Beruflich Dokumente
Kultur Dokumente
UP CLOSE
Our fall MWS, October 23rd at Pinewood Studios, was
another successful event for participating vendors. But what
made this sale even more unique than previous sales was the
CAFTCAD CELEBRATES COSTUME IN FILM
But the audience’s boundless appetite for images and the cos-
tumer’s drive to create them makes for an ongoing and dynamic
relationship that never ceases to fascinate. This was an opportunity
to indulge that bond and an invitation to the public to become COSTUMES ON DISPLAY
more intimate with a range of creative cinematic ideas firsthand.
Exhibits like this illustrate that diversity and also, by virtue of the
size of the collection, give a sense of the variety of styles and eras
designers are expected to master in their field.
LETTER
FROM THE
PRESIDENT
While working on the latest installment
of BeSpoke, I have to admit I’m in awe
of the sheer talent and diversity of
our membership. CAFTCAD offers the
costume community a vehicle to come
together for the greater good of our
craft and our shared interests.
With wide parameters and a clear vision from Director Terry Gilliam,
Monique embarked on a “hunt and gather for her characters”. The project
was “an all engaging and fantastic collaborative from each department.
It was the dream job that she “wishes for all designers to experience”.
“I would row across the ocean for the chance to work with him again”
Her 30 year journey to the point of receiving these accolades has taken some
interesting turns. Originally from Montreal, Monique studied fine art with a
plan to teach art at the high school level. However, once there, discovered she
really didn’t want to be a teacher and “hated it with a passion”.
Now on the right path, she continued with other productions, gradually
learning about costuming. Within a few years the first design offer came. Using
the sink or swim technique, she figured it out and received her first credit, a
Canada/ France co-production that took her on location to the Rockies. Love
brought her to Vancouver in the early 80’s. Fantastic timing as the industry was
still in its infancy stage and the opportunities for learning the craft of costume
design and growing her resume were excellent.
Although” Dr Parnassus” has had the most impact on her career, Monique feels
all projects are interesting. Monique’s other credits include the indie runaway
hit ‘Juno’ and the hilariously funny ‘Best in Show’ to name a few. She loves the
process, the art of making movies, collaborating with others, telling a story
and composing characters.
Retiring is not on Monique’s agenda. Still on her film “to do” list is a period
western, set at the end of the 19th century. Also she would love to find her” Tim
Burton” referring to Colleen Attwood and Tim Burton’s continued collaborative
relationship.
When not making movies, Monique likes to live life quietly, spending time
with her husband and visiting family in Montreal, takes drawing classes, likes
to cook and have dinner parties and walking by the sea. She has traveled the
world extensively and loves Europe. Paris in particular speaks to her with its
never ending wealth of all the things that engage and inspire her. If she were
to pack her bags and go somewhere tomorrow, it would be Paris.
What was the best part of the project from a design perspective? What was the biggest challenge you faced?
The project actually allows the Costume Designer to create a complete history on I found that the biggest challenge was to come up with 165 different costume
much of the main characters. Hopscotching back and forth in time with the same changes for Jared Keeso (our Don Cherry) with very little script day continuity.
characters is both challenging and fantastically satisfying at the same time. My other challenge was finding a sporting goods manufacturing company that
was able to build the uniforms period correctly within the time frame. I found
Who made up your costume team for the project? myself down at Canada Customs on more than one occasion begging them to
I was lucky to have a fantastic team including: CAFTCAD members - Suzanne Aplin release the shipments so I could break them down and get them to set on time.
ACD / Lindsay Jacobs CS / Nathalie Gysel CB / Loreen Lightfoot CC, as well as Christina
Cattle SS / Susan Nycz TS / Donna Butt EC / Karen Eppstadt BA. What was the best part of the project from a design perspective?
The best part was getting approval from Don, Cindy and Tim Cherry as to how
Anything else you would like to share with us?
I’m just thrilled and honoured to be nominated and thankful for the incredible bang on the designs were compared to the family photographs. I loved hearing
support of the team I had on this project. Don say “Way to go Kiddo!”
The late Richard Harris, who played Albus Dumbledore in Harry Potter, couldn’t visu-
alize what the Hogwarts School headmaster would look like - but when CD Judianna
Makovsky showed him a sketch, he said “Oh, that’s who I am. Thank you.”
Within the Costume Department, everyone benefits from the illustrations – from the pat-
ternmakers and breakdown artists, to milliners, assistants and costume effects makers.
In my travels, working with many designers, I have found that it is very seldom that there
have not been drawings. They are useful at meetings with other departments as well.
The words of the script create the first impression of the character. From there, some
designers start to form ideas through doodles or pictures in books or magazine tears.
Inspiration can come from fabric, colour, nature – basically from anything that speaks to
one’s sensibility. Sometimes a designer will need to go a step further and enlist the skill
of an illustrator in order to take all of those elements and manifest the character into a
2D drawing.
Remember, you don’t need to know how to draw in order to express your idea to the
illustrator, only the confidence and trust to let them visualize for you. BY SILVANA
SACCO
CAFTCAD AT TIFF
There was impressive representation of CAFTCAD at this years TIFF as
four of our members films were entered into the festival.The Opening SMALL TALK
WITH MELISSA STEWART
Gala film was Costume Designer Patrick Antosh's "Score :The Hockey
Musical" (theatrical release Oct22,2010). Also in the Festival were
Costume Designer Candice Beuckx's " A Beginners Guide to Endings" 1. What is the best part of your job?
( theatrical release 2010) and Costume Designer Laura Montgomery's Meeting so many new people on
and Production Designer Rachel Ford's "Small Town Murder Songs" each show. I just finished a job
(theatrical release Winter 2010) GO TEAM CAFTCAD! L.L where I dressed Afghan, Djibouti
and Yemeni villagers. I loved
going to stores, talking with the
people about the traditional
clothing and hearing their stories.
BY kristen o’reilly
Portfolio - Stylist, Lori Gardner
Take
Off
More
T-O-M means Take Off
More as Tom will always
trim prices to fit your
film’s budget. We invite
you to visit Tom’s Place,
one of Toronto’s leading
clothing suppliers to the
film industry.
'Its beautiful Valentino... you know after the two of us, everyone else is just making rags'
Valentino: The Last Emperor - The quote is by Karl Lagerfeld to Valentino after they tour the retrospective exhibit of 40 years of Valentino's work.
IA
NC
E OF FILM
The Canadian Alliance of Film and Television Costume Arts and Design
LL
is a non-profit association bringing together costume professionals to promote inter-
&
A
T
CANADIAN
E LE
national recognition of the creative talent we have in Canada. Our vision is to increase
VISION
awareness and the value of costume art and design as a powerful element in the col-
EST.
laborative process of filmmaking.
GN
CO
ST 2008 I
UM ES
E ARTS & D www.caftcad.com T: 1-877-900-0955
65 Heward Avenue #C220 Toronto, Ontario, M4M 2T5