the costume designer spring 07

8/2/2019 The Costume Designer Spring 07

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Rich in History


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Fine mens and womens fabrics for stage and screen from Ermenegildo Zegna

West CoastScott Anderson

323-650-8875

East Coast

201-708-1600

Toll Free

800-227-1724

[email protected]


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FEATURESA ProfileThe remarkable journey of Designer Maria Schicker. . . . . . . . . . . 14

Research This!Sources everyone can use . . . . . . . . . . . . . . . . . . . . . . . . 16

Ladies Who LaunchExplore your inner entrepreneur . . . . . . . . . . . . . . . . . . . . . 18

Defining EleganceCDGdesigned gowns, benefiting The Actors Fund . . . . . . . . . . . 20

Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Presidents Letter

From the Desk of the Executive Director

Assistant Executive Directors Report

Labor Report

The Actors Fund includes you

The Costume Department . . . . . . . . . . . . . . . . 22Meet the IllustratorsHistory of Dress

Whats On/Whats Out . . . . . . . . . . . . . . . . . . . 24

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

vol. 3, issue 2

Spring 2007 The Costume Designer 3

COSTUME DESIGNERS GUILD

4730 Woodman Ave., Suite 430

Sherman Oaks, CA 91423-2400

phone: 818.905.1557 fax: 818.905.1560

email: [email protected]

DEPARTMENTS

Sharon DayMarcy FroehlichBetty Madden

Robin RichessonJacqueline Saint Anne

Maria SchickerKaryn Wagner

Election Committee

Beth Pasternak, ChairDeborah FegusonMarcy FroehlichWendy Greiner

Office Volunteers

Anna BaeRoemehl Hawkins

Thank you to the volunteersand contributors of this

Spring 2007 issue.

COVER

Rich in History: The early days of the

CDG, Local 892, Costume Designers.

Back row, from left: Bill Hargate, Sheila

OBrien, Michael Woulfe and Howard

Shoup. Front row, from left: Burton Miller,

Ert and Edith Head.


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4 The Costume Designer Spring 2007

ell, as you can see from this springs cover without

labels, our request for Calling all labels!!! in the

Winter 2007 issue went largely unanswered. Ive

heard many of you talking about wantingto finally make yourlabels and some of you still questioning the why of it. Ive

had designers say to me,If I find a shirt in blue and make it

in green, Im not comfortable putting my name in it. No one

is suggesting that you claim authorship if you dont feel the design originat-

ed with you. But I would remind you that these are the very same designers

who have built entire shows from scratch and whose costumes are now out

there being sold, traded, rented and collected and still remain nameless. Ive

also heard,Im not making anything on this showI say, perfect timing.

Nows the time to make your labels because as soon as you are on a big

build show, you wont have the time. Remember, there is very little we can

do to maintain our history as individuals and as a group.This is something

we can do for the future.Yours and Ours.

That said, the photo on the cover is

meant to remind us of our history. How far

weve come and how far we have yet to go.

History as a theme seemed appropriate

since we

talk about

the history

of one of

our own in

this issue.

T h e l i f ejourney, of

d e s i g n e r

Maria Schicker, reminds us that if you can

imagine an alternative future its never too

late to change your destiny. I am grateful to

Maria for having the courage to share this

deeply personal experience and to Marcy

Froehlich for bringing this story to life.How

great is it to get to know each other not

only as peers but as people.I also wanted to

share years of research sources with you.

Whether historical or the great unknown,research is the first window past the script

and into the characters that we create.I hope

you find it useful.

Deena Appel

[email protected]

EDITORS NOTE

W

A pessimistsees the difficulty

in everyopportunity;

An optimist seesthe opportunity

in everydifficulty.

SIR WINSTON CHURCHILL

EDITOR/PHOTO EDITORDeena Appel

ASSOCIATE EDITORSharon Day

MANAGING EDITORCheryl Downey

PRESIDENTDr. Deborah N. Landis

[email protected]

VICE PRESIDENTPamela Shaw

[email protected]

SECRETARYBarbara Inglehart

[email protected]

TREASURERMary Rose

[email protected]

MEMBERS AT LARGE

Deena [email protected] Hanafin

[email protected] Saint Anne

[email protected] Ramsey

[email protected]

BOARD ALTERNATESValerie Laven-Cooper

vlavencooper@costumedesignersguildSharon Day

[email protected] Wagner

[email protected] Malin

[email protected]

ASST. COSTUME DESIGNER REP.Audrey Fisher

[email protected] ILLUSTRATOR REP.

Robin [email protected]

COMMERCIAL COST. DESIGNER RESusan Nininger

[email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Chally

[email protected] Matthews

[email protected] Cunliffe, Alternate

[email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected]

ASSISTANT EXECUTIVE DIRECTORRachael M. Stanley

[email protected] ASSISTANT

Suzanne Huntingtonshuntington@costumedesignersguild.

GENERAL CDG [email protected]

PUBLISHERThe Ingle Group

FOR ADVERTISING INQUIRIESCONTACT

Dan Dodd [email protected]


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The Year of Yes

Dear Friends,

n 1969, I sat in the Goddard College cafeteria with Theater Arts Department Chair Paul Vela and my teaching

assistant,David Mamet.We discussed the possibilities of a career in costume design.Very soon afterward it was

clear that I made exactly the right decision.Thus began my year ofyes. 2007 is uncannily mirroring 1969.

When I received the news that the Victoria and Albert Museum in London was reconsidering my rejected two-year-

old proposal for a grand survey exhibition of international motion picture costume design, I was stunned. Now it is

scheduled to run concurrent with the 2012 London Summer Olympics, and the museum expects more than 1 million

visitors.The catalogue is due in 2010 and the exhibit is slated to travel to Beijing,Tokyo,Paris,New York, and perhaps

even,Los Angeles. A watershed for the art of costume design,the exhibition will be told through the Costume Designers point of view.

Simultaneously, the University of the Arts London honored me with a professorship.Hilary Baxter,Costume Chair at Wimbledon

College of Art, asked me to be the keynote speaker at the first-ever conference on the history of costume design last summer,2006.

We are partnering to establish a field chronicling the designers creative process. As professor, I will supervise Masters and Ph.D.s

of emerging historians entering this groundbreaking subject area. My confirmation at the Banqueting House,Whitehall, London, is

on May 10. Come!

On April 1, director Gilles Jacob invited me to serve on the jury of the 60th Cannes Film Festival beginning May 16.The last

Costume Designer to serve on any Cannes jury was Eiko Ishioka in 1996. I am one of only two Americans serving on this years jury.

Cinfondation jurors include director Zhang Ke Jia,China,actress Niki Karimi,Iran,and writer J.M.G.Le Clezio and director Dominik

Moll, France.My election recognizes and honors all Costume Designers.

Finally, on November 1, 2007, my magnum opus and 10-year research project,Dressed: A Century of Hollywood Costume

Design, will be published by HarperCollins.Dressed showcases decades of costumes though first-person anecdotes (directors,

actors, and Costume Designers), film stills, and costume illustrations, seen here for the first time. It is a costume manifesto, subver-

sive,political,glamorous;a banana split and a hot fudge sundae put together.

It will now come as no surprise that as CDG Vice President Pamela Shaw and I are embark-

ing on major professional projects, we have decided not to seek a third term in October. We

strongly suggest that members hold the Executive Board accountable for a salary raise for staff

and the unwise and imminent move of CDG offices. We urge members to demand a CDGStrategic Plan and insist that a timetable,benchmarks,and milestones for CDG progress are met

and exceeded.Got Vision? Run!

May you all be blessed with aYear of Yes,

Deborah

[email protected]

PRESIDENTS LETTER

UNION LABEL

I

NEW MEMBERS

Back row from left:Christopher Hargadon,Nicole Korzenik, PhillipBoutte Jr., J.R. Hawbaker,Christian CordellaFront row from left:Alix Hester, ChristineHaag, Elizabeth Cashmore,Dina Cerchione, AlisonBrooks, Luis Sequiera,Anna Bae, Tashiba Jones-Wilson, Katrin Hoffman,Alison Freer

Dont

complain peopleare sheeplead them.

H.L. MENCKEN


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Hello Voters!

r e s i d e n t

Short has

reviewed and

signed our revised

C o n s t i t u t i o n a l

changes that you

approved by a 72

to 1 vote at our

well-attended General Membership

Meeting February 26.This will make for

a one-time ballot wherein you will elect

half the officers and Board members to

a 112-year term and half to a three-year

term. Hereafter, all will run for three-

year terms and terms will be staggered,

resulting in only half the Board being

newly elected,with half remaining.This

will give the Board valuable stability.

At the May 21 General Membership

Meeting nominees were confirmed and

may campaign between now and theSeptember election.

Also up for election are the positions

of Trustee and Delegate.Trustees consti-

tute a body separate from the Board

whose primary responsibility is checking

the well-being of Guild finances.Trustees

may attend monthly Eboard meetings

(just as any one of you may do) where

they have a voice but not a vote.

Delegates will attend annual IA District

II meetings (this year will be in San

Diego June 2,3) and the IA Quadrennialin 2009. This Convention is held every

four years for the purpose of electing

the internationals leadership and con-

ducting all manner of important union

business. The Quadrennial will be held

in Orlando, Fla., for one week in July

2009. Our Guild is entitled to send eight

Delegates, one of whom is the

President by virtue of the office.

P

From the Desk of theExecutive Director

UNION LABEL


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IMPORTANT DATES 2007

EXECUTIVE BOARD MEETINGS7 p.m., CDG Offices

June 11

July 9August 6

September 10October 1

November 5December 3

GENERAL MEMBERSHIP MEETING

LOCATION TBD

October 8

ELECTIONS

June 11: Candidates statements &

headshots due to CDG

August 13: Ballots are mailed

September 13: Votes due

October 1: New officers & Board sworn in

It is an absolutely fascinating learning experience, and I hope

you are running.

We each owe a serious debt of gratitude to those who

are running for office now and are willing to dedicate a sig-

nificant amount of time and talent to the well-being of all of

this Guilds members. There is neither money nor glory inthis service, but it is vital that our non-profit organization be

helmed by those with its highest good in mind. Smart talk

around the Board table is essential as we face a potential

work stoppage in 2008 and negotiations for our next con-

tract with the producers in 2009.

I have benefited from being elected or appointed to mul-

tiple Boards throughout my career. It is a constant learning

experience. So do your part; inform yourselves, thank the

candidates for caring about the future of Local 892. Tell the

candidates your hopes and needs and then VOTE for leader-

ship that will selflessly guide this great Guild through the

challenges and opportunities ahead,while always striving to

elevate the art of Costume Design and the level of respect

for the Costume Designer.

In Solidarity,

Cheryl

[email protected]



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UNION LABEL

Designing?

e are the Costume

Designers Guild, Local

892. We design the costumes

andthe look of a project using

our skills and talents that have

brought us to this profession.

Our Local is made up of

Costume Designers,Assistant Designers, Illustrators and

Commercial Designers/Stylists.There is a growing trend

by producers and actors to request that a stylist that is

not a member of Local 892 be hired to work alongside

our designers to help set the look of a show. Costume

Designers beware! This is a troubling precedent. If that

person is not a member of this Local, they are

working illegally doing our covered work. They

cannot review the script to help assess who the charac-

ter is and what they should be wearing.They cannot do

fittings with actors.They cannot send their alterations to

a 705 seamstress or tailor. They cannot attend concept

meetings, production meetings, or work on a script

breakdown. In short, how can a stylist possibly set the

look of a show when they cannot do the work of aCostume Designer? We have fought hard to carve out our

place in this industry and this new trend is not only

insulting to the talents of our members but chips away

at our jurisdictional rights. If a producer wants to hire a

second person to help the Costume Designer, then

demand that they hire an Assistant Designer. Please call

us immediately if you are being asked to work with any-

one who is not a member of our Local. Dont stand idly

by out of fear of losing your job,call us and let us be the

ones to contact the producers. We are members of the

Costume Designer Guild, Local 892,IATSE, so when you

are hired on a project please use the title ofCostumeDesigner or commercial Designer/Stylist. Stand

proud and claim your rights in the work field.

Remember, to call in all your work to the Guildoffice and if there is any question about a practice or

policy you are being asked to implement, your first callshould be to us.Help us keep our union strong!

Rachael Stanley

[email protected]

Assistant Executive Directors Repo

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

UNIVERSA

L

STUDIOS

NBC

BURBANK

UNI

VERSAL

STUDIOS

NBC

BURBANK

UNIVERSAL

STUDIOS

NBC

BUR

BANK

COSTUME

W


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submit this report to you

from Sacramento where I

represented the CDG, Local 892,

and gave testimony during the

April 2007 California Labor

Federation Joint Legislative

Conference. I participated in an

intense afternoon of workshops, running from room to

room including:

Working for a Healthy CaliforniaITS OURHEALTHCARE. Senator Sheila Kuehls Universal

Health Care Bill (SB 840) is the Gold Standard for

Californians. If the bar is too high for SB 840,

there are three other health bills pending. A

healthcare bill will pass this legislative session.

www.itsOURhealthcare.org

Workers Compensation Fixes. SB 942

(Migden) penalizes employers who discriminate

against injured workers by refusing to put them

back to work, prohibits employers from changing

job requirements to prevent injured workers from

returning and prohibits discrimination againstworkers for exercising their right to pre-designate

a doctor.

Film Commission Financial Assistance.

Runaway Production: About 30 other states have

adopted measures including tax credits, to attract

film production.This has resulted in films moving

out of California and into other states and coun-

tries. Ask your assembly member to support

AB1696. I spoke on your behalf saying it is a win,

win bill for California and working families. Please

be optimistic, supportive and lets keep trying.

As your representative I saw dozens of legislators

from the Assembly and Senate offering their support for

our issues on healthcare, right to organize, workmans

comp reform, and film commission financial assistance.

Thank you for allowing me the pleasure to attend this

conference as your CDG Labor Representative.

Betty Madden, CDG Labor Representative

[email protected]

Labor Report

UNION LABEL

I

Costume Rentals Manufacturing Prep Spaces

Tel: 818.954.1297 Fax: 818.954.2667

COSTUME DESIGN

CENTER

and 2006 Warner Bros. Entertainment Inc. All rights reserved

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

(310) 201-7477

We can address all of yourentertainment legal needs.

Robert Pafundi, Attorney At LawLainie Miller, Production Specialist

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

MCCORRISTON MILLER MUKAI MACKINNON LLP



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UNION LABEL

he Actors Fund of America, founded in June 1882, is a non-

profit, nationwide human services organization providing

programs that support the unique and essential needs of all

who work in the entertainment industry, both on-stage and off, in

theater, film, television, radio, music, dance, opera and circus. The

Actors Fund is no longer just for actors, its for you too.

The Funds broad spectrum of programs embraces the critical

needs of entertainment professionals by providing comprehensive

social services, healthcare services, employment and training, and

housing. In addition, financial assistance can be granted for essential

living expenses such as rent,utilities or medical costs.The Fund also

contracts with entertainment industry unions,health plans,employers

and other organizations to facilitate member/employee assistance.

The Fund recognizes that entertainment industry professionals

need employment that not only helps pay the bills but also feeds the

soul. For that reason the Fund supports its members who want todeepen their understanding of their artistic careers, offering work-

shops, panels, groups and seminars, including an ongoing Money

Matters series. The Fund also reaches out with the Actors Work

Program,a workforce development program providing career coun-

seling,training,and placement to help members find work while still

in the industry or developing a new professional direction. Finally,

the Fund offers a Welcome to Hollywood drop-in group for

recently transplanted colleagues on the first Tuesday of each month.

To automatically donate a percentage of your online shopping

to The Actors Fund, check out roadconcierge.com, a website with

the mission to provide an online forum where members of the

entertainment community can support, educate, and help each

other: http://www.roadconcierge.com/

For more information on The Actors Fund, visithttp://www.actorsfund.org/

Audrey Fisher

[email protected]

THE ACTORS FUND

T


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m designing the costumes for the musical

1776, about the signing of the Declaration of

Independence. While researching, I discov-

ered that many lost their homes and families

in the Revolutionary War, specifically

because they had signed that paper. I some-

times feel we Americans take our freedoms

for granted and have become complacentabout what others have sacrificed for it.

My research brought to mind a friend

and fellow Costume Designer, Maria

Schicker. I knew that she had been imprisoned by the

East German regime as a political prisoner, and won-

dered if her experience was like that in The Lives of

Others, the recent Academy Awardwinning German

film. I asked Maria if she would be willing to share her

story.What follows is a short excerpt of our conversation

we had over dinner, filled with much emotion,occasion-

al bursts of laughter, and some tears.

HOW DOES YOUR STORY BEGIN?

The Lives of Others really opened the door for me to talk

about my life experience publicly, the feeling of repres-

sion that you could not escape in the former East

Germany in 1976.

My first realization that I was being observed by

the Secret Service was when I came home one night. I

could tell that someone had been in my apartment since

I noticed a house key was missing. I became aware of

being followed, and then I found a microphone.

WHY HAD SOMEONE BUGGED YOUR HOME?

My group of friends would privately criticize the regime

when we got together. Just speaking our minds.We were

young and nave (I was 21).We didnt want to leave the

East but desired more personal freedom and a chance to

grow as individuals.

AND YOU WERE ARRESTED?I went to work one day and just as I walked outside of

my apartment, a car drove up, and four men got out and

surrounded me, just like you see in the movies. I was

taken to be interrogated, which was very brutal. They

stripped me of my clothes and sprayed me with disinfec-

tant.They gave me a uniform and took me to a bare cell.

I was in solitary confinement for two months.

HOW LONG WERE YOU IN CUSTODY?

Four months. I wondered, how I was going to get

through it. There was a trial, but the jury and defense

lawyer were of the Socialist Party (SED), so I had nochance. I was given a 21/2-year sentence.They took me to

Hoheneck, a high-security prison that was like a concen-

tration camp. I was thrown in with murderers and

thieves. The Commander hated me, mostly because I

never gave up my pride.That was all that I had.

WHAT WAS YOUR EXPERIENCE IN PRISON?

There was a lot of violence.About 70 women died while

I was there. I was lucky I guess.After about a year and a

half, I didnt think I would make it through so I went on

I

JOURNEY TO FREEDOM:

Maria Schickerprofile ofA


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a hunger strike. My friends at

home heard about it. My father

was well known,and I think the

West became interested in my

case.It would have been embar-

rassing if I died, so they force-

fed me. That was pretty much

the low point of my life.

SO THEN WHAT HAPPENED?

After I recovered some of my

strength, I was interrogated for 14 more days.They asked me

to become a spy in the West and I refused. Eventually the

Foreign Affairs Department of West Germany and Amnesty

International got together and bought me for 42,000

deutsche marks ($17,600).Between 1964 until the fall of the

Wall in 1989 the West government bought 33,755 political

prisoners from the former DDR.

I was released to the West German Secret Service who

gave me 200 deutsche marks ($84) of greeting money. I

walked out the door very excited.All of a sudden I was free,

scared, and felt newborn. I had no luggage,no things to take

with me.The decision which road to choose was all mine.

I ended up in Munich, sewing for a boutique.And thats

where I got involved in film,meeting Costume Designers that

would come into the shop. Eventually, I became a Costume

Designer myself working in Europe for 15 years.

HOW DID YOU COME TO THE UNITED STATES, AND

WHATS IT BEEN LIKE FOR YOU?

While working on a co-production in Europe in 1994,I met an

American,who became my husband and I moved to the States.Being a first-generation immigrant I often reevaluate my

reasons for being here. It still is the land of opportunity like

nowhere else.I got the chance to take my life in my own hands.

The most important things have nothing to do with money.

Coming from a small town in Germany Ive been driving

onto the Warner Bros. lot every morning for the last year.

They have a piece of the Berlin Wall on display. The sign

reads:This is a remnant of the Berlin Wall which stood as

barrier against the free exchange of ideas, information and

culture.

I am a passionate Costume Designer, and I am very

proud to be a member of this Guild.

Marcy Froehlich

[email protected]


Clockwise from above: Berliners celebrate the fall of the BerlinWall, 1989; the wall at Muehlenstrasse has become a famousopen-air gallery; Ulrich Mhe from The Lives of Others/SonyPictures Classics; The windows of Hoheneck Prison where Mariawas held.


16/32


I LOVE RESEARCH.In fact, its one of the things I love most

about what I do.What could be better (or

more frightening) than getting a project

about a subject you know nothing about

and then, after delving into the details of

an entirely new world, coming out the

other side a mini-expert? Aside from theperiods before I was born (or off into

the distant future), Ive had my share of

projects on the completely unknown, to

me. Hutterites, rodeos, Las Vegas show-

girls, hockey, conjoined twins, the Devil!

Oh, what a wonderful world to explore.

In the interest of sharing the wealth,here

are some ideas about how you can

become your own detective of the

details with a variety of sources to help

you find your way.

I used to credit Warner Research at

the Burbank Library with my career.

Before every interview, I would pour

through their incredibly extensive clip

files discovering the project while hov-

ering over the copy machine myself.

The hands-on experience always

seemed to bring the script to life for me.

Warner Research was then folded into

Warner Bros. Research Libraryand

while you can no longer do your own

copying, they still have the most amaz-

ing clip files. By appointment, Linda or

Steve will pre-pull files for you and

color-copy your selections.

Established in 1915, Western

Costume Research Library was the

first of its kind, and today remains one of

the most frequented by Costume

Designers. The collection consists ofmore than 15,000 volumes and is a price-

less resource for authenticity and accura-

cy.There are bound issues ofVogue from

before 1919 and more than 54 years of

Petersons and Godeys Ladys Books;

extensive research materials for U.S. and

international uniform regulations and

Wild West & American Indian collections.

Life magazine from 1937, National

Geographic from 1906, contemporary

publications such as Vanity Fair and

People and even a collection of continu-

ity photos from the 1930s to the 1970s.

High school & college yearbooks and of

course, files upon files documenting spe-

cific apparel clippings. Theyve been

reorganizing by decade for easier hands-

on access or have Bobbi pull materials

specific to your project.

Established in 1978 in Los Angeles,

Lucasfilm Research Librarynow makes

its home at the Skywalker Ranch in

Northern California. When theyre not

swamped researching George Lucasproj-

ects like Indiana Jones 4(they began

research for the script in 1993), they will

happily take requests. Staffed by profes-

sional librarians, they are extremely help-

ful and knowledgeable and use their

imagination to help you on your quest.

They will put together a packet of color

copies from their collection of 27,000

titles and more than 600 file drawers of

clippings dating from the 1800s to pres-

ent day, and send it to you within days.

When I think Ive seen everything on asubject, they always seem to have fresh

material. Ive used them for everything

from 1960s fashions to George and

Martha Washington. There is no subject

they cant handle.

American Zoetrope Researc

Library serves as Francis Ford

Coppolas/American Zoetropes exclu-

sive library, however, like Lucasfilm, they

do provide research for other projects as

time allows. Director of Research Anahid

Nazarian tells me their strengths are in

18801955, World War II and U.S. mili-tary, New York City (period & current),

England, France, Germany, architecture

and interior design. The collection also

includes 50,000 books on all subjects,

complete sets of magazines including

Life, Look, Newsweek, Time, Vogue,

Harpers Bazaar, Sears catalog to name

a few and 45 file cabinets of photo &

illustration files.

Peter Dervis of Dervis Historical

Resource describes himself as an histor-

ical detective,who finds information that

falls through the cracks.As well as find-

ing out what something looked like, he

relishes in the discovery of why and how

it came to be. He delves into the kind of

detail that gives you the utmost confi-

dence, whatever the project. I first

worked with Peter on theAustin Powers

trilogy (funny movies, serious research).

When I found myself in London fo

reshoots on another film, Peter Dervis

helped me ferret through conflicting

!thisresearch


17/32

information until I was completely

confident in my Civil Warera choic-

es.Dervis is obsessed with uniforms

of all sorts and is currently writing a

book on the subject. His work how-

ever,spans countless periods,genres

and projects such as The Last

Samurai, Catch Me If You Can,Ali,

O Brother, Where Art Thou?, TheQuick and the Dead,X-Men, The

Patriot,Sleepy Hollow,Beloved,Star

Trek: Generations, Pleasantville,

The Cider House Rules, The Legend

of Bagger Vance,and Spider-Man to

name a few.He works by phone and

Fed-Ex seamlessly.

Do you need to re-create a

piece of old Hollywood? What were

they wearing in the 30s, 40s and

50s? Just as it is today, fashion of

the Golden Age was dictated by the

costumes worn on the silverscreen. The Academy of Motion

Picture Arts and Sciences

Margaret Herrick Library main-

tains a world-renowned reference

and research collection devoted to

the history of the motion picture. It

is the most complete collection of

film-related materials ever assem-

bled including more than 650 cos-

tume sketches on permanent loan

from the Costume Designers Guild.

Many of their clipping files and peri-

odicals are available on microficheand microfilm cards and you may

make unlimited copies yourself

from these materials.Their staff will

photocopy (in black & white only)

from the collection of photographs

and books with a 20-page limit per

patron, per day at 25 cents a page.

The Museum of Television

& Radio has more than 120,000

programs and advertisements, cov-

ering more than 85 years of televi-

sion and radio history.The collec-

tion spans all genres: comedy,

drama, news, public affairs, per-

forming arts, childrens, sports,

reality, animation, and documen-

tary, and includes a significant

international presence, with 7,000

assets from 70 countries.The same

collection is also available in their

New York location.

When you visit the museum,

you can view episodes from a

recent era of television gone by

with headsets on private televi-

sions. From shows like The Brady

Bunch and That Girlto educational

and news programs, childrens pro-

gramming and even September 11th

coverage.

WWW:Oh, the wonderful world

ofGoogle, a.k.a. the Internet, in the wee hourshow great is it, when

you cant sleep because your mind is

racing with design challenges, you

can get so much information for free

on your computer (and in your paja-

mas). The choices are endless but

here are a few of my favorites that

are really easy to use.

Corbis: With the click of your

mouse,youll find an endless array of

photos of any subject or topic you

can think ofstart with a general

topic or be very specific,the amountof easily accessible content is mind

blowing. Heres a tiny example: sus-

penders (13 pages), fashion of the

1920s (11 pages),high school basket-

ball (7 pages), lederhosen (4 pages).

Getty Images: Extensive pho-

tos,very easy to use.

Library of Congress, Ameri-

can Memory: Takes a bit of effort

and patience to navigate.

N.Y. Public Library Digital

Gallery:The search engine is a little

more easy to use but then the con-tents arent very deep.

Lastly,here are a couple of retail

stores for research material.A favorite

of Costume Designer Shay Cunliffe,

Book Castles Movie Worldcarries

back issues ofLife, Time,Newsweek,

Saturday Evening Post, N.Y. Times

19271953, L.A. Times 18951968,

1976 to date.They also have a huge

stash of vintage magazines and cata-

logues in their basement.

Chic-a-Boom specializes in

20s80s collectibles and memora-

bilia.They have everything from vin-

tage postcards and posters to maga-

zines,pins and toys.The shops been

around nearly 30 years. Ive found

everything from vintage GQ,Ebony,

Playboy, fashion magazines and TV

Guide to Sears catalogs there.

Deena Appel

[email protected]


AMPAS/MARGARET HERRICK LIBRARYLibrary Director: Linda Harris Mehr310.247.3000 ext. 201333 S. La Cienega Blvd., BH 90211Open Mon. & Tue., Thu. & Fri.

[email protected]

AMERICAN ZOETROPERESEARCH LIBRARYDirector of Research: Anahid Nazarian707.963.92301991 St. Helena HighwayP.O. Box 208, Rutherford, CA [email protected]

BOOK CASTLES MOVIE WORLD818.845.1563212 N. San Fernando RoadBurbank, CA 91502

CHIC-A-BOOM

323.931.74416817 Melrose Ave., Los Angeles 90038

CORBISpro.corbis.com

DERVIS HISTORICAL RESOURCEPeter Dervis617.277.074560 Longwood Ave., #402Brookline, MA [email protected]

GETTY IMAGESgettyimages.com

LIBRARY OF CONGRESS,

AMERICAN MEMORYwww.memory.loc.gov

LUCASFILM RESEARCH LIBRARYLibrarians: Jo Donaldson,Robyn Stanley, Carol Moen Wing415.662.1912P.O. Box 2009, San Rafael, CA [email protected]

MUSEUM OF TELEVISION & RADIO310.786.1000465 North Beverly DriveBeverly Hills, CA 90210Open: Wed.Sun.

N.Y. PUBLIC LIBRARY DIGITAL GALLERYdigitalgallery.nypl.org

WARNER BROS. RESEARCH LIBRARYLibrarians: Linda Cummings, Steve Bingen818.977.5050 by appt. onlyWarner Bros.2777 N. Ontario St., Burbank, CA 91504

WESTERN COSTUME RESEARCH LIBRARLibrarian: Bobbi Garland818.760.090011041 Vanowen St.North Hollywood, CA 91605westerncostume.com

resourcescontact

information


18/32


Launch

whoLadies

t our February General Membership Meeting,

Deborah Landis and the E-Board invited Sarah

Shaw of LadiesWhoLaunch.com to introduce

the organization to the membership. Sarah

Shaw is a former Costume Supervisor (Star

Trek: First Contact, The Craft, Dick ) who

now works for Ladies Who Launch (LWL) as

an Incubator Leader. Deborah felt that many design-

ers might face a cash crunch in light of the possible

industry strikes that loom on the horizon.

LWL began six years ago in New York and now

spans 36 cities across the country. The concept creat-

ed by Victoria Colligan and Beth Schoenfeldt was creat-

ed as a way to Live your dreams and love your life.The

philosophy behind Ladies Who Launch is that women

have an intuitive and feminine way of launching,which

means getting an idea off the ground and into motion.

As creative people,Costume Designers are very used to

doing this.The question they love to ask is this Are

you doing exactly what you want to do or are you con-

templating a shift in your career,the launching of a side

business, a transition into your own gig,or some other

project in your life?

So, after hearing Sarahs presentation, I signed up

A


19/32


right away for the Incubator Intensive, and have benefited enor-

mously! A small group of six of us met once a week for four weeks

where we were given a very supportive and safe environment to

explore our potential business ventures. Since we all came from dif-

ferent backgrounds and careers, it was amazing how well the net-

working worked. Almost every member was able to offer and receivebusiness advice, resources, connections, and information from each

other.

The process encourages you to really focus on defining your

vision, to learn to articulate it, to expand and clarify it the way you

might not if it were still in dormant form in the brain.Incubating your

idea with other people is amazing!

I have moved forward from thinking aboutmy business venture,

to actually taking specific steps toward making it happen. I owe a

grateful nod of thanks, no, make that a big hug, to Sarah and the

women in my group,and to the CDG for setting up the connection.

For more information, check out: www.ladieswholaunch.com/

Diana Eden

[email protected]


20/32


DefiningCostumes

Above: Mary Vogts original design;and finished gown and jacket forBrunschwig & Fils Designing Elegance.

Right: George Mitchells sketch;and the designer with his corsetedcreation.

Elegance


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Defining Elegance debuted as a traveling exhibit

of evening gowns designed by eight award-winning

Costume Designers in collaboration with

Brunschwig & Fils fabric house.The costumes will

tour the United States and Europe before they will

be auctioned at a gala benefit for The Actors Fund

on December 13, 2007. Our fellow CDG Designers

who participated in the charitable showcase were

Cate Adair, Sharen Davis, Randy Gardell, George T.

Mitchell,Luke Reichle and Mary Vogt.

Opposite page: Randy Gardellssketch; the designer with hisbrocade gown.

Left: Luke Reichles sketch;and his mitered stripe gownwith ruffled train.


22/32

THE COSTUME DEPARTMENT

MEET THEILLUSTRATORS

Illustrator Christian Cordella,born in Copertino (Lecce), Italy, is the seventh

generation of a family of Fashion and Costume

Designers and Illustrators dating back to 1783.

He studied in Milan at the Brera Academy of Fine

Arts and at the Marangoni Institute of Costume

and Fashion Design before working for the Vatican

doing portraiture of newly canonized saints.

In lieu of mandatory military service, Christian chose civil

service working and living with gypsy families and absorbing theirculture. At the request of the Vatican, he produced an illustrated

novel of gypsy life called Uomini Liberi (Free Men), which is cur-

rently being filmed in Italy.

In 1995, Christian won a competition to represent Italy at the

50th anniversary commemorating the bombing of Hiroshima.

Christians painting was chosen as the Sign of Peace and current-

ly hangs in the Hiroshima Holocaust Museum. This international

recognition attracted the attention of the Walt Disney Co. who

sponsored him to come to America where he illustrated the Italian

Pavilion for Epcot.

After many exciting assignments in the commercial world,

Christian decided to move to Los Angeles and reenter the world of

film and television. He met Bob Mackie and Ret Turner who

encouraged him to join the CDG.

Christians personal style is hyper realistic but he loves adapt-

ing his style to suit the project. He is currently working with Sanja

Milkovic Hays, illustrating her designs forThe Mummy 3.

Website: www.christiancordella.com

E-mail: [email protected]

Phillip Boutte Jr. resides in Carson,Calif. Hes a Los Angelino with film in his

life from the age of 2 when he became a

child actor. He loved drawing in his trailer

while awaiting his set calls and became a profi-

cient artist. Phillip pursued acting from ages 2 to

15 until he decided that he wanted to experience

a normal life and attend regular high school.

Upon graduation, Phillip attended Cal State University Long Beach

and enrolled in the Illustration Program where he met and was men-

tored by Executive Board member Robin Richesson. Phillip was

impressed by Robins enthusiasm for and enjoyment of her career as

an Illustrator and determined that this was the way for him to incor-

porate his two loves of drawing and film.

Phillip attended seminars which the Costume Designers Guild

gave at Comic-Con last year and met several renowned Costume

Designers. Michael Wilkenson, Isis Mussenden, and Judianna

Makovsky were speaking and afterward reviewed his portfolio on

the spot and told him that his broad style lent to working with

many different designers. They encouraged him to join the Guild.

Phillip Boutte joined

the Costume Designers

Guild in January 2007

and on Valentines Day, Sonia

Hayes asked him to illustrate for her in

collaboration with his colleague

Christian Cordella on The Mummy 3.And

he says that calls are picking up!Phillip has a blog site which is his

visual journal where he posts his

work.

Website: www.modusmaleficium

blogspot.com

E-mail: [email protected]

Jacqueline Saint [email protected]



23/32


picture it...

at SonySony P ictures S tudios

3102447260WWW.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

HISTORY OF DRESSA-Z

abardine: Originally an outer garment worn by

Jews in the Middle Ages, it later came to refer to

woolen cloaks popular in Spain. It is now the name

of a popular cloth with a raised diagonal weave. It is

often used for uniforms and suits and may be made of wool,

cotton or rayon.

Gaitor: Elastic-sided leather boot,popular in the

19th century.

Gamashes: Popular in the 15th17th cen-

turies, these are leggings of cotton or velvet

cloth that laced up the side. They were worn

over fine leather shoes or boots as protection.

Gambeson:A stuffed and quilted pointed dou-blet made of leather or cloth that often had

matching sleeves that could be laced on.Originally

developed to wear under heavy armor as padding,

it was adopted at civilian dress and worn by men,

women and children.

Geta:A Japanese clog worn in all kinds

of weather. It is worn with the divided Japanese

sock,the tabi.

Gibson Girl: Immortalized by Charles

Dana Gibson, the Gibson Girl became the

standard beauty for American women at the

turn of the 20th century.The style included a

high-necked white linen blouse with

leg-o-mutton sleeves and a full-length gored skirt

with a simple silhouette; completed by a white,

Ascot and a loose bun gathered on top of the head.

Although her tiny waist was corseted, the Gibson

Girl was active and athletic. Prints often depict her

riding bicycles and horses and walking in the great

outdoors.

Gown: The original Saxon word was Gunna and

referred to a long, loose garment worn by all

Anglo-Saxon women for centuries. It was also

often referred to as a cote, surcoat or robe. From

the 14th17th centuries the gown was any long,loose robe worn by either sex. In modern times

besides being a womans evening dress, the

word still refers to academic and clerical gar-

ments.

Greaves: Ankle-to-knee leg armor worn with

sandals by Greek and Roman soldiers. They were made of

leather-lined bronze or brass or were simply of leather.

Karyn Wagner, [email protected]

Illustrations by Robin Richesson

[email protected]

G


24/32


Justice

Costume Designer:

KATHLEEN DETORO

Dirt

Costume Designer:

LUELLYN HARPER

House

Costume Designer:

CATHY CRANDALL

The Riches

Costume Designers:

MINKA DRAPER &INGRID FERRIN

The Bill Engvall Show

Costume Designer:

EMILY DRAPERAssistant Designer:

SHANA ELLINGSENN

One Tree Hill

Costume Designer:

CAROL CUTSHALL

Raines

Costume Designer:

GIOVANNA MELTON

The Closer

Costume Designer:

GREG LAVOI

Deal or No Deal

Costume Designer:

DINA CERCHIONE

Jericho

Costume Designer:

NICOLE GORSUCH

My Boys

Costume Designer:

KERI SMITH

Notes From theUnderbelly

Costume Designer:

SABRINA ROSEN

The Tudors

Costume Designer:

JOAN BERGIN

WHATS ON


25/32


Fur

Costume Designer:

MARK BRIDGES

Lucky You

Costume Designer:

MICHAEL KAPLAN

The Wendell BakerStory

Costume Designer:ESTEE STANLEY

WHATS OUT

Blades of Glory

Costume Designer:

JULIE WEISS

Assistant Designer:

MICHAEL CROW

Pirates of theCaribbean: AtWorlds End

Costume Designer:

PENNY ROSE

The Ex

Costume Designer:

JOHN A. DUNN

Knocked Up

Costume Designer:

DEBRA MCGUIRE

Lonely Hearts

Costume Designer:

JACQUELINE WESTIllustrator:

JUDE ORLANDO

Georgia Rule

Costume Designer:

GARY JONESAssistant Designer:

JESSICA PEEL

Mr. Brooks

Costume Designer:JUDIANNAMAKOVSKY

Nancy Drew

Costume Designer:

JEFFREY KURLANDAssistant Designer:

TERRY ANDERSON

Oceans Thirteen

Costume Designer:

LOUISE FROGLEY

y

p

,

,

y

,

g

ff,

y

y

Films,KnockedUpUniversalStudios/SuzanneHanover,Mr.BrooksElementFundingLLC

/BenGlass,LuckyYouWarnerBros./MerieW.W

allace,SMPSP,TheExTWC/DemmieTodd,

NancyDrewWarnerBros./MelindaSue

Gordon,TheWendellBakerStoryThinkFilm,Oce

ansThirteenWarnerBros./MelindaSueGordon.


26/32

BOLDFACE HONORSExecutive Board member (representing our Illustrators),

Robin Richesson received an award for Distinguished

Alumni from her alma mater, Long Beach State University, in

April. Diana Edenhas been nominated for a daytime Emmy

for Outstanding Achievement in Costume Design for a

Drama Series for her work on NBCsPassions. Bob Mackie

will be on full display through May 6 at the Museum of

Television & Radio.More than 400 pieces of the Emmy-win-

ning Costume Designers creations for Mitzi Gaynor will be

showcased as part of a special exhibit entitled Mitzi by

Mackie. Sharen Davis will be honored by NY Women in

Film and Television on June 18 at their Designing

Hollywoodevent,hosted byPeople magazine.

DFACEBOLDFACE PRESS

CD B.J. Rogers work on Criminal Mindswas featured in a

new behind-the-scenes show on the TV Guide Channel. TV

Guide magazine is showcasing Randall Christensens week-

ly Costume Miracles for Dancing With the Stars. Elena

Baranovawas on the experts panel for the Boston University

Film School with production designer Jeanine Opewall and DP

Misha Suslov. E! Entertainmentis readying a segment on

designerErin Lareaus Pav Crystal Art and Accessories for

Extreme Bling. Julie Weiss designs for Blades of Glory

were featured in theEntertainment Weekly piece Spandex In All Its Glory.The final episodes ofThe Sopranoswere

recently profiled in Variety including an interview with

CD Juliet Polcsa. CD Mary Roses

Cinema Fashion & Hollywood

Designersexhibit was a huge success

and was widely publicized in Tokyo.

Marys tireless efforts help bring maxi-

mum exposure to the art of costume

design in the global market.The exhib-

it will make its way to Kyoto before

closing in September.

BOLDFACE AT WORKJacqueline Saint Anne designs and Sharon Dayassists on

Miss Lonely Hearts circa 1932 for director Kenneth Cazan at

the Bing Theatres West Coast premiere. Allison Leach

designed the costumes for The Actors Gangs stage produc-

tion of1984directed by Tim Robbins.Erin Lareau is design-

ingHigh School Musical on Ice. She also recently designed a

commercial and a Microsoft project with director

Christopher Guest. CDG IllustratorRobert Cronsketched

forJoseph Porro on the movie The Laundry Warriorand

forMary Jane Fort on the pilot Football Wives. Costume

DesignerJanie Bryantand Asst.CDAllison Leachare work-

ing on a period TV series, Mad Men premiering on AMC.

Keri Smith designs the new series My Boys on TBS.Jill

Ohanneson has been busy this season designing threepilots;Eli Stone and Sam I Am for Touchstone and The Man

for CBS. Mark Bridges recently wrapped the

CBS/Paramount pilot Swingtown set on the Fourth of July

1976.Wendy Greinerdesigned the NBC pilotLife, a one-

hour detective drama. Dan Lester designed the untitled

Akiva Goldsman pilot for Fox. Danielle Launzel

designed and Jessica Torokassisted on The Wedding

Bells. Tricia Grayis designing On the Lot for reality

maven Mark Burnett and Steven Spielberg. Bravo to

those who appreciate the necessity of a Costume

Designer on a reality TV show!

Deborah Scott is designing the feature adaptation ofGet Smartstarring Steve Carell and Anne Hathaway based

on the popular 60s TV

series.CD Susie Desanto is

on location in Shreveport,

La., filmingMad Money for

director Challie Khouri, and

starring Diane Keaton,

Queen Latifah and Katie

Holmes. Inanna Bantu is

designing Fast Glass shoot-

ing in Los Angeles in May.

Kym Barrett is back at work with the Wachowski

Brothers (The Matrix ) on

the live-action version of

Speed Racer. Before head-

ing on location to Germany,

Barrett started her prep

here in Los Angeles with

Asst. Designers Stacy

Caballero & Michelle

IN FOCUS

BOLDFACE NAMES


New York, New York byTheadora Van Runkle, Kyoto

Titanic by Deborah Scott ondisplay in Kyoto

Cinema Fashion & Hollywood Designers program and gallery


27/32

Harperand IllustratorFelipe Sanchez.Valerie Laven-

Cooper is designing Poor Things starring ShirleyMaclaine and Olympia Dukakis, right here in Los

Angeles! Bonnie Stauchdesigned The Last Wordstar-

ring Ray Romano,Winona Ryder and Wes Bentley.Aggie

Rodgers is thrilled to be designing the horror/comedy

Pig Huntat home in Northern California. CD Laura

Jean Shannonis collaborating once again with direc-

tor Jon Favreau to bring Marvel Comics characterIron

Man to the big screen and Rebecca Bentjen is the

Assistant Designer. Abigail Murrayis designing and

Nanrose Buchmanand Nora Pedersonare assisting

on the 1950s film The Express; about Ernie Davis, the

first black football player to win the Heisman Trophy.CD Molly Maginnis is finishing up The Bucket Listfor

Rob Reiner, starring Jack Nicholson. The Mummy is

back for a third installment withSanja Milkovic Hays

designing, Irena Stepic-Rendulic assisting and

Christian Cordella & Phillip Boutte Jr. illustrating.

Marlene Stewarthas started to prep Tropic Thunder

for director and actor Ben Stiller. Albert Wolskyis

designing the new Sam Mendes film Revolutionary

Road which re-teams Leonardo DiCaprio and Kate

Winslet for the first time since Titanic. Mary Zophres

will design the long-awaitedFourth Installment of the

Indiana Jones Adventures .Longtime Assistant Designer

Jenny Eaganwill collaborate once again.

BOLDFACE ENTREPRENEURS

CD Marianne Parkerhas opened Ma Parkers Antique

Portrait Emporium on Catalina Island for customers to

dress up in Victorian thru 1920s costumes and have

their sepia photo takenLocal 892, Local 705, Local

399 members get at 10% discount!Wendy Greineris

creating team gear for the Lexus Newport to Ensenada


Miss Lonely Hearts NBC pilotLife


28/32

Race, 2007. Ellen Falguiere is opening up a boutique in

Orlando, Florida, called Elle Jolie (407) 898-8010. Ellen will

handle the buying and marketing and her mom will run the

store so Ellen can continue to design costumes in Los Angeles.

Website to follow. Costume DesignerHala Bahmetand pro-ducer Amadea Wests eco-friendly clothing line Viridis Luxe

was featured in the May issue ofVogue magazine! Commercial

Costume Designer Sally Rice has opened a boutique in

Laguna Beach called STANzA which is a gallery of one-of-a-

kind fashion and functional art (949) 376-6455. Bob

Mackies latest iconic Barbie-doll creations feature two

memorable Cher ensembles: 1970s Half Breed and 1980s

Turn Back Time. Both will be available from Mattel this

June.

BOLDFACE NAMES

IN FOCUS

Viridis Luxe

Half Breed Barbie Turn Back Time Barbie


29/32


IN FOCUS

BOLDFACE FESTIVALS & EVENTS

The CDG Film Festival Committee, chaired by Executive

Board members Mary Malinand Susan Nininger,continuesto develop opportunities for CDG Designers to showcase

their work at film festival Q&As and panels, alongside their

collaborating directors, cinematographers, and production

designers. Upcoming events:

LA Film Festival June 21-July 1

Comic-Con San Diego 2007 July 26-28

Telluride Film Festival Aug. 31-Sept.3

Scottsdale International Film Festival October 5-9

Hollywood Independent Film Festival October 17-22

AFI Film Festival November 1-11

If you are interested in participating in any of these events,e-mail Mary: [email protected] or

Susan: [email protected]. They

would love to hear from you.

Designer Valerie Laven-Coopers film comedy The

Grand, set in the world of professional poker, will premiere

at the LA Film Festival June 21-July 1.The costume design of

Mark Bridges is part of the installation On Otto at the

Prada Foundation in Milan,Italy, from April 20 to June 6,2007.

Mary Rose continues her role as the curator of costume

design with the 2nd Annual FIDM and ATAS Outstanding Art

of Television Costume Design 2007 which opens to the pub-

lic on July 31 and runs through September 29. In addition,

she is also curator at a new costume exhibit titled Star

Struck: Hollywood Costumes and Designers From 1932 to

2006. It will debut Sept. 29Nov. 4 in Dallas, Texas, at the

Womens Museum,an affiliate of the Smithsonian.

If you are not mentioned in

BOLDFACE NAMES, remember tosend us your news and photos.

[email protected]


30/32


SCRAPBOOK

Costume Designer Julie Weiss, circa 1980


31/32


32/32

Prsrt Std

U.S. PostagePaid

Santa Ana, C

Permit No. 45Costume Designers Guild

Local 892I.A.T.S.E.

4730 Woodman Avenue, Suite 430

Sherman Oaks, CA 91423-2400

the costume designer spring 07

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