourselfand refuse to subsidize production out of your own pocket.

Rachael [email protected]

Assistant Executive Director’s Report

W

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resident Thomas Short has askedus to contact our Congresspersonor Senator to vote for theEmployee Free Choice Act (EFCA)

and with a new Democratic majority inCongress there is finally a chance tobreathe new life into an employee’s rightto organize. Here are the three criticallyimportant points if it becomes law.

• EFCA would require employers to recognize a union if amajority of the workers signed cards authorizing union rep-resentation.

• The Act would increase the penalties for unlawful conduct inorganizing. Employers who willfully break the law duringorganizing or negotiations for a first contract would face civilfines of up to $20,000 per violation, and employees who areunlawfully fired in such circumstances would be entitled totriple back pay.

• The Act would provide for mediation and binding arbitrationwhen negotiations for a first contract fail.

The Employee Free Choice Act presents the first opportunityin years for a change in federal law that could actually improve anemployee’s ability to negotiate for better lives.

Write, e-mail, or call your Congressperson or Senator to tellthem to vote for the bill.

Betty Madden, CDG Labor [email protected]

Labor Report

UNION LABEL

picture it...at SonySony Pictures S tudios

310•244•7260WWW.SONYPICTURESSTUDIOS.COM

C O S T U M E S• Extensive selection • Full service workroom • Made to order, alterations, fittings• Prep spaces, laundry & dye room

P


CDG 2007 Election Update

The Election Committee has determined that an additional candi-date has timely accepted a nomination for Delegate: Monique Long,Assistant Costume Designer.

Two candidates for Delegate,Bess Stansell and Dana R.Woods havewithdrawn.

In addition,Roemehl Hawkins has reclassified to Costume Designer,and therefore is ineligible to run for the Assistant Costume DesignerRepresentative category.

The final list of candidates for the three-year term of Delegate is:Sharon Day, Cheryl Downey, Hope Hanafin, James Lapidus, ValerieLaven-Cooper, Kresta Lins, Monique Long, Betty Pecha Madden,Jacqueline Saint Anne,Rachael Stanley, and Amy Stofsky.

Election Committee members (L to R):Wendy Greiner, Louise de Teliga,Marcy Froelich, and Beth Pasternak(chair) presided over District 2 Delegateelection and nominations for new Board,Officers, Trustees & Delegates at GeneralMembership meeting May 21, 2007.

UNION LABEL


3rd ANNUAL HOLIDAY CARD:DEADLINE EXTENDED! For all of youwho need a little extra time to create yoursubmission for this year’s CDG Holiday Card,we have extended the deadline to the GeneralMembership Meeting on October 8. Pleaseremember that the cards cannot have imagerythat is specific to Christmas,or other religiousholidays, and should follow a more generalholiday theme,related to the winter season orthe new year. Think festive, glamorous, etc.Please try to avoid a palette associated with aspecific religiousholiday (such asred and green forChristmas, please).It should relate tocostume in someway,as it representsthe Guild to otherLocals and associ-ates. The imageshould be propor-tional to 5" x 7".

This is open toall members! Getcreative and bringit to the meeting orif you are unable to attend the meeting, sendmaterial to the CDG Office.Thanks to thosewho have already submitted! Thanks,Robin Richesson, Card Committee (562) 491-3501

IA DISTRICT 2

From left: Betty Madden, CherylDowney, Hope Hanafin, AmyStofsky, Rachael Stanley at IADistrict 2 meeting in San Diego.Also attending the conventionwere Vice President Pamela Shaw,Tashiba Jones-Wilson, andJacqueline Saint Anne.

The 2006 holiday card illustrated by Lois De Armond

THE COSTUME DESIGNERS GUILDLAUNCHES ITS NEW WEBSITE

•featuring improved site navigation•better access to view the gallery of

members’ portfolio samples•more user-friendly members-only site,

with more intuitive screens for man-aging account info and uploadingimages to the gallery

•online technical support for the website

•easy member ability to update phone,address, agent, etc.

Let us hear how you like it!

www.costumedesignersguild.com

ANNOUNCING OUR WEBSITE


aturday,August 4, was moving day for theCostume Designers Guild! After months ofresearch, discussion and reflection, theCDG Executive Board, with a unanimousvote of all present, made the decision toaccept the generous offer of the ArtDirectors Guild and move our member-ship offices to the ground floor of theirIATSE Local 800 building at 11969 Ventura

Boulevard, on the northeast corner of Radford, in the heart ofStudio City. The ADG purchased the 17,500-square-foot buildingin 2005.The first-floor space was remodeled for our offices underthe supervision of the CDG design committee,Mary Rose,HopeHanafin,Cliff Chally,Sharon Day, Jacqueline Saint Anne along withCommercial Production Designer Christy Belt, a member of theADG Board of Directors,who also helmed the recent renovationof the ADG’s second-floor offices. The shared offices will bereferred to as the “International Center of Design for the MovingImage,” and serve as the creative home for both CostumeDesigners and Art Directors.

Anyone who visited our Woodman offices clearly recognizedour cramped quarters, boxes stacked in corners, and the lack ofspace for meetings, let alone how our home did not reflect theaesthetic sensibilities of our membership.Your Board and staff feltthis was a once-in-a-lifetime opportunity to open the door for amore collaborative relationship with our peers, the ArtDirectors—one that we are confident will enhance the industry’sperception of Costume and Art Directors as the “Design Team.”

Our new offices will offer many amenities that members willboth appreciate and find professionally advantageous.The mostbasic improvement is, of course, our location: now we are right

next to CBS Radford Studios and Samuel French,down the streetfrom Warner Bros.and Universal,right beside all the bustling busi-nesses of Ventura Boulevard, and just over the hill fromHollywood. On a practical level, we will gain several hundredmore square feet of office space, giving our executives CherylDowney and Rachael Stanley, as well as administrative assistantSuzanne Huntington,and receptionist/secretary Cheryl Marshall,the room they desperately need to accommodate the daily busi-ness of our growing Guild.Thanks to the ADG’s spacious ground-floor meeting room which seats 90,the CDG will now be able tohold both General Membership and monthly Executive Boardmeetings at our home office, and yes, there is ample parking forall in the evenings in our shared,dedicated parking lot.Access tothis meeting room will also afford us the opportunity to move for-ward both creatively and educationally by hosting seminars,workshops, exhibits and committee meetings in a gracious andcomfortable environment. Our extensive research library willnow have the breathing room it needs. Last but not least, ouroffice will have wireless Internet access,so that members can sim-ply drop by to get online or do research any time during officehours.

We invite all of you to come by and check out the CDG’s newdigs.We know that our members will be thrilled with our newhome,and we sincerely hope that this new space serves as a prac-tical office away from home for our members, both a place oflearning where we can share ideas about our craft and our Guild,and a professional environment in which we can conduct impor-tant CDG business.The welcome mat is out!

Audrey [email protected]

Our

SNewLocation

1

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3

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8


he Academy of TelevisionArts & Sciences and theFIDM Museum & Galleriesat the Fashion Institute ofDesign & Merchandisingare jointly presenting“The Outstanding Art of

Television Costume Design,” the secondannual exhibition, showcasing a retro-spective of TV’s most memorable cos-tume designs from the past and present.The exhibition also salutes the work ofthis year’s Emmy-nominated CostumeDesigners and Costume Supervisors.

For the second year, the guest curatorand organizer of this exhibition is notedCostume Designer Mary Rose, a longtimemember of the Costume Designers GuildExecutive Board and fourth-termGovernor for the Costume Design andSupervision Peer Group of the Academy.Rose, a designer for feature films, televi-sion/cable series and movies, has beenthe curator of numerous costume exhibi-tions in the United States and abroad.

“This year, we’ll feature costumesfrom shows such as Ugly Betty byCostume Designer Eduardo Castro, 24designed by Jim Lapidus, Cold Casedesigned by Maria Schicker, Brothers &Sisters designed by Laura Goldsmith,Jericho designed by Nicole Gorsuch,Desperate Housewives designed byCatherine Adair, Friday Night Lightsdesigned by Karyn Wagner, Entouragedesigned by Amy Westcott, The Tudors byCostume Designer Joan Bergin, Jane Eyreby Andrea Galer, and many more,” sayscurator Mary Rose. This free exhibitionends Sept. 29.

4TCelebrating

Television Design

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DESPERATE HOUSEWIVES Costume Designer: Catherine Adair

Costume Supervisors: Joyce Unruh Goodwin & Karo VartanianAssistant Costume Designer: Jacqueline Wazil

What attracted you to this project? Leading women who were all different, friends, and beautifully writ-ten scripts with wicked wit and subtly at the same time.What is the most challenging aspect of the show?The most challenging aspect of the job outside of the awful relentless time crunch of a one-hour episod-ic, is trying to make sure the designs stay true to each of the characters.Wisteria Lane is a time warpwhere things are both contemporary and familiar and keeping that balance is a daily test.What part ofthe job is most fulfilling?What I love is when people seek me out with a smile on their face and tell mehow much they love the show,the storytelling and the characters my crew and I bring to life each episode.

ROMECostume Designer: April Ferry

Costume Supervisors: Augusto Grassi & Uliva PizzettiWhat attracted you to this project? Ancient history has always been my favorite subject so thiswas a great opportunity to study it even more extensively.What is the most challenging aspect ofthe show? The enormity of overlapping episodes and keeping it all straight in my concept.Whatpart of the job is most fulfilling? Seeing it on screen. I’m really proud of the work and my entirecrew!

THE TUDORSCostume Designer: Joan Bergin

Costume Supervisors: Ger Scully & Jessica O’LearyWhat attracted you to the project? Attraction: perversity. Having read the first two episodes ofThe Tudors, I didn’t think it possible within the parameters of a TV series.What is the most chal-lenging aspect of the show? Having just been into the intrigue of period deconstruction on ThePrestige (Victorian gothic), I wondered if it could be applied to the vast scale of The Tudors.Showtime’s concession was to let me use my feature film crew and highly skilled workshop.Whatpart of the job is most fulfilling? It was fulfilling to let the clothes be dictated by the myriad char-acter development of each actor.

UGLY BETTYCostume Designer: Eduardo Castro

Costume Supervisor: Michael ChapmanWhat attracted you to the project? Attraction? Ability to design for a wide range of such interesting char-acters is constantly rewarding.What is the most challenging aspect of the show? It’s most challenging tryingto get actors into fittings! What part of the job is most fulfilling? I’ve never received this much response andpress focused on costumes on a show; they’re even doing a book about “the Betty look.” It’s been exciting.

Emmy Nominees:Outstanding Costumes for a Series

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DEADWOODCostume Designer: Katherine Jane Bryant

Costume Supervisor: Le DawsonAssistant Costume Designer: Andrea Sweet

What attracted you to this project?The opportunity to couple Victorian era ascetics with our wild Americanculture made me absolutely ecstatic!!! What is the most challenging aspect of the show? Maintaining the amountof texture, filthiness, and distress needed to reflect the harshness of the lifestyle in Deadwood.Making sure eachand every actor, became individual characters with their own unique back-story, and yet represented the peri-od.What part of the job is most fulfilling? I love the process of sketching, swatching, and collaborating with mycutter/fitter.Seeing a costume go from an image in my mind to a 3D reality is the most rewarding thing for me!!

BURY MY HEART AT WOUNDED KNEECostume Designer: Mario Davignon

Assistant Costume Designers: Micheline Rouillard & Jill BlackieWhat attracted you to this project? I was attracted first to work again with a director I believe in,YvesSimoneau.Also, the subject and novel were so good. What is the most challenging aspect of the show?Thechallenge was that we started the film with bright colors for the natives, black and white for the white peo-ple. Color disappeared so that at the end of the movie, the natives were assimilated into black-and-whitecostumes also.What part of the job is most fulfilling? Most fulfilling for me is to try to reproduce the actu-al. I sketch and manufacture for the cast and seldom rent. I appreciated working on a movie that tried toexplain what actually happened so people really know the truth.

JANE EYRECostume Designer: Andrea Galer

Costume Supervisor: Sally CreesWhat attracted you to this project? I had worked with Susanna White on Bleak House and apartfrom the fact that Susanna is an inspiring person and director—so were the scripts. Having doneseveral 19th-century productions—I could bring a fresh mindset to how Jane and Adele eye’s sawthese people.What is the most challenging aspect of the show? Making the budget work.What partof the job is most fulfilling? Seeing how Susanna and Mike Eley shoot it and Ruth Wilson rose to thecharacter with such passion and produced such an interesting interpretation of the book.

Emmy Nominees: OutstandingCostumes for a Miniseries or Movie

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LONGFORDCostume Designer: James Keast

Costume Supervisor: Sarah MooreWhat attracted you to this project? I was attracted to this project knowing the wonderful actor JimBroadbent was playing Lord Longford, a more pleasant man you could not meet and a wonderful actor. Ialso love the periods in the 1950s–1980s, I love real clothes from this era and since my brief was to makeit look real, what more could I want.What is the most challenging aspect of the show?The most challeng-ing aspect was the budget. NEVER, NEVER, NEVER enough money.What part of the job is most fulfilling?The most fulfilling part of the job is when you know you have done a good job when no one notices whatyou have done in trying to make it look real.My natural style is to underplay the costume, suggest the char-acter without dominating the performance.

THE STARTER WIFECostume Designer: Marion Boyce

Designer Ms.Messing: Debra McGuire Assistant Costume Designer: Vanessa Loh

What attracted you to this project? MB High-fashion pictures are extremely “in” now and Starter Wifedeals with Hollywood where appearance is important.What is the most challenging aspect of the show?DM Debra’s character had more than 80 changes that I charted by scene to visually track the charac-ter arc. Marion brilliantly costume designed the rest of the cast in Australia.The challenge was workinglong distance away from Marion and the director. What part of the job is most fulfilling? MBAnticipatingfuture trends and not being driven by current “it” things so the clothing would not be dated by air time!

BROKEN TRAILCostume Designer: Wendy Partridge

Costume Supervisor: Gerry DubbinWhat attracted you to this project? An opportunity to work with Walter Hill, with his repu-tation of excellence, creating a look for the great Robert Duvall and the essence of the 1890Chinese element. What is the most challenging aspect of the show? The research of SanFransisco 1890 Chinese was difficult because I was determined to give it the most authenticfeeling I could.What part of the job is most fulfilling? Blending the extremely vibrant colors ofthe Chinese with our scenery and other characters. Accomplished by hand painting the cos-tumes with vegetables dyes to create age, subtleties and depth.


TONY BENNETT:AN AMERICAN CLASSIC

Costume Designer: Colleen Atwood Costume Supervisor: Kendall Errair

What attracted you to this project? I was excited to do another musi-cal project with Rob and John.The idea of dance numbers, combinedwith the presence of so many amazing musicians was a once-in-a-life-time opportunity. What is the most challenging aspect of the show?The lack of prep and the limited budget were the main challenges.Wehad to produce everything in two weeks, dress it the day before, or,when we made the artist’s clothing, we had to fit it on the day.Whatpart of the job is most fulfilling? We all got to really pull together as ateam, my gang, sets, lighting, dancers, producers, choreographers, stand-ing in the same room with less than 30 people, watching those per-formances live.

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Emmy Winner:Outstanding Costumes fora Variety/Music or a Special


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omic-Con is an international Mecca for comic-book and sci-fi/fantasy fansand professionals. The participation of Hollywood studios, promotingupcoming films and television productions,has made Comic-Con an attrac-tive showcase for creative collaborators as well.

Organized by Susan Nininger and Mary Malin, the CDG’s dedicatedFilm Festivals and Exhibitions Committee, this year’s panel “DesigningIcons” featured Designers Rita Ryack, Mary Vogt, Mona May, and MichaelWilkinson. CDG President Deborah Landis moderated, her third consecu-

tive year at Comic-Con with the CDG. One excited fan gushed,“This panel has been one of thehighlights of Comic-Con this year and last!”Attendees then lined up for autographs, some totingportfolios. Special thanks to our energetic volunteers from Locals 892, 705, and especially SanDiego Local 495, Studio Mechanics & Stagehands,who helped make our program a success.

Rita Ryack,Mary Vogt and Mona May also participated as judges at the Masquerade CostumeContest with more than 50 contestants.About 5,000 enthusiastic fans were in the audience.Thewinner of the first CDG Award for Outstanding Costume went to the “Anything Goes School ofMasquerade Arts.” A Hollywood set visit, $100 and lucite trophy was presented by PresidentLandis.To sum up SDCC ’07: Joe ‘Spartan’ a 300 fan,decked out in his home-crafted Spartan ‘citi-zen’ gear, was thrilled to meet Designer Michael Wilkinson.“Wow, you designed this?”He lookedincredulous, then very sincerely exclaimed,“If it wasn’t for you, I wouldn’t be here!”

Here’s to the land of Comic-Con where Costume Designers are also super heroes!

Allison Leach [email protected]

C

Clockwise from top left: The “Anything Goes School of Masquerade” won the firstannual CDG Award for Outstanding Costume; CDG Panelists, Rita Ryack, MonaMay, and Mary Vogt, with CDG Festival and Exhibition Chairs, Mary Malin,Susan Nininger; Narnia’s Ice Queen original design by Isis Mussenden; Beetle Juiceoriginal design by Aggie Rogers; San Diego IA Local 495 volunteers, Devin Morris,Terai Lynch, Joyce Henriquez, and Rick Pickett; CDG’s Mary Malin, DeborahLandis, Mona May, Mary Vogt, Rita Ryack and Michael Wilkinson; CDG Panelistssigning autographs.

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ecently, I had the great pleasure to sit downand discuss Costume Designer RobertTurturice’s thoughts and plans for futureprojects yet to come.With 11 Emmy nomi-nations and two terms serving as Presidentof the Costume Designers Guild, Robert’slife as a Costume Designer has spannedmore than four decades and has no limits as

far as his creative boundaries are concerned. Everythingin this prolific Costume Designer’s life reflects his pas-sion for design.This was clearly evident as I sat in his liv-ing room, fascinated and surrounded by his vision andartistic expressions, which come to life in his décor andhis craftwork. His Emmy for Moonlighting is only onemilestone in a long and fruitful career that is still teem-ing with life. It is my pleasure to convey to our member-ship some valuable insight from one of our most talent-ed members.

Tell us about your career, how you began as a CostumeDesigner.At age 12 with the support of my parents,I was doing com-munity theater. Later at age 17, after graduating highschool,I joined the Pasadena Playhouse where I started outin the architectural and scenic design program under theinstruction of John Mula. I moved on to the Inner CityCultural Center but within a year and a half I was back atthe Pasadena Playhouse to serve as the assistant head ofthe Costume Department. At that time (1967) I began tomeet with studio department heads. Ret Turner was thefirst person to hire me on a day call. Every moment ofevery day was a huge learning experience for me.WhetherI was stitching or putting away stock; I listened andlearned all about how the costumes were made. I assistedBob Mackie, Ray Agayan, Bill Belew and Ret who gave memy first TV show to design.At that time I was supervisingand assisting; these jobs were so valuable, I am so grateful!

R


Jude C OrlandoDESIGNERS EXPRESS

RobertTurturiceinterviews

Costume DesignerRobert Turturice11 Emmy nominations

1 award for Moonlighting

4 nominations for Moonlightingin total

1 nomination for Pee Wee’sPlayhouse

1 nomination for Pee Wee’sPlayhouse: Christmas Special

1 nomination for The GamblerReturns: The Luck of the Draw

1 nomination for Copacabana

1 nomination for Gia

1 nomination for Afterschool Special “The Shooting”

1 nomination for Cybill

Can you share some of the lessonsyou’ve learned? Always be as clear as possible about whatyou want to do. Never begin productionwithout making major decisions or hav-ing illustrations approved.When the proj-ect has an overall concept, it can be diffi-cult for everyone to keep that focus whenthe project begins to take on a life of itsown.

It is extremely important for everyonein the department to know what I know.I never go to meetings alone. I want to besure that I heard correctly and that wehave accurate notes.

How important is the Illustrator in yourwork?It is always important, especially on alarger made-to-order project.The illustra-tion is the major source of communica-tion. I always give a book of sketches tothe director, producer, ADs, makeupartist and hairdresser. I want to be surethat each department is on the same page when needing toknow which costumes will take time to fit or may need spe-cial attention. I believe that the illustration is a contract thatI have entered into with the production. I will deliver whathas been agreed upon and approved. It is production’s obli-gation to give me what I need in order to do my job.

How do you deal with budget issues?I will not accept a job without knowing all the details of thecostume budget. If there ever was a day when it was reallyOK if a designer went over budget, for the most part, thosedays are gone. Oddly enough, it does not seem that beingunder budget is the cause for much comment. If in truth thebudget is really tight, you will only really be sure once youstart pre-production and see if the other departments arestruggling with the budget too. If I think I can possibly dothe clothes for the amount budgeted, I will ask for a day withthe script. If it is doable, I accept the project and in my mind,accepting the job is agreeing to do the project for that budg-et. I won’t start with the idea of getting into it and then try-ing to force more money out of production or just expectingto go over. If I feel I cannot do the work with the budgetallowed, I will be clear about that and say I’m sure they willfind someone, but I do not feel that I could deliver the typeof work they would expect when I was hired. I have actual-ly, always had very good response to the honesty and usual-ly I am called in to meet on other projects.

I think that also applies to the salary. If you accept thesalary, however low or high, that is the end of it and your

crew should not have to hear you complain over the nextfew weeks or months. I believe it is imperative that whenmeeting on the budget, you must have the answers and orreasons for each dollar spent on each item. The Designermust know the budget as well as the supervisor, in somecases better. The Designer is the cost-generating entity. Ibelieve it is a partnership.Although I may not deal with theday-to-day book work, I want to be kept informed either dailyor several times a week.

Over the years, do you find that you have developed a sys-tem or a way of organizing that has been helpful to yoursuccess?

I think organization is clearly the key that makes the processenjoyable. Being very well organized makes available time tohandle the always unexpected things that come up withoutbeing afraid that everything will snowball.Also, I have foundthat if there is a crisis, stop, take a breath, and think for amoment and never say or do the first thing that comes to yourmind.

Jude C. [email protected]


THE COSTUME DEPARTMENT

B rian Valenzuela is ournewest addition to our CostumeIllustrator classification, havingjoined us in April.Brian was born

in Southern California and educated at CalState Long Beach under the tutelage of ourown Robin Richesson. At CSLU Brian con-centrated in and became known for his

accuracy in anatomy. He enjoys drawing the figure and thisled to his interest in costuming the figure. Brian justreturned from Comic-Con where he met the entire designer

panel, and they reviewed his portfolioon the spot.While networking in thefilm and TV business, Brian has beenworking with Lemax Collectiblesdoing concept drawings for period-piece miniatures. He draws them in

several views for the company tocreate 3D figures. Brian prideshimself in his adaptability andwas recently displaying thatability in an interview bydoing 15-minute pencil andink sketches for a designer.He is equally adept at mov-ing from his thumbnailsketch, directly into digitalform or to traditional water-colors and gouache. Briansays,“I move fast and makechanges easily.” View hiswork on his website,

B r i anva l enzue l a . com,and e-mail or call at

[email protected]


I llustrator Adam Forman fromAnn Arbor, Mich., moved to Los Angeles twoyears ago. He joined the Costume DesignersGuild as an Illustrator after working with

Costume Designer Michael Wilkinson on 300.Adam,whose background is fine arts, spends much of histime in more explorative art forms and views illustra-tion as a vocational approach to art. His style is

romantic with a dark feel and lends to a couture fashion forward look.Adam feels this gives his work a different look, unlike anybody else’s.His longtime career as a commercial artist makes it possible for him tocollaborate on a project,blending his style with the Costume Designerto create a strong pitch with a director or a producer.

Currently,Adam is working on a graphic novel while anticipatingthe holiday release of Disney’s Enchanted. Adam worked withCostume Designer Mona May on this challenging project that called forhim to work with animators to create animated characters that morphinto live actors and then become digitized.The characters were creat-ed from the illustrated costume cues that became characters in them-selves.The myriad challenges of this project demanded that Adam pullfrom his arsenal of tools that include a strong background of art histo-ry, his 3D work as a tattoo artist, and his comic-book interests.

Adam brings a great deal of personality and edgy style to a proj-ect and looks for intelligent work with a high degree of sophistication.Adam is conversant in all media: digital, Photoshop, pencil and tattooink.View his work and pick up on his attitude by visiting his website:www.oliphanthouse.com

Jacqueline Saint [email protected]

MEET THE ILLUSTRATORS


THE COSTUME DEPARTMENT

aik: A long piece of fabric, usually of cottonor wool, which covers both sexes of theMoslem faith in Algeria and other parts ofNorth Africa. Worn in public, it is drapedover the tarboosh and the body, belted atthe waist and covers the chalwar and pan-taloons.

Hakama: Stiff silk trousers worn byJapanese men.They are slashed up the

sides and the fullness is pleated into astiff belt using six pleats in front andtwo in back.

Haori: The Japanese wear thisblack silk coat over the kimono in thestreet. The women’s version can beeither knee or full length and may be plainor embroidered, while the man’s is kneelength and plain. Instead of wrapping theway a kimono does, the man’s closes withsilk corded ties and the women’s may dothe same or may have a square neckline and

close with snaps or ties.

Hauberk: A hooded, long-sleeved, knee-length garment ofchain or ring mail worn by nobles in the 11th–13th cen-turies. Sometimes split from the waist down for comfortwhen riding. It was belted with leather and worn over a

quilted gambeson.The head was protected bya helmet, the legs and feet by separate

bands of mail.

Havelock: A hood of white, wash-able fabric protecting the neck and cap

of military soldiers from dust and sun.Originally worn by ancient Persian sol-diers, it was adopted by soldiers of the

Civil War.

Heartbreakers: A fashion ofthe 17th century, these wired

curls trembled constantly. As wasthe fashion, they were worn at the nape of

the neck and cheeks.

Himation: The cloak of men and women inancient Greece.The piece of fabric, about 11⁄2by 3 or 4 yards, was made of cotton, wool orlinen and was usually white. It was wornwrapped around the body and then over one

shoulder, usually over the left. It could also beworn by itself and if so, was often belted.

Houppelande: A style of Renaissance, thisvoluminous outer garment originated in the LowCountries, (which today would loosely approxi-mate Belguim, Netherlands and Luxembourg). It

was worn by both sexes and was made of variousfabrics depending on its use and its wearer’s wealth.

For men the neckline was a high funnel-shapedbut later V-shaped and for women it was Vor scoop-necked. Usually a long, trailing and

cloak, it could be made so long the hemline had to be liftedfor the wearer to walk, but it could also be knee length forriding or other activities.And sometimes made as a cloak, itcould be made with sleeves and was filled with wadded cot-ton or fur-lined for warmth.

Hunt Dress: In contemporary fox hunt-ing, the master and hunt officials wear scar-let coats, white breeces, black boots with tantops and black velvet covered, visoredcaps. Members of the hunt wear thesame thing but may also wear black orOxford grey coats, fawn or mustard-yellow breeches and black boots.Ladies have a formal coat which maybe single or double breasted and maybe black, Oxford grey or dark blue.Green is generally worn by the bea-glers and harriers although some huntsare specified green, in which casethe color is worn by all. White shirtsand stocks are worn throughout.

Karyn Wagner [email protected] by Robin Richesson [email protected]

HHISTORY OF DRESS A-Z

BOLDFACE FESTIVALSJustin Ross, Costume Designer for Waiting for Yvette, ashort film which has been accepted in the Palm SpringsInternational Festival of Short Films (the biggest shorts festi-val) which will run August 23–29,2007.The film stars WendieMalick and Stephen Tobolowsky and is directed by JustinRoss. Dances With Films screened the fea-ture Jake’s Closet with costumes designedby Lisa Vandenberghe in WestHollywood on July 7. After a year inPrague working on Prince Caspian, thesecond installment of The Chronicles ofNarnia, Isis Mussenden represented thefilm at Comic-Con San Diego 2007, Sat.,July 28. The Film Festival and ExhibitionsCommittee, chaired by Mary Malin andSusan Nininger, also hosted a CostumeDesign Panel at the Comic-Con.The panelwas moderated by CDG President Deborah NadoolmanLandis and featured Designers Mary Vogt (Fantastic Four:The Rise of the Silver Surfer), Michael Wilkinson (300,Watchmen), Mona May (Enchanted) and Rita Ryack(Hairspray).After the panel,our CDG Designers signed auto-graphs for the fans and judged the Comic-Con Masqueradeand gave a CDG Award for Outstanding Costume. KaranFeder is working with the Liberace Foundation as theirCostume Collection Curator at the Liberace Museum in LasVegas,Nev.She has co-authored Joy of Liberace:Retro RecipesFrom America’s Kitschiest Kitchen, the first book officiallysanctioned by the Liberace Foundation.

BOLDFACE AT WORKCostume Designer Sal Perez is now at work on Moonlight,a new vampire dramafor CBS. ElenaBaranova is costumedesigning the featurefilm Men Don’t Lie,directed by JaneSpencer, to be shot inParis and Romania inAugust. She is also cred-ited as an executive pro-ducer on this project.Lynette Meyer is prep-ping a new film forOverbrook Entertainment/Screen Gems Studios titledLakeview Terrace, shooting in Los Angeles, starring Samuel L.

Jackson, Kerry Washington and Patrick Wilson. Julia Schklairhas been busy as Costume Designer for Side Order of Life andfor the pilot Sarah Connor Chronicles, shot in Albuquerque,N.M. Dorothy Amos will take over as the Costume Designerfor The Ghost Whisperer, now in its third season,with BarbaraInglehart serving as Costume Supervisor.Conan Castro Jr. is

the new Costume Designer for Cold Case,working alongside his Assistant CostumeDesigner, Pablo Borges. Costume IllustratorDerek B. Sullivan is pleased to be design-ing a psychological thriller titled FromWithin, shooting this summer in Havre deGrace, Md. Beth Pasternak recently cos-tume designed an American Express spottitled “Member Project,” directed by MartyScorsese.Costume Designer Nadine Hadersand Assistant Costume Designer AnnetteDunford-Lewis just wrapped HBO’s new

series John From Cincinnati.Costume Designer Louise Mingenbach works with

Assistant Costume Designers Alison McCosh and StacyCaballero on Tonight He Comes (a.k.a. John Hancock) star-ring Will Smith, Charlize Theron, and Jason Bateman. RolandSanchez is returning to Hawaii for the fourth season of Lost.This will be his third season on the show. Jill Ohanneson isworking on an independent surf movie called EndlessBummer and in September she begins work on Swingtown, a’70s TV series for CBS.Aggie Rodgers just wrapped her piggymovie Pig Hunt and is happily chilling out. Astrid Bruckerdesigned the costumes on the film Joshua, to be released byFox Searchlight Pictures on July 6.BJ Rogers is returning for athird season of Criminal Minds after a tiny hiatus. New CDGmember Ari Wald costume designed the feature Waitress,writ-ten and directed by the late Adrienne Shelly.Working alongsideher is her Assistant Costume Designer, Cynthia Obsenares.Danny Glicker has just finished designing two back-to-backprojects for writer/director Alan Ball; one is an untitled fea-ture based on the novel Towelhead and True Blood, a pilotfor HBO, on which Audrey Fisher served as his AssistantCostume Designer.

BOLDFACE ENTREPRENEURSLisa Davis participated in the 705 Job Faire in June, display-ing costumes and handing out swatch rings to promote hergreen screen and blue screen costume rental company, aptlycalled Blues and Greens, LLC. Check out CDG memberRochelle Best’s new website featuring her jewelry designsat www.rochellebest.com. Alexandra Hughes is a partner

IN FOCUS

BOLDFACE NAMES


Barbara Chennault (left), SalPerez and Devon Patterson

Waitress

in her new business called Dancing Dog Design. Herdog apparel for the discriminating dog lover can beviewed at: www.dancingdogdesign.com.

BOLDFACE HONORSMaria Schicker, Costume Designer on Cold Case’sfourth season, will have her designs on display at thepre-Emmys Art of Television Design exhibit at FIDM.Monique Long is being honored by the 2007–2008“Cambridge Who’s Who Among Executive andProfessional Women.”

BOLDFACE PRESSIvan Ingermann is pleased to accept an invitation tojoin the University of Georgia in Athens, Ga., as profes-sor in the MFA program for students in costume designin the Department of Theatre and Film Studies. RitaRyack received wide publicity for her extraordinarydesigns for Hairspray. She was featured in an AccessHollywood segment as well as The L.A. Times and TheBaltimore Sun. Lisa Vandenberghe, a FIDM alumni,was just interviewed for their website and blog in rela-tion to work as Costume Designer on Jake’s Closet,which is being featured by Dances With Films.


Mike Miller, International IATSE Vice President andhead of West Coast IA Office, Cheryl Downey, CDGExecutive Director, and Hope Hanafin, CDG ExecutiveBoard member, attended the UCLA Labor Center’sannual dinner June 14.

SOURCESFABRICPromenade Fabric1520 St. Charles Ave., (504) 522-1488New Orleans, LA 70130

MEN’S BOUTIQUESJohn Pickens6022 Line Ave., (318) 629-6080 John Pickens is the owner

Pope’s526 Benton Rd., (318) 746-0932Bossier City, LA

K&G Fashion Superstore4420 S 1-10 Service Rd., (504) 889-6611Merairie, LA 70001www.kgstore.comSuits

Gentlemen’s Quarter232 Royal St., (504) 522-7139 New Orleans, LA 70130Striking men’s clothing from snazzy casual to formal wear

Ocean Eddie’s Resort Wear831 Royal St., (504) 523-7722New Orleans, LA 70116Give him a taste of Hawaii, no matterwhere he is. Featuring Tommy Bahama,Reyn Spooner and many other qualitybrands

Rab-Dab Clothing & Gifts508 Saint Philip St., (504) 529-3577 New Orleans, LA 70116Great men’s store featuring club fashionfor dancing and partying. Casual anddressy clothing and accessories

BOUTIQUESwww.magazinestreet.com The street is filled with clothing shops,antique stores and good restaurants

Arigato Boutique & Gifts1118 Decatur Street, (504) 588-9965New Orleans, LA 70116Fun boutique featuring colorful kimonosand fashion accessories

Dark Entry516 Bourbon St., (504) 410-2287 New Orleans, LA 70130Gothic- and punk-inspired leather clothingmusic, jewelry and accessories

Designer Wholesale Outlet623 St. Peter Street, (504) 679-0007New Orleans, LA 70116Billed as “handbag heaven”and we’d say that’s true.Tons of fun, eye-catching bags rangingfrom animal prints to studded leatherdesigns

Dress to Kill207 Dauphine Street, (504) 558-9111New Orleans, LA 70112Perhaps the name says it all.Dress to Kill offers cutting-edge fashions,shoes, boots, bags and accessories

Fleur de Paris712 Royal Street, (504) 525-1899New Orleans, LA 70116Old World hats and feminine fashions,handcrafted by resident milliner,Nicole LeBlanc

Frock Candy520 St. Philip St., (504) 566-1133 New Orleans, LA 70116Fun, affordable “up-to-the-minute”fashions for young women

Gargoyle’s1201 Decatur Street, (504) 529-4384New Orleans, LA 70116Alternative street wear in gothic styles for clubbing

Harold Clarke Atelier901 Iberville St., (504) 568-0440New Orleans, LA 70112Stunning haut couture bridal and formal occasion gowns by designer Harold Clarke

Hemline609 Chartres St., (504) 529-3566New Orleans, LA 70116Shoes, clothing, handbags and accessoriesfor the discerning fashionista

Hoi Polloi434 Chartres St., (504) 561-7585New Orleans, LA 70130Airy boutique on Chartres behind theSupreme Court with edge! Trendy fashion accessories, clothing andaccessories for the home

Italy Direct223 N. Peters, (504) 529-8080New Orleans, LA 70130Men’s and women’s Italian designer apparel at wholesale pricesArmani, Brioni, Versace, Pal Zileri,Moschino,Valentino, Fendi

Jackie’s525 St. Ann St., (504) 588-9575New Orleans, LA 70116Unique fashionista-wear. Clothing, jewelryand accessories

Jean Therapy732 Royal St., (504) 412-0040New Orleans, LA 70116“Clothes for the casual lifestyle”Jean Therapy offers a wide range of excep-tional, in-trend denim

Kabuki Design Studio1036 Royal St., (504) 523-8004New Orleans, LA 70116Hats and accessories, handcrafted by milliner Tracy Thomson in her KabukiDesign Studio

Kulture Vulture423 Dumaine St., (504) 410-2322New Orleans, LA 70116A very music-centric clothing store with awide selection of ‘hard’ tees, band mer-chandise and accessories

Limbo1125 Decatur St., (504) 523-3435New Orleans, LA 70116Unisex rave and club clothes and gothaccessories


IN FOCUS

location, location, location:


Minou Minou1309 Decatur St., (504) 586-4800New Orleans, LA 70116Tiny boutique on lower Decatur featuring French lingerie,shoes and accessories on the flirty,sexy,girlieend of the fashion continuum

Natural Discoveries213 N. Peters, (504) 525-1500New Orleans, LA 70112Natural fibers, linen and cotton tropical weight clothing for women

Perlis Clothing6070 Magazine St., (504) 895-8661Upscale men’s, ladies’ & boys’ fashions

Pied Nu5521 Magazine St., (504) 899-4118Dosa, Calypso, Cathy Waterman & Sigerson-Morrison.

Powder Room1303 Decatur St., (504) 525-0402New Orleans, LA 70116A boutique of fun girl gear, with an emphasis on glitter and glam

Royal Boutique803 Royal St., (504) 523-0034New Orleans, LA 70116A small boutique of clothing and accessories from around the world

Tita Maria’s Shop531 Dumaine St.New Orleans, LA 70130Elegant designer of custom hats, gowns and dresses

UAL United Apparel Liquidators518 Chartres St., (504) 301-4437 New Orleans, LA 70130Trendy designer and high-style clothing and accessories atdeep discounts and mark-downs. No frills presentation

Victoria’s Shoes328 Chartres St., (504) 568-0000New Orleans, LA 70130The only place in the Quarter to try on Jimmy Choos andManolo Blahniks.The selection is deep and many times youcan find a sale. According to our mystery shoe shopper, thislittle store “rocks.”

Wehmeier’s Belt Shop719 Toulouse St., (504) 525-2758New Orleans, LA 70130Large selection of fine exotic leather goods,featuring genuineLouisiana alligator. Belts and buckles, wallets, boots andshoes, handbags, accessories and golf bags. P.S. Ask Mr.Wehmeier about the ghost!

Wise Buys534 Chartres St., (504) 524-3004New Orleans, LA 70130Affordable ladies’ designer clothing, especially great jacketsand tops. Really imaginative sales people.

VINTAGE & THRIFTFunky Monkey 3127 Magazine St., (504) 899-5587New Orleans, LA 70115Reasonable ’60s and ’80s clothes

HEIRESSJ E W E L R Y C O L L E C T I O N

THE

As Featured In . . .

ACCESSORIZE WITHONE-OF-A-KIND

VINTAGE COUTURE

602.684.61333 •• www.HeiressVault.comF O R R E N T A L & P U R C H A S E

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

Costume Rentals • Manufacturing • Prep Spaces

Tel: 818.954.1297 • Fax: 818.954.2667

COSTUME DESIGN CENTER

© and ™ 2007 Warner Bros. Entertainment Inc. All rights reserved

continued on page 32


Buffalo Exchange3312 Magazine St., (504) 891-7443New Orleans, LA 70115Reasonable ’60s thru ’80s clothes

Retroactive5414 Magazine St., (504) 895-5054New Orleans, LA 70115Contact: Joe Weise, very expensive

Trashy Diva829 Chartres St., (504) 581-4555New Orleans, LA 70116Exceptional vintage clothing and accessories, including corsets,jewelry, shoes and hats.

Red, White, and Blue Thrift Store6001 Jefferson Hwy., (504) 733-8066Harahan, LA 70123

Grace Note900 Royal St., (504) 522-1513New Orleans, LA 70116Fun vintage clothing and new handmade fashions plus home accessories

MALLSMall of LouisianaBaton RougeSaks in New Orleans:So much is closed on Sundays you could kill yourself...

The Shops at Canal PlaceNew Orleans Saks Fifth Avenue, Brooks Brothers, BCBG, Kenneth Cole, BananaRepublic, Gucci, located on Canal Street at the Mississippi River,where the French Quarter meets the Central Business District

The EsplanadeKenner Macys, Dillards, Mervyns Lakeview Mall in Metairie was the best mall to me in New Orleans

Lakeside Shopping Center3301 Veterans Memorial Blvd.Metairie, LA 70002-8447www.lakesideshopping.comBebe, Georgiou, J. Crew,Williams-Sonoma,Ann Taylor, Dillards & JC Penney I-10 and Causeway Blvd. N., 10 min from the airport and 15 min from downtown New Orleans

Riverwalk Marketplace1 Poydras St., (504) 522-1555New Orleans

New Orleans Centre1400 Poydras St., (504) 568-5323New Orleans

MISC.Deluxe Cleaners 5325 Canal St., (504) 488-7733Expensive—for principals

Economical Dry Cleaners1736 McShane Pl., (504) 944-0909New OrleansNot for delicate pieces, for backgroundNo overnight dry cleaning, but will work with productions and beas accommodating as possible They service the major hotels in NewOrleans, with same day turnaround, early-morning pickup andreturn later that day

1900 Avenue of the Stars, Suite 1900Los Angeles, California 90067

(310) 201-7477

We can address all of your entertainment legal needs.

Robert Pafundi, Attorney At Law Lainie Miller, Production Specialist

• Contract Negotiations, individual/company • Labor/Management Relations• Employee Relations• Formation of LLCs/Partnerships• Litigation

MCCORRISTON MILLER MUKAI MACKINNON LLP


Reemas Alterations(318) 798-7100 This husband & wife team does alterations and some builds Recommend very highly

GOOD EATSCafe Du Monde (coffee)“I couldn’t have lived without it!”

Herbsaint (seafood)701 St. Charles Ave., (504) 524-4114

Horinoya (sushi & tempora)920 Poydras St., (504) 561-8914

Morton’s Restaurant365 Canal Place, (504) 566-0221Dinner only

Emeril’s800 Tchoupitoulas St., (504) 528-9393

Jacques-Imos Café8324 Oak St., (504) 861-0886

Stella!1032 Chartres St.European fare, Asian accents and bold Creole flavorsDinner only

LilletteMagazine StreetNew Orleans

Moon Wok (Vietnamese & Chinese)800 Rue Dalphine, (504) 523-6910New Orleans Delicious chicken noodle soup (Pho Gao)

FIRE 1377 Annunciation St., (504) 566-1950New Orleans www.firearestaurant.comHomey as a neighborhood restaurant & hip as New York

Alberta Restaurant5015 Magazine St., (504) 891-3015 New Orleans, LA 70115 Zagat’s top pick “Best Newcomer in New Orleans January 2007”

R&RBelladonna Day Spa & Retail Therapy2900 Magazine St., (504) 891-4393www.belladonnadayspa.com

Best gym is Fitness World on Bert Kouns,excellent gym with spinning and best pool for swimming Best Ernesto Martinez

CONTRIBUTORS: Janie Bryant, Genevieve Tyrrell, Mikki Val,Barbara Inglehart, Jacqueline West/Cheryl Beasley, JudiannaMakovsky, Susie DeSanto and Caroline Marx

When arriving in Louisiana contact the IATSE Studio MechanicsLocal 478 for the state of Louisiana/Southern Mississippi Businessagent Michael McHugh, 432 N.Anthony St., Suite 305, New Orleans70119 (504) 486-2192

NBC Universal

818.777.3000 • 800.892.1979 • 818.840.4724 THE FILMMAKERS DESTINATION

WWW.NBCUNI.COM/STUDIO

Costume Rentals, Manufacturing,

Alterations, Alterations,

Fitting Rooms & Offices

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COSTUME


SCRAPBOOK

Costume Designer Ray Aghayan and Judy Garland, The Judy Garland Show 1964.

3500 Maple Avenue, 17th Floor • Dallas, Texas 75219-3941 • 800-872-6467

CONSIGN NOW!

Doug Norwine, 800-872-6467 ext. 452

([email protected])

Paul Newman’s Bowler from

“Butch Cassidy and the

Sundance Kid”

SOLD FOR $8,365

WE AUCTION

HOLLYWOOD HISTORY

HERITAGE ACHIEVES STAR-STUDDED PRICES

for stage/screen-used clothing and costumes.

Contact us TODAY to consign your material to our next auction!

WHY DO SO MANY COLLECTORS CHOOSE HERITAGE AUCTIONS?

Huge base of collectors in Music, Film & Television Memorabilia

Low seller’s fees Generous cash advances

Over $5 million per year spent on marketing alone

Entire collections bought outright

Over $3 billion in collectibles sold since 1976

35 years in business with the same owners

Annual sales over $500 million

Sellers paid on time…every time

Robert Redford’s Baseball Glove

from “The Natural”

SOLD FOR $7,767

Elvis Presley Slacks from

“Girls! Girls! Girls!”

SOLD FOR $9,560

Judy Lynn Stage-Worn

Suit by Nudie

SOLD FOR $5,206

John Goodman “The Babe”

Costume Yankees Uniform

SOLD FOR $3,585

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 costume designer summer 07

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