May 1, 2010 is the launch date for CAFTCAD’s Studio Services Program. This initiative embodies a standardized shopping/return system agreed upon between CAFTCAD and the many retail stores involved. The waters are being tested with small to medium sized boutiques and once it is up and running successfully, the program will expand to include the majors.BeSpoke interviewed the Co-Chairs of the Studio Services Committee, Anita Bacic and Shelley Mansell, to find out about this unprecedented arrangement.

How will participating caFtcaD members beneFit by joining tHis program?AB Stores that we could never patronize before due to a lack of return policy have now become accessible shopping destinations.SM There is a greater variety of unique and interesting places to shop for your characters with a unified pre-arranged pull system

How will tHe stores beneFit by being part oF tHe stuDio services program? SM They are automatically receiving free advertising and exposure to a group of film buyers that may not have shopped there before. And word of mouth is a powerful marketing tool.AB Not to mention increased revenue for their business.SM They also feel more secure knowing that there is a larger organization behind the individual buyer, somewhere to turn if problems arise.

is tHere tHat mucH potential revenue From tHe Film inDustry?SM According to statistics, the total of film wardrobe purchases in our city during 2008 was $34 million!AB And right now the greater percentage is being spent at major chain stores.

wHy?AB Because you can shop “under the radar” and then return what you don’t need without a hassle.

How many stores are involveD anD wHere are tHey?AB We started with the Queen West / Ossington / West Queen West areas and already have 50 stores on board in a very short time frame.SM Lileo in the distillery district has also signed up, but we have yet to hit other areas of the city due to a shortage of manpower. Eventually we want to have a list of stores in every shopping area including Bloor & Yonge, Yorkville, Bloor West, Eglinton/Bayview, the Danforth, etc.

wHat Has tHe reaction oF tHe stores been?SM Extremely favourable. They can’t wait for the program to be implemented!

wHat is tHe biggest misconception about tHis program?SM That it is going to run interference with the relationships between buyers and boutique owners already in place. We are not here to change that – as a matter of fact, we have been telling each store to maintain whatever arrangements they may already have with specific buyers.AB Our aim is to give participating CAFTCAD members the opportunity to shop at a large variety of boutiques in a fast and expedient way with a universal pull system.

wHat were tHe biggest obstacles in tHe process oF setting up?SM From the retailers, none at all.AB To be perfectly honest, there’s only been a handful of us going from store to store so it is taking longer than we anticipated. Studio services works well in L.A. and New York – why wouldn’t we want to follow their lead? In a bigger picture, it would be in our best interest to be set up the same way and make it even more appealing for productions to come here.

it actually appears to be a grounDbreaking program For our inDustry.AB Individual stores, small and large, have had all different policies for film or none at all. Now there can be a universal system across the board.SM It feels great to be part of developing a new way of doing business.

Studio Services Committee: Anita Bacic, Shelley Mansell, Rosemary Della Serra, Debra Berman, Wayne Godfrey, Luis Sequeira.

For more information, please visit www.caftcad.com/studioservices

SPRING 2010 ISSUE 1

LOCAL SHOPS OPEN THEIR DOORS TO CAFTCAD

STUDIO SERVICES

INTERVIEW BY TAMIYO TOMIHIRO SHEllEY MANSEll, ANITA BAcIc, WAYNE GOdfREY, ROSEMARY dEllA SERRA

SPOTLIGHT ON

Newly arrived in Toronto, Costume Designer Juul Haalmayer read an ad in the classifieds: shipper/receiver, no university, no experience required - the place: Malabar’s Costume House and a ser-endipitous event, the person interviewing was a fellow Dutchman. First day of work: 30 minutes into the day, he offered Juul a costumer appren-tice position. A great opportunity as Malabar’s was dressing 90% of the operas produced in North America with many costume designers coming through their doors. From them Juul would begin to learn what it took to put a show together.

Soon, a lucky break: The Sonny and Cher pilot was being prepped and shot in Toronto at CFTO Studios, designed by Bob Mackie and Ret Turner. Juul was hired as fabric buyer and he asked if he could come by the studios evenings and weekends to observe and learn.

He applied for a job as a Costume Designer at CFTO Studios with a fabricated resume. He was brought in for an interview and then called out on his “invented” design credits. Impressed by his chutzpah, he was hired to sweep floors and promised a chance when the time came. He assisted on commercials, series, television specials, variety shows and eventually was given a show of his own: Norman Corwin Presents - challenging even for a seasoned designer. A dramatic series, B.C. to present day, 2 episodes per week and a new cast every episode which they saw the night before camera.

And so began his long and multi-faceted career as a costume designer. Within a few years (1973) he received an Emmy nomination for “ The Borrowers” and “ was suddenly legit to everyone in the industry except himself”. No formal training, Juul was reading sewing machine manuals and costume history books behind locked doors.

“It grew from there”, with a natural inclination, flair and “using commonsense to just figure it out”. His list of credits is vast and covers the gamut – rock stars (Alice Cooper and Jethro Tull), concert performances (Anne Murray, Dolly Parton), stage productions, stand-up comics (Phyllis Diller, Martin Short, Andrea Martin, Christopher Guest), variety shows (Jack Lemmon, Shari Lewis), M.O.W.’s, television specials, cable features, feature films, television series, Olympic skaters (Brian Boitano and Katrina DeWitt, Brian Orser), but is best known and loved for sketch comedy, in particular his work on SCTV. Not only a part of the creative team, Juul was also a cast member and led the legendary “Juul Haalmayer Dancers”, still so famous that there is a “Juul Haalmayer Dancers” Facebook fan page from Iceland. He averages 60 e-mails per day with questions about the SCTV days.

“Variety shows and sketch comedy are the best. It was a privilege to be there, a joy to come to work. There were 6 binders of sketch possibilities that they would choose from but we never knew what it was going to be. We were left to create these characters from the chosen script.”

As 2010 unfolds, CAFTCAD continues to grow in its importance to our member-ship, costume community and industry at large. We’re proud to premiere ‘Be Spoke’ our newsletter that will be circulated to our professional unions & guilds, industry support establish-ments and producers.

From our 1st meeting in Feb 2006, CAFTCAD has grown in leaps and bounds. With a concise web presence, edu cational seminars, bi-annual wardrobe sales, Toronto Film Festival Parties & members gatherings all have become a mainstay in our yearly agenda.

CAFTCAD’s Studio Services Program, a new Head office and social events will round out our current plans. We should all be very proud of our ac complish-ments. Thanks to the support of the membership, studios and the devoted efforts of everyone that has contrib-uted along the way.

Here’s to continued success and growth of the Alliance! Luis M. Sequeira CAFTCAD President Juul ‘s talent has been recognized by his peers with a Emmy

Award for the children’s series “Noddy” (1998) and an A.C.E. Award for “The Incredible Time Travels of Henry Osgood” (1985).

He is inspired by the team of Bob Mackie and Ret Arthur and their ability to combine glamour and comedy. “I have always tried to live up to their standard”. Malabar’s has been a constant throughout his career: his first job in the industry, building made-to-rent for his budget constricted shows and a supportive friendship to this day. Two very lucky breaks for the new guy in town.

Always involved in theatre productions and gifted with a strong singing voice, Juul had hoped to become an opera singer. Born in The Netherlands, his family immigrated to the U.S. when he was a young child. As a teenager, the U.S. was at war with Vietnam and to avoid the draft, Juul’s father sent him and his brother to relatives in Canada. Upon receiving Landed Immigrant Status, hopes of a scholarship and studying at Juilliard were now over.

However, show biz tapped him on the shoulder and showed him in through another door. Between design gigs, Juul has sung in many stage productions and choral groups. “On my singing and acting resume under special skills, it says NONE.” None? We beg to differ, Juul Haalmayer.

Juul owns and operates Homemade Tarts, a full service costume rental house featuring a magnificent vintage collection.

Google Juul Haalmayer on Wikipedia for a more complete list of credits

KRISTEN O’REILLY LOREEN LIGHTFOOT

JOANNA SYROKOMLALUIS SEQUEIRA

TAMIYO TOMIHIROJOSEPH EIGER

BARBARA SOMERVILLEADAM SMITH

Monique Prudhomme, Costume DesignerMelissa Stewart, Costume Designer

Michelle Lyte, StylistLuda Tseloousseva, Asst. Designer

Anita Bacic, BuyerSidney Sproule, BuyerAleya Gibson, Buyer

Wayne Godfrey, Set SupervisorSandra MacDonald, Truck/Set

William Ng, Truck/SetSierra Constantinides, Truck Costumer

Victoria McKay, Cutter/SeamstressNancy DaSilva, Cutter/Seamstress

Mia Sturup, ProfessionalSusan Dicks and Co., Industry

Vanessa Sheriff, Student

NEW MEMBERS

CONTRIBUTORS

BREAKOUTQUOTE

“I believe in luck - I believe in serendipitous events. I was lucky in the beginning.”

“I can do this.”

“If I can do this, I can do anything.”

THE JUUL IN OUR CROWN BY lOREEN lIGHTfOOT

LETTERFROM THE PRESIDENT

WhAt dreW you to thiS project? I found the director, Charlie very engaging. His passion, energy and personal connection to the story touched me. I loved the script and the characters’ strength.

WhAt iS the Story line? Nurse. Fighter. Boy - the title reflects the 3 characters. It is about a single mother, Jude, who has sickle-cell anemia and works as a nightshift nurse. She is originally from St. Elizabeth, Jamaica and longs to take her son, Ciel, back to show him Zion - paradise. Since his father’s passing, Ciel is the ‘man of the house’ and desper-ately tries to take care of his mother. Jude meets an aging boxer, Silence, who despite his personal demons captures her heart. Silence is trying to keep a gym afloat after his old coach suddenly dies and leaves the gym without a leader. Silence and Jude slowly fall in love and the con-nection between all 3 of them becomes unbreakable.

WhAt reSeArch MethodS did you rely on? I looked at pho-tographs from Jamaica - the people, the colours and the environment. It was a deeply personal story for Charlie, so we discussed his ideas at length in order to be true to his vision. I also spent a lot of time researching real boxers. The world of underground boxing was both foreign and intriguing to me so I immersed myself in it.

Who WAS on your WArdroBe teAM? My assistant, Jeannette Linton, was really my co-designer. We created the looks together and she was instrumental in helping me find these characters. Also, I have to include hair and make-up designer, Roxanne DeNobrega, and also consider the director and the cast as a part of my team. The collabora-tion really helped me define the film’s “world”

Who WAS your fAvorite chArActer to dreSS? This story had so many great characters, but I feel a special connection to Ciel. He is wise beyond his years and believes in magic and the power of the unknown. His sensitivity and wisdom made him unique. I really got to create a real look with Daniel (the actor playing Ciel).

WhAt WAS the MoSt difficult pArt of the deSign proceSS? To be honest, being Caucasian and designing Afro-Canadian characters was challenging. I wanted them to be authentic and full of integrity. The design process was a real collaboration between myself, director, cast, hair/make-up and my assistant. We all worked together to bring the characters to life and any hesitation I had quickly faded.

WhAt WAS one of your fondeSt MeMorieS of the Shoot? I have to say it was the director. Charlie’s energy on set was inspiring. He is one of the most generous, happy, intelligent and gentle people I have ever worked with. No matter how stressed, he always had time for me. I always felt supported and close to the entire crew.

Any other noteS? Often we put our blood, sweat and tears into our work and few people get to see the enormous effort that goes into making films. This project really was ‘the little engine that could’ and proves that hard work does pay off sometimes.

cAftcAd MeMBerS noMinAted for 2010 genie AWArdS

cd SArAh ArMStrong: nurSe. fighter. Boy. cd BrendA Broer: cAiro tiMe

WhAt dreW you to thiS project? The idea of dressing Patricia Clarkson in a romantic role intrigued me and when I realized it was set in Cairo, I became very excited.

WhAt iS the Storyline? It is about a woman, married for over 20 years, whose children have left home, and is ques-tioning her life’s choices. Juliette (played by Patricia) is the wife of a diplomat in the Gaza strip. She goes to visit him in Cairo when he is delayed due to unrest in Gaza. He sends a friend, Tariq to meet her and be her guide while she waits for her husband. Juliette learns a lot about herself and becomes close to Tariq.

WhAt reSeArch MethodS did you rely on? I began research-ing Bedouin and contemporary Muslim culture and dress from books and websites. However, when I arrived in Cairo, I realized that my research wasn’t enough. In Muslim cultural the ‘rules’ for dress vary considerably. Cairo is more conservative than it was decades ago, but young women do dress in revealing silhouettes. Depending on religious beliefs, women in Cairo chose to wear a burka when they get married. And although Hijabs (headscarves) are worn by the majority of women, they are certainly not worn by all. Advance research was essential, but the real process began after arrival. Comfortable sandals and Egyptian coffee kept my jet-lagged eyes open to explore locally for inspiration.

Who WAS on your WArdroBe teAM? I had 4 set people from large Egyptian films that spoke almost no English, which meant communicating in the style of charades. We needed someone for Patricia who could speak English and who understood western industry standards. To my relief, they brought Sheila Fitzpatrick over to join us. WhAt WAS your fAvorite coStuMe? My favorite piece was Patricia’s sea-foam green chiffon dress. Mid-way through, I sent it out for dry-cleaning and it came back several shades lighter, crispy and had shrunk half a foot! I’ll never forget Sheila and I trying to steam the life back into it. It had to be re-made.

WhAt WAS the MoSt difficult pArt of the deSign proceSS? Without a doubt it was dressing the Israeli soldiers. Not only were no police or army uniforms available for rent in Egypt, I was warned about laws against bringing them in. Not only would they be confiscated by customs, but I would be risking punishment. My team explained that they usually have to make them. I expressed my doubts about the authenticity of the scene with ‘homemade’ costumes, but I really had no choice. I have to say, I was impressed with the results given the circumstances!

WhAt WAS one of your fondeSt MeMorieS of the Shoot? We shot for a day in the ‘white desert’, eight hours north-west of Cairo. After wrap we went to a hotel on a small oasis for a marvelous evening by a candlelit pool with Bedouin food and sheesha. Unforgettable!

Any other noteS? I wish I brought pant hangers and zippers. I couldn’t get them in Cairo and the few zippers I brought became like gold to me.

CAFTCAD AT THE GENIESBY KRISTEN O’REIllY

JOHN cANdY AS MR. MAMBO

ANdREA MARTIN AS EdITH pRIcKlEY AS quEEN ElIzABETH I

NuRSE. fIGHTER. BOY.

cAIRO TIME

tHe kavanagH sisters working some breakDown magic on saw vii.

janice skinner, monique pruDHomme, anne Dixon, & kristen o’reilly

laura montgonmery, rutH secorD, & karen pivnick

brenDa broer & william ng

lori garDner anD peter websterpure pwnage crew strut tHeir platForm sHoes on sHowcase

leatHer anD velvet accent various mytHical beings on lost girl

NOTES FROM THE FITTINg ROOM

The wine & cheese opening night alone was worth the price of the whole weekend.

Our guest speaker, Monique Prudhomme, was a fantastic choice to kick it off, and was thoroughly engaging.

The next 2 days provided 8 seminars hosted by industry professionals.  There was much knowledge to be shared and information to learn. Finally, it was great meeting so many people that I had only heard of, and enjoying the camaraderie that was shared by all. lori gArdner

CAFTCADEMY is an event I look forward to all year. I love learning about costume design for film in this unique

forum. Silvana Sacco blew us all away with her portfolio of exquisite drawings and tales of working on the Lord

of the Ring’s trilogy. A world class talent as well!All the lectures were informative and so much fun. I never imagined laughing so much at ‘school’ and am looking forward to next year already! BrendA Broer

May 1, CAFTCAD’s Movie Wardrobe Sale at 721 Eastern Ave.caftcad.com/mwsMay 14-16, The Clothing Show, Exhibition Place, www.theclothing-show.comMay 15, Special CAFTCAD Membership Meeting, 11-1 pmMay 28-29, More Than Just a Yardage Sale, Textile Museum of Canada, www.textilemuseum.caMay 29, Christie Antiques Show, Dundas, Ontario. www.a n t i q u e s h o w s c a n a d a . c o m /christie-antiques-show

Life is like a giant puzzle and every choice we make, every opportunity presented to us helps us find yet another piece to complete the picture in the puzzle. It seems that destiny brought me here and the puzzle, in terms of career, com-pleted itself!

I began as a young student studying Fashion Design and Merchandising. While maintaining a full-time schedule, I was introduced to an icon in the Toronto fashion industry, who owned a high-end retail store that was a destination for those who looked to the finest in fashion. During my part- time tenure, I was offered opportunities to learn the business from the inside out and this included designing private label pieces as well par-ticipating in buying trips and, of course, working on the floor.

My thirst for knowledge took me away, during the school year, to University for the next five years, which led me, eventually, to teach English and Creative Drama at the secondary school level, but during the summers, I kept my hand in the business of fashion retail.

My passion for fashion was a very strong force and ultimately culminated in me opening my own store with a mandate to highlight Canadian designers, importing that which could otherwise not be had here, and offering a very unique boutique!

Added to a schedule that saw me flying to New York, Montreal and other destinations, often, on buying trips, my very best creations, my three sons, were born within four years! Only because I had the best staff one could be so lucky to assemble, was any of this possible.

Ten years later, I sold the business and landed, quite by chance in this most exciting and unpredictable industry that has connected all of the dots for me.

My first foray into the film industry left me in awe of those who held the position of Costume Designer. I never imagined that someday I might have that credential after my own name. I never even considered it. It seemed that these amazing people were able to juggle many balls at once, whilst producing “art” for the camera. In fact, I did not jump at the opportunity to try my hand as a Costume Designer, I had to be persuaded that I was ready and could do it. This, as it turns out, was the last piece to the puzzle.

I am ever grateful!

April 29, Freda’s Boutique Tour and Wine and Cheese Event for CAFTCAD Members

CAFTCAD CALENDAR

BARBARA SOMERVILLE

UPCOMING EVENTS

COMMITTEE UPDATE

APRIL

MAY

SMALL TALK WITH JODY HOELwHat is your all-time Favorite movie?

I don’t have just one, Saturday Night Fever, It’s a Wonderful Life,

Forrest Gump…

wHat’s tHe most playeD song on your ipoD?Lady Gaga’s Bad Romance (but not on an ipod)

wHat book are you currently reaDing?The Everything Spanish Grammar Book

wHat meal never lets Down your taste buDs?Lobster Ravioli

How Do you spenD most oF your ‘Free time’?Hanging out with friends, working out,

watching movies and travelling

CAFTCADEMYVery Successful 2nd Annual Costume Educational Seminar Series. We were honoured to have Costume Designer, Monique Prudhomme, speak about her experiences on The Imaginarium of Doctor Parnassus NEWSLETTER1st Issue out- you’re reading it! Will need a part time advertising director, opening available. newsletter@caftcad.com MOVIE WARDROBE SALEOur 5th Wardrobe Sale will occur on Saturday May 1st at 721 Eastern Ave.

STUDIO SERVICESSee cover article FILM FESTIVAL PARTY EVENTThis important celebration of Canadian Costume at the Toronto Film Festival requires more participants in making our 3rd Annual event a success. filmfestival@caftcad.com

MEMBERSHIP SERVICESNow with our new Head Office at 65 Heward, we have a common space for members to work together on CAFTCAD iniatives as well as a growing resource library.

FOR INFORMATION ON JOINING CAFTCAD, CALL 416.900.0955

problem two: the plier-grip of the rotary punch is too stiff: these things aren’t precision instruments, but they do work better with a little lubrication. Use a little sewing machine oil or “3 in 1” on the hinge of the punch, and a couple of drops on the ends of the plier spring inside the handle. You won’t believe it’s the same tool.

problem tHree: plugged punch tubes: use the point of a safety pin to fish out a few of the plugs of leather or material out of the tube, scrape a bit of beeswax in the tube to lubricate it and punch a few holes in some nice thick belting leather. A tiny bit of beeswax goes a long way to keeping those tubes clear, but never punch holes in anything wet... rust in the tube will jam it permanently.

CAFTCADEMY TIPS

BY ADAM SMITH

ROTARY LEATHERPUNCH TUNE-UPJust about everyone’s kit includes a rotary leather punch, a plier-like tool with six punch tubes on a wheel, used for putting various-sized holes in leather, vinyl, fabric, etc.

But the cheap “made in China” punches that we all have are nearly useless when brand new, and become even worse with age. The punch tubes get plugged, the thing is stiff, it won’t make a hole, etc.

problem one: it won’t make a hole: the punch tubes are usually very dull right out of the box. Using a fine nail-file to sharpen the punch tubes will make a world of differ-ence! So will “twisting” the punch as you try to make a hole; the punch tube actually “cuts” through leather if it’s rotating. Don’t try to make your punch go through a steel corset busk!

Robert Rodriguez dinner jacket in grey 100% silk with silver sequins - Just a small taste of the impressive contemporary collection available for rent at Liberty

tHe canaDian alliance oF Film anD television costume arts anD Design is a non-proFit association bringing togetHer costume proFessionals to promote international recognition oF tHe creative talent we Have in canaDa. our vision is to increase awareness anD tHe value oF costume art anD Design as a powerFul element in tHe collaborative process oF Filmmaking.

65 HewarD avenue #c220 toronto, ontario, m4m 2t5

www.caFtcaD.com

2008EST.COSTUME   ARTS   &   D

ESIGN

CAN

AD

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   A

LLIANCE  OF   FILM   &   TELEVISIO

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