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U.S. Postage
Paid
Santa Ana, CA
Permit No. 450
Costume Designers Guild
Local 892I.A.T.S.E.
11969 Ventura Blvd., First Floor
Studio City, CA 91604
The Official Magazine of the Costume Designers Guild
Fall 2009 The Costume Designer 3
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
COVER
1920s black silk latticework shoes from
collectors Beth and Julie Guernsey of
18601960. See story on page 18 for
more details.
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Presidents Letter
Executive Director
Assistant Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 24
Meet the Assistants
History of Dress
Landis: UCLAs Copley Chair
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
The Process: From Sketch to Screen, Prince Caspian
A Look Back at Brazil
Location: Boston
Boldface Names
Whats In/Whats Out . . . . . . . . . . . . . . . . . . 44
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DEPARTMENTS
35
FEATURES
Collecting for Costumes . . . . . . . . . . . . . . . . 18
A Treasure Hunt Piece By Piece
Tommy the Tailor . . . . . . . . . . . . . . . . . . . . . 22
Tomas Velasco, The Loss of a Master Tailor and Friend

32 18
vol. 5, issue 4
BEST PICTURE
2009 Focus Features. All Rights Reserved.
BEST COSTUME DESIGN MARY ZOPHRES
SERIOUSLY.
For up-to-the-minute screening information, to read the script, hear the score and get
a deeper look behind-the-scenes of A SERIOUS MAN, go to FocusAwards2009.com
! A SERIOUS MAN COMES FROM CRAFTSMEN AT THE PEAK OF THEIR GAME.
-MICHAEL PHILLIPS, CHICAGO TRIBUNE
PITCH-PERFECT. WORKING WITH SUCH REGULARS AS COSTUME DESIGNER MARY ZOPHRES, THE COENS
HAVE SO EXACTLY MADE THE FILM THEY ENVISIONED THAT IT IS HARD NOT TO BE DRAWN IN.
- KENNETH TURAN, LOS ANGELES TIMES
4 The Costume Designer Fall 2009
s some of you may know, two of my several other CDG hats
are Creative Rights Chair and Publicity Chair. In December
of 2002, I was encouraged by Deborah Landis to lead a semi-
nar based on my personal experience with merchandising
issues. I learned quite a bit in the research, development and
conclusion of that well-attended seminar. To this day, designers and
agents alike call me for counsel on the subject, as do writers looking
for a new story angle. A trio of such stories appeared in Varietys
recent Fashion Issue (November 17) on the subject of merchandis-
ing and fashion. I spent a great deal of time being interviewed for
this issue, connecting the writer with our members and subsequently
being misquoted. Rather than reprint the misconceptions, misquotes and general lack of under-
standing on behalf of our own industry trade paper, Id like to offer the following facts
Fashion houses buy advertising. Of course we get it. Its the reason the editors of our trade
papers and the fashion magazines always want to tie Costume Design to Fashion. True,
a large part of being a Costume Designer today is shopping, but our first priority is never
whats in fashion. We will always be storytellers first. If we were to consider fashion (or
free fashion for that matter) ahead of the story, everyone would fail. When the story moves
you, and the characters are believable, and their lives are enviable or feared or understood on
some level, thats when the audience is reeled in and thats when we can celebrate our suc-
cess. And THAT is where the clothing trends start and the street takes over and the fashion
designers can take it from there.
I firmly believe that by consulting with, including and compensating the Costume Designer
for the ancillary merchandise based on their designs, the products (Halloween costumes,
dolls, toys, etc.) would be better, sell more, and positively impact the bottom line. Which in
turn is a win-win for everyone.
Costume Designers and Costumers are not only defined by two different job descriptions,
they are also represented by two different IATSE locals. Costume Designers Guild Local 892
and Costumers Local 705. Despite countless letters to correct the confusion, we are still per-
ceived as one in the same in print.
For more on this subject, feel free to explore back issues of The Costume Designer at the CDG
website (Spring 2006 & Fall 2006) www.costumedesignersguild.com
Another very personal matter the industry recently lost two exceptionally talented
men who were very special to me. Master tailor Tomas Velasco (see page 22), and my longtime
agent and friend, Jon Furie, President of Montana Artists Agency. Jon Furie was one of a kind.
As all who knew him could attest, Jons integrity in his dealings and his care and dedication to
his clients was legendary.
On a lighter note do enjoy the holidays. A new year is dawning and the CDG Awards
will be here before you know it.

Deena Appel
dappel@costumedesignersguild.com
EDITORS NOTE
EDITOR/PHOTO EDITOR
Deena Appel
ASSOCIATE EDITOR
Audrey Fisher
MANAGING EDITOR
Cheryl Downey
PRESIDENT
Mary Rose
mrose@costumedesignersguild.com
VICE PRESIDENT
Hope Hanafin
hhanafin@costumedesignersguild.com
SECRETARY
Ann Somers Major
asomersmajor@costumedesignersguild.com
TREASURER
Marilyn Matthews
mmatthews@costumedesignersguild.com
EXECUTIVE BOARD
Sharon Day
sday@costumedesignersguild.com
Salvador Perez
sperez@costumedesignersguild.com
Deena Appel
dappel@costumedesignersguild.com
April Ferry
aferry@costumedesignersguild.com
Lois De Armond (Asst. Costume Designers)
ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators)
fsanchez@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com
Susan Nininger
snininger@costumedesignersguild.com
Robert Blackman
rblackman@costumedesignersguild.com
Julie Weiss
jweiss@costumedesignersguild.com
BOARD OF TRUSTEES
Jacqueline Saint Anne, Chair
jsaintanne@costumedesignersguild.com
Peter Flaherty
pflaherty@costumedesignersguild.com
Marcy Froehlich
mfroehlich@costumedesignersguild.com
EXECUTIVE DIRECTOR
Cheryl Downey
cdowney@costumedesignersguild.com
ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@costumedesignersguild.com
ADMINISTRATIVE ASSISTANT
Suzanne Huntington
shuntington@costumedesignersguild.com
RECEPTIONIST/SECRETARY
Cheryl Marshall
cmarshall@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
A
BEST ANIMATED
FEATURE
Written ForThe Screen And
Directed By
BEST COSTUME DESIGN
Deborah Cook ( Lead Costume Design Fabricator)
For Your Consideration In All Categories Including
GRADE A. A THRILLING
STOP-MOTION ANIMATED ADVENTURE.
A high point in Nightmare Before Christmas
filmmaker Henry Selicks career of creating
handcrafted wonderlands. Wow.
Lisa Schwarzbaum, Entertainment Weekly
Every costume included tiny handcrafted elements such as zippers, rivets and buttons,
all of which are found on normal clothing, but were so small to fit the puppets that they
had to be applied using fine surgical tools such as pins, tweezers and syringes.
For a behind-the-scenes look at the craft of Coraline
and up-to-the-minute screening information, go to: FocusAwards2009.com
2009 FOCUS FEATURES. ALL RIGHTS RESERVED.
MONDAY December 7 EBoard Meeting, 7 PM, Guild Offices
TUESDAY December 15 CDG Awards Submission Entries due
MONDAY January 11 EBoard Meeting, 7 PM, Guild Offices
THURSDAY January 21 CDG Awards nomination ballots due
SATURDAY January 23 Announcement of CDG Awards nominees
MONDAY February 8 EBoard Meeting, 7 PM, Guild Offices
THURSDAY February 18 CDG Awards final ballots due
THURSDAY February 25 12th Annual CDG Awards
IMPORTANT DATES
2009
2010
Fall 2009 The Costume Designer 7
JR HAWBAKER
(Meet the Assistants) joined the
Guild in 2006 and currently
works as an Assistant Costume
Designer for film and television.
Originally from Chicago and the
Goodman School of Drama, she
calls Los Angeles and the CDG
home now. Excited to be writ-
ing again, Hawbaker is thrilled
to contribute to the magazine.
Our Guild members are all sto-
rytellers, on screen and on the
page, and I am only to happy
to contribute to a magazine that
narrates their stories
SUZANNE HUNTINGTON
(Boldface Names) Came to the
Guild in 2005 as the administrative
assistant after two years with the
Editors Guild as their project event
coordinator. Educated and work-
ing in the fine arts and entertain-
ment world keeps Huntington in a
creative environment. Huntington
stays busy with member inquiries,
managing special projects, shep-
herding Awards season info and
serving as administrator of the CDG
website, among other duties. Its a
pleasure to stay in touch with the
members and make a contribution
to The Costume Designer.
BONNIE NIPAR
(Locations, Whats On/In) joined
the Guild in 1997 and works
as a Designer for TV. Born and
raised in Pittsburgh, she was an
art student at Carnegie Mellon
before moving to Los Angeles
and entering the industry.A huge
fan of the CDG magazine, Bonnie
happily took over two recurring
columns. She adores the process
of gathering new sources, thus
writing Locations is a great t.
And for the Whats On/Whats In,
Its a treat to research the latest
accomplishments of our peers.
ROBIN RICHESSON
(History of Dress, Illustrator)
joined the Guild in 1992 and
works currently as a costume
illustrator, a storyboard artist, and
an educator. I trained to work as
an illustrator for print (publish-
ing) so when the CDG began the
magazine, I was pleased to be
asked to illustrate for it. I love
working in film, but I have to
admit, I missed seeing my work
in print! The History of Dress
column is a great way for me to
learn more about clothing and
participate in this publication.
KARYN WAGNER
(History of Dress, Copy) A
Costume Designer for film and
television, Wagner ran for the
CDG Board four years ago. I
wanted to give back a little of
what the Guild has given me. I
have found the experience to
be rewarding and inspiring. I
trained as a historian, and I love
to watch the evolution of culture
and clothing, so I volunteered to
write the History of Dress col-
umn. I always learn something
new and have so much fun writ-
ing it.
FOR YOUR CONSIDERATION
BEST
COSTUME DESIGN

EVERY VISUAL FLOURISH AND DETAIL IN

IS FLAWLESS,
A METICULOUSLY CONCEIVED
AMALGAMATION OF THE ORGANIC
AND THE SURREAL THAT
COMPLETELY CAPTURES THE LINES
AND AUSTERE BEAUTY OF THE
AUTHORS ORIGINAL DRAWINGS.
ANN HORNADAY
THE WASHINGTON POST
Contributors
AUDREY FISHER
(Associate Editor, A Look Back,
Boldface) joined the Guild in
2000 and is currently the
Costume Designer for the new
HBO original series True Blood.
Fisher was in her second term
representing Assistant Costume
Designers on the Executive
Board when she reclassified to
Designer. Associate editing the
CDG magazine allows me to
indulge one of my first loves
and keeps up my writing chops.
I appreciate the creative outlet
and the opportunity to learn
more about our colleagues and
their designs.
612.375.8722 or e-mail costumes@costumerentals.org
855 EAST HENNEPIN MINNEAPOLIS, MN 55414 COSTUMERENTALS.ORG
CostumeRentals offers year-round access to the
Guthrie and The Childrens Theatre Companys
combined inventory of extraordinary costume pieces.
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
Over 30,000 costumes
Designs by leading theatrical designers
Storybook and fantasy characters
Shoes, hats, masks and accessories
With triple-digit temperatures convincing us that summer would never end, November arrived with chilly
mornings and even colder evenings. So on the first such Saturday morning, wrapped in a wool scarf and
sweater, I headed to a New Member Orientation at the CDG offices. Arriving a few minutes early, I was
surprised to find an almost full room of young men and women, all with bright faces, eager to be a part of
this organization. How I wished that I could have painted a rosier picture for their professional futures; but
the forecast at the end of this year is far from sunny. Now that we are into the 11th month under President
Obama, buoyant post-Bush optimism is waning thanks to our slow economy, record unemployment, cyni-
cism, frustration and doubt amongst the American public.
Other than a small number of TV projects employing our designers, recent job opportunities have been
mostly in the states offering production tax breaks, rebates, and incentivessuch as New York, Louisiana and
the southwestern states. Basically everywhere, but here in Los Angeles.
After recent news that Iowa and Michigan are reevaluating the success of their incentive programs due
to unrealized expectations, my hope is that the producers become more proactive. They need to put more
effort into encouraging the State of California to bring production back to Hollywood where it belongs. The
experience and depth of crew in our state cannot be matched.
For the past two weeks, the Finance Committee has been working diligently to balance our 2010 budget. One thing we were
adamant about was that this was going to be a positive finance budget. The memberships equity would be guarded. Starting with a
$40,000 shortfall, we did have to cut some things that werent essential; but we were able to add money to improve the CDG website
and the Education Committee will remain an important focus. Thanks to my wonderful, hard-working and caring Compensation and
Budget Committees, we were able to successfully put the budget to rest.
I have to commend our very busy Education Committee and Co-chair Ann Major on our first-ever joint seminar with the Art
Directors Guild. The Wacom Tablet seminar (November 14) brought together both locals for the opportunity to learn about an
important and valuable tool. The response and success of that pairing brought the goals of the Executive Board full circle. Our
intention, in moving our offices to
the ADG building, was not only to
be in a more productive space, but
to afford us the opportunity to col-
laborate with our creative peers and
to partner on shared goals. This is
only the beginning of what we can
do together.
On another front about a
month ago, I was asked to meet the
CEO of the Irish Film & Television
Academy, Aine Moriart. She invited
me to be a special founding member
of IFTA/LA (counterpart to BAFTA).
As part of the invitation, I will be
able to include CDG members who
would like to become IFTA/LA mem-
bers as well (with some requirements
and stipulations). I will be sending a
detailed email blast soon.
Lastly, wash your hands, wash
your hands, and wash your hands!
And stay well!
Mary Rose
mrose@costumedesignersguild.com
Dear Members,
PRESIDENTS LETTER
UNION LABEL
Fall 2009 The Costume Designer 9
F O R Y O U R C O N S I D E R A T I O N
warnerbros2009. com
BEST COSTUME DESIGN
Jenny Beavan
Some months back, your Guild leadership noticed an atypically high number of members having to withdraw
from the CDG. In light of these tight times, we started scaling back discretionary expenses. Please know that
by writing a confidential letter to the Eboard explaining your situation, all members are eligible for a one-time
waiver of quarterly dues based on economic hardship.
The Motion Picture Foundation and The Actors Fund remain very supportive of all IA members. There
are some unique opportunities to take retirement from the health and pension plans at different times in your
life/career so please contact MPI to check what options pertain to your situation.
At the CDG General Membership Meeting in October, members unanimously supported universal health
coverage with a public option. The AFL-CIO and IATSE are leading the charge on this front and your Eboard,
and I urge you to repeatedly phone and email (belts and suspenders!) to send a strong message. Watch our
weekly emails (GEMS) for the latest call to communicate with your Washington representatives and senators.
Until we get universal coverage that is not tied to employment, we remain dependent on MPI cover-
age. As the costs go up, for example, remember that the number of qualifying hours for the Health Plan will
remain at 300 every six months in 2010, but will rise to 400 hours in 2011.
Piracy is a big part of this increase, causing revenues into the MPI Plans to plunge. As many as 700,000
people see pirated films before they premiere, meaning the producers who hire us not only lose out on ticket sales, but worse,
on back-end DVD sales. The MPI Plans get residuals from those DVD sales, which were already plummeting before this economic
downturn. As more and more countries offer their citizens broadband access, we see how deadly serious this is for our film indus-
try looking ahead. Allowing products to continually be given away for free is simply not a successful business model.
We cannot be part of the problem! Each of us must educate our children, colleagues, and neighbors about why intellectual
property rights must be protected. The IATSE is united with other leaders like the DGA in making this case in Washington.
Whether its health insurance or help in hard times, your union is working for you.
In Solidarity,
Cheryl
cdowney@costumedesignersguild.com
Dear CDG Members,

EXECUTIVE DIRECTOR
Fall 2009 The Costume Designer 11 10 The Costume Designer Fall 2009
ASSISTANT EXECUTIVE DIRECTOR
UNION LABEL
12 The Costume Designer Fall 2009
Fighting the Flu
If you have the flu, you should not
go to work.
Our work is generally stress-
ful and involves working with large
groups and in very close contact with
others. In this economic climate, no
one can afford to be sick and miss
work so it is important to try to stay
as healthy as possible. Take pre-
cautions by eating well and getting
plenty of sleep. Pace yourself and find avenues of relaxation
in the downtimes. Your health is your most important asset
in your tool box.
This flu season is predicted to be severe. Here are some
guidelines from the CDC to help you stay healthy and get
you healthy if youre already sick.
First know when you have the flu. Symptoms include
but are not limited to:
Fever (usually high), headache, extreme tiredness,
dry cough, sore throat, body aches, nausea, vomiting,
diarrhea, runny or stuffy nose.
What is the difference between a cold and the flu?
They are both respiratory illnesses caused by differ-
ent viruses. In general, the flu symptoms are much worse
and are accompanied by the sudden onset of body aches,
fever, and extreme tiredness. The only reliable way to tell
the difference is to have your doctor test you for the flu.
Do not try to self diagnose.
What should you do if you have the flu?
See your doctor and take antiviral flu medications if
prescribed. Stay home and avoid contact with others. The
flu is contagious. Get plenty of rest.
How can I avoid the flu?
The CDC recommends a three-part plan.
1. Get vaccinated. Flu strains mutate so it is impor-
tant to get this years shot. The seasonal flu shot is now
available at the MP Health Clinics and the H1N1 will be
available shortly.
2. Take everyday precautions such as frequent hand
washing with soap and water or an alcohol-based hand
rub. Avoid touching your eyes and mouth. Avoid contact
with sick people.
3. Take antiviral drugs if your doctor recommends
them and stay home.
Have a healthy winter,
Rachael Stanley
rstanley@costumedesignersguild.com
2009 APPARITION LLC. ALL RIGHTS RESERVED.
Bright Star is a feast for the senses A lush and pleasing plunge
into a world animated by poetry and longing and marvelous hats.
-Ann Hornaday, The Washington Post
BRIGHTSTAR-MOVIE.COM
APPARITIONSCREENINGS.COM
F O R Y O U R C O N S I D E R A T I O N
BEST COSTUME DESIGN
COSTUME DESIGNER
JANET PATTERSON
Scrupulously well-crafted.
-Michael Phillips, Chicago Tribune
14 The Costume Designer Fall 2009
LABOR REPORT
UNION LABEL
F O R Y O U R C O N S I D E R A T I O N F O R Y O U R C O N S I D E R A T I O N
Excellence in
Costume Design for a
Period Feature Film
Sandy Powell
APPARITIONSCREENINGS.COM
THEYOUNGVICTORIAMOVIE.COM 2008 GK FILMS, LLC. ALL RIGHTS RESERVED.
What Is the Los Angeles County Federation of Labor?
Since President Obama took office in January, the labor
movement has had a friend in the White House. Locally,
the labor movement is spearheaded by the Los Angeles
County Federation of Labor, AFL-CIO. The organization was
founded in 1885 to counter unfair labor practices put forth
by employers. Their mission is to ensure that workers have a
voice, encourage active participation in the political process
and to advance public policies that support workers and
their families. Local unions play an integral part in sustain-
ing healthy communities by fighting for good jobs that will
rebuild the middle class of Los Angeles.
The powerhouse leading the AFL-CIO is Maria Elena Durazo, elected in May 2006 to
serve as Executive Secretary-Treasurer. She has been instrumental in solidifying the effort
to organize the unions here in Los Angeles. The local unions have made such an impact
that the Los Angeles County Federation of Labor was honored with the AFL-CIO Union
City Award, recognizing the success of local unions that elect allies to political office
while organizing new workers, LA County.
There are more than 300 affiliated locals in the Los Angeles County Federation of
Labor including the Costume Designers Guild and our fellow IATSE sisters and brothers.
Combined, they represent more than 800,000 workers in every key industry, which
serves as a powerful force in Los Angeles as well as in state politics.
In Solidarity,
Dana Woods
dwoods@costumedesignersguild.com
The IATSE and the CDG strongly support
Single-Payer Universal Healthcare
Heres what we each must do:
Repeatedly contact our House Representative and Senators by calling
(877) 323-5246 and following the prompts to contact all three.
Write and email our Representative and both Senators each time compromises
are seriously considered.
Make sure our family and friends are making their voices heard.
We have traded economic wage gains for spiraling health costs for too long.
We must each counter the insurance company and right wing media assault,
as IATSE President Matt Loeb urges.
Universal healthcare is a moral right of every American. We, in Labor, with
persistent voices, must make it happen!
LABOR ACTIVISM
Fall 2009 The Costume Designer 19 18 The Costume Designer Fall 2009
18601960
Moorpark, Californias Beth Guernsey and her daughter
Julie of 18601960, have always loved antiques and unique
vintage finds. Ever since Julie was a small child her mother
used to take her to yard sales and swap meets. Always look-
ing for that unique one-of-a-kind item. For the last 40 years,
they have been buying, selling, and collecting antiques. Ten
years ago, Julie quit her job to work with her mother full
time in the vintage clothing business. As the name suggests,
they work with a century of clothing, but their collections
strength varies over time as they buy and sell, and buy and
sell again. Currently, they are very strong in the 1920s and
1930s fashions. Shoes being a passion for Beth, they always
carry a range from the early 1800s onward. Theyve worked
with Costume Designers from Deborah Scott to Judianna
Makovsky. In 1999, they expanded their exposure and their
business to the Internet by creating a very user-friendly web-
site (several photos from the site are seen here). For certain
local projects, they have been known to visit designers at
their studios/offices. Beth acknowledges the treasure hunt.
Im still looking for an affordable, wearable Fortuny gown.
CATHERINE NASH S CLOSET
Another well-known treasure chest stop is Catherine
Nashs Closet in Tucson, AZ. Catherine got her start as a
young artist in the 1970s sewing her own clothing using
antique laces. She spent two years in Europe where she fre-
quented every antique market she could find. That led her
back to Portsmouth, NH, buying up whatever clothing she
deemed gorgeous and in superb condition to supply a local
consignment shop. Eventually, that included various clients
in Manhattan. Several years later, she began to travel with
her collection for trunk shows here in Los Angeles. After
the Northridge earthquake, many of her boutique clients
closed, which opened the door for Nash to sell her clothes
directly to Costume Designers. Now her collection includes
1860s through 1970s mens, womens and childrens cloth-
ing, accessories and costume jewelry dictated by quality
first. Her purchases are guided by the needs of her clients
and their particular project. The earlier she connects with a
Costume Designer, the more time she can devote to search-
Designing a period show is really like a scavenger hunt.
One source leads you to the next, which leads you to the
prize: a single item so perfect in its ability to exemplify the
period, only to start the search all over again. A treasure
hunt, piece by piece. The further back in time you go, the
less youll find, and the more youll have to hunt. Civilians
believe that designing a period show must be one-stop
shopping oh no, not so! There are the special pieces
that may be wearable but are they the right size? The per-
fect dress but is it the right fabric? To amass enough clothes
to dress a feature or telefilm does not happen easily. The
stars, the supporting players and all those background
actors! Of course, there are always stunts, or rain, or often
eight weeks in the same jacket. For a Costume Designer to
manufacture the costumes for any given period you have to
start with the real McCoy. Its imperative to understand-
ing the construction, to appreciate the fabric or just to be
inspired. At these times, we first turn to our trusty costume
rental houses and local vintage shops here and abroad to
get started. But when youre dealing with the early 1900s
or before you have to dig deeper. Thats why there are
some very special men and women all over the country
(and the globe) you need to know. Enter The Collector. An
independent collector may carry a little bit of everything
or have a known specialty; but if youre designing a period
project, youre only as good as your sources.
Collecting
for

Costumes
C
18601960
1860-1960
20 The Costume Designer Fall 2009
C
ing for specific needs. Nash thinks of herself as a professional
buyer more than a collector but she just cant pass up a great
cocktail dress from the teens through the 30s. Catherine
Nashs Closet is not a storefront. Her business is comprised
of interested Costume Designers, supervisors and costume
rental houses to whom she sells (never rents) her meticu-
lous finds. Shes recently worked with Ann Roth for Doubt
and Julie & Julia, Deborah Hopper for Changeling, Colleen
Atwood for Public Enemies, Kasia Walicka-Maimone for
Amelia, Joseph Porro for Alleged, and John Dunn for HBOs
Boardwalk Empire. It has been an honor to have worked
with Albert Wolsky on five productions now, says Nash.
Working with period TV shows over time has been satisfying
as well. I took a chance buying these Victorian mesh masks
with Janie Bryant and Deadwood in mind, which in turn
inspired the directors to have them written into the script
for a murder scene.
ORIGINALS BY TERESA
Terri Gabriell of Originals by Teresa started wearing
1940s and 50s clothing when she was in college, but she
had no intention to start a business until people started ask-
ing if they could buy my clothes. Soon, she was wholesaling
vintage clothing in New York where she met her business
partner, Tracy Carluccio, who happened to dress in the same
period fashion. The first big film she supplied clothing for
was Born on the Fourth of July (CD Judy Ruskin with ACD
Mary Zophres). Terri and Tracy have been working with
Costume Designers ever since. In the 1980s, they studied
millinery at FIT in New York and began collecting antique
hat blocks. They now rent two commercial buildings in New
Jersey, filled with hat-making materials and vintage clothing.
Their collection includes mens and womens period hats
dating back to the Victorian era, 1950s and 60s womens
foundations garments (mostly dead stock, aka new-old) that
have never been worn. They also have dead stock clothing
from the 50s and 60s (some 30s & 40s) that includes hard-
to-find childrens clothing and shoes. They mostly sell their
clothing but choose to rent their hats which are irreplace-
able. They too have worked with some of the most prolific
Costume Designers in our business including Mary Zophres,
Colleen Atwood, and of course, Judy Ruskin, who gave Terri
her start. She is proud to say, We often hear that its nice to
work with us because when we send something, its right.
ARCHIVE EDITION TEXTILES
Paul Freeman is known as The Textile Guy. His business,
Archive Edition Textiles (formerly known as Textile
Artifacts) in Hawthorne, CA, started like most, as a hobby.
His 30-year journey began with antique lace and linens and
grew from there as Paul understood the magic and beauty
that came with wonderful old things. His vintage fabrics
include lace, ribbons, trims, buttons, printed and woven
fabric, arts & crafts, tapestries, embroideries and pre-1940s
yardage. Most fabrics are yardage and large panels, and most
laces & trims are available in volume. He also has hundreds
of one-of-a-kind textile designs in small examples for research
and manufacturing. Which brings us to his other business
reproductions. Paul offers a reproduction line of woven arts
& crafts, art noveau and art deco fabrics and also does cus-
tom reproductions usually very fastone to two weeks! He
has an enormous warehouse in Hawthorne and has enter-
tained many of the designers weve already mentioned as
well as Penny Rose and Trisha Biggar. He will also send out
fabrics on approval.
WESTERN COSTUME CO.
Western Costume Co. has been acquiring private col-
lections since its inception. When Eddie Marks became
President, it was his mission to bring Western back to its
proud beginnings. He purchased Leathers & Treasures
(1992) comprised of a great collection of leather jackets,
vintage jeans and period cowboy boots. Dorothy Weavers
pristine collection (2000) encompassed the early 1900s
through the 1950s. Helen Larson (2003) had a similar
business but her collection began in the late 1800s. Both
Dorothy and Helen had a love of beautiful dresses. Costume
and Production Designer Patricia Norris started collecting
for her own use but later opened Private Collection as a
rental business. Pattys collection was full of character. Eddie
remarks, You know the old saying that we are known by
the company we keep? In Pattys case, you know she is a
great Costume Designer just by the characters we envision
in the clothes she kept. It was a natural fit for Norris to sell
her collection to WCC in 2005.
Westerns most recent acquisition (2009) is the amaz-
ing 50,000 pieces known as Dykeman Young. The East
Coast collection meticulously gathered over time by Mike
Dykeman and Craig Young consists of mens and womens
vintage clothing spanning the late 1800s thru the 1980s.
Purchased from Mike Dykeman after Youngs passing in
2007, the Collection includes a great selection of womens
Victorian, mens work wear and the best collection of chil-
drens clothing Western has ever purchased. The Dykeman
Young Collection will be housed in its own 15,000-square-
foot building until Eddie can find the right way to incorpo-
rate it into Westerns main Vanowen location.
How does WCC manage, in this economy, to continue to
acquire new stock? Eddie explains, Weve been lucky with
our timing. The Dykeman Young Collection is a different
story. After 98 years, we are betting on the future of the busi-
ness and of Western Costume. Eddie worries that We are
coming to the end of an era for great costume collections.
The economy is working against it in the difficulty to find
and purchase good clothes and the cost for space and care.
Its very important that these independent collectors remain
in business for the vitality of our industry. When Eddie
Marks became the President of Western Costume, he made
a promise to himself that he would leave Western Costume
Co. a better place than when he arrived. Thanks in part to
these important acquisitions he says, Im half way there.

Deena Appel
dappel@costumedesignersguild.com
SOURCES
18601960*
Beth & Julie Guernsey (805) 529-7435
www.1860-1960.com
vintage@1860-1960.com
ARCHIVE EDITION TEXTILES*
Paul Freeman (310) 676-2424
www.archiveedition.com
textileguy@aol.com
CATHERINE NASH S CLOSET*
Catherine Nash (520) 740-1673
COSTUME DETAIL WEST
Antonio (310) 314-9659 by appointment
www.costumedetailwest.com
Exceptional vintage fabric, trim, gold bullion, feathers 1900s,
20s, 30s, 50s. Lace dating from the 18th & 19th century.
Jewelry to rent from 1900s to 1960s.
HOPKINS HABERDASHERS
Alan and Vanessa Hopkins 02086725140
A house full of treasures in Tootingbec, England (just outside
of London). Ribbon, laces, fabrics.

ORIGINALS BY TERESA*
Terri Gabriell (609) 883-8905
nancyromancy@comcast.net
STEPPIN OUT
Gary Franke (215) 297-8430
garybfranke@gmail.com
Bucks County Pennsylvania collector. 19201965 mens &
womens clothing. More middle to upper class than work
wear. Sells & rents, project dependent.
WESTERN COSTUME CO.*
Dykeman Young Collection
Nancy McArdle Project Manager
(818) 760-0900 x 390, (818) 765-2131 direct
7245 Fulton Ave., No. Hollywood, CA
WOODLAND FARMS VINTAGE
Janet Schwarz (214) 373-0415
www.woodlandfarmsantiques.com
woodlandfarmsatq@aol.com
This Dallas collector also shows at the Vintage Fashion Expo
in Santa Monica.
*profiled in this feature
Fall 2009 The Costume Designer 21
Paul Freeman (r) and assistant
Nancy Eaton, Archive Edition Textiles
18601960 Originals by Teresa Catherine Nashs Closet, Mad Men
Mike Dykeman and Eddie Marks, President Western Costume Co.
I learned of the passing of my dear
friend, Tommy Velasco, the afternoon
of his funeral. The loss to me and the
loss to our industry is immeasurable.
The fact that I did not know in time and
could not say my public goodbye to this
sweet man that day will stay with me for-
ever. What could I have said to comfort
the room? Tommy Velasco was a mas-
ter. Master tailor and master comedian. There was nothing that would
surprise him, no design that could intimidate him and no situation that
didnt come with a hilarious anecdote. Tommy and I worked together
over the years on many
projects but I can person-
ally vouch for the fact that
Austin Powers (1 , 2, and
3) would simply not exist
without him. Tommy built
just about every costume
worn by Mike Myers in the
trilogy, including finely tai-
lored suits constructed of
fabric as thick and stiff as
an area rug. When I was
faced with creating a fully
authentic Scots Guard uni-
form (with an 80+ inch
waist) for the second Austin Powers, I asked Tommy if hed ever built
a kilt before his answer, I made the kilts for Brigadoon! And I
will always smile thinking of Tommy pulling up a sleeve board atop his
worktable for Verne Troyer, aka Mini Me to have a seat. Tommy had
seen everything and made everything.
Though its been some time since Tommy has occupied his corner
spot in the tailor shop at Universal, I will remember how much I looked
forward to that impossibly long trip down the hallway, entering his
workshop and seeing his face light up when I came in bearing a new
project. I will never forget how Tommy could handle a pair of shears
bigger than he was, how impeccably he executed his craft and how he
loved to laugh.
He will be always remembered and forever missed.
Deena Appel
dappel@costumedesignersguild.com
22 The Costume Designer Fall 2009
Tomas Velasco launched his career as a tailor
in the costume department at Warner Bros.
in 1940, having learned his consummate cut-
ting and stitching skills from his father and
uncle. During the Golden Age of Hollywood,
he worked with many of Hollywoods most
talented leading men; James Cagney in the
classic Yankee Doodle Dandy (1942), Errol
Flynn in Adventures of Don Juan (Marjorie
Best, 1948), Lionel Barrymore in Key Largo
(Leah Rhodes, (1948), Burt Lancaster in
The Crimson Pirate (Marjorie Best, 1952),
Gregory Peck and James Stewart in How the
West Was Won (Walter Plunkett/Ron Talsky,
1962), and Elvis Presley in Viva Las Vegas
(1964) to name a few.
Tommy worked at Western Costume
and MGM before joining Universal Studios
in 1970 where he worked until 2008. As the
supervisor of the busy tailor shop, renowned
designers and legendary stars have consis-
tently requested his special talents. He man-
ufactured Al Pacinos gangster ensembles in
Scarface (Patricia Norris, 1983) and Warren
Beattys sharp suits in Dick Tracy (Milena
Canonero, 1990). Costume Designers Joanna
Johnston (working with Tom Hanks) and
Rita Ryack (working with Robert De Niro)
are among his most ardent admirers, having
partnered on multiple projects together.
After he made the most beautifully accu-
rate period costumes for Jeff Bridges in
Seabiscuit (designed by Judianna Makovsky),
Bridges presented Tommy with the Costume
Designers Guild Presidents Award in 2004.
TOMAS VELASCO
April 6, 1916 September 2, 2009
Tommy

the
Tailor
The Velasco brothers, Carlos Charlie (left)
and Tomas, worked together for more than
20 years before Carlos passed away in 2001.
Tommy and I fitting Verne Troyer, aka Mini Me
24 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
MEET THE ASSISTANTS
JR Hawbaker
jhawbaker@costumedesignersguild.com
E
L
A
I
N
E

D
A
V
I
S
G
L
E
N
D
A

M
A
D
D
O
X
Beaches, mountains, and the creative
world of the film industry were call-
ing this Texas girl from Austin west-
ward to Los Angeles. She began her
education studying costume design
at the University of Texas and today
she enthusiastically says, the creative
part of this business is everything I
imagined and then some!
Maddox sums up the big O
as the key to ACDs role, You can
never be too organized! She adds,
Working in contemporary genres
requires a lot of research into cur-
rent fashion and trends. She sug-
gests watching people on the street
and scanning magazines for up-and-
coming trends that can help cre-
ate a lexicon of current costume
looks. Having worked mostly in film,
Maddox welcomes the challenge of
TV and commercial work and is
eager to really think outside of the
box in the costume world of fantasy
or science fiction.
Maddox explains, as an ACD,
you are the Costume Designers right
hand and must always keep the cre-
ative vision of the CD in focus. In
addition, you are there to help them
keep their sanity in this business we
call show!
glendesign@yahoo.com
This L.A. native (yup, actually a
native!) knows that communicating
effectively is key to being a liaison.
As an ACD, I am able to act as the
voice of the designer when neces-
sary. I stay cool and unbiased in my
interactions, which allows me to
champion the goals of the designer
and the department.
Davis confidence in shopping,
pulling, and swatching and her
thorough, organized prep work are
invaluable on the job. However, even
with the best-laid plans, Davis knows
that this business turns on a dime.
Its important to be able to switch
gears and go with the flow!
Costume Designer Susan
Matheson eloquently cuts to the
nexus of the ACD role and to Davis
superlative contribution to the design
process by explaining, Working
with her and without her is day and
night. When Elaine started work-
ing with me, it was a revelation.
Suddenly, I could go home at a rea-
sonable hour and, for the first time,
actually get some sleep. She helps
me prioritize with a new set of eyes
so that my work is accomplished far
more efficiently and with a much
greater sense of focus.
edavis@instylehollywood.com
T
I
F
F
A
N
Y

W
H
I
T
E
Originating personally from the land
between the Redwoods and the
ocean in Santa Cruz and professionally
from the Disneyland of shopping and
costuming in Anaheim, FIDM alum
Tiffany White recently fulfilled a long-
time dream of joining the Guild!
Today, she lists Costume Designers
Janie Bryant, Audrey Fisher, Mirena
Rada and Allison Leach among her col-
leagues and mentors.
Among her biggest assets: a
Capricorns skill in prioritizing, map-
ping out efficient trajectories and
constantly working toward the CDs
vision. Whites mind is a high-pow-
ered efficiency-making machine.
With a bachelors degree in psychol-
ogy, there is an elegant wisdom in her
ability to interface with a smile and
finesse everyones expertise to get the
job done.
This Santa Cruzian possesses an
exuberance in life that fortifies and flat-
ters her professional demeanor. White
explains, I look for the joy that each
project can offer and concentrate on
that. Suggestions for the newbies to
this wild and dreamy business: baby
steps, have a hobby to enrich your soul,
and dont admire sleep too much.
You will only be disappointed!
Timmy95076@yahoo.com
cant live without
a little humor and
root beer
cant live without
laughter
cant live without
Blackberry, oak tags and
good God, I love Google
26 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
UAKER: Quaker dress is divided into two
categories: plain and gay. Ideas of plain
range from brown, grey, and olive to red.
Womens plain dress includes the white cap,
kerchief and apron, and a bonnet, shawl or
cloak. Gay dress is more colorful and some-
what reflects current styles. Prints are allowed
but rarely used. Black is avoided as the
dye was expensive and easy to fade; and
because of its association with mourning
and its tendency to look chic.
AGLAN: A loose topcoat
named for Lord Raglan,
who devised the design
for his soldiers during
the Crimean War in the
1850s. Instead of the standard set
in sleeve, this design features a
long armhole line extending from
armpit to neckline.
REBOZO, rebosa, reboso:
A long scarf or shawl, plain or
embroidered, wrapped around
the head and shoulders, some-
times crossed over the face. Worn
by rural women in Latin cultures,
it is also often tied around the
hips and shoulders and
used as a carryall for
almost anything.
REDINGOTE: French for riding coat,
originally a mans outer coat of the 18th century. This coat
is double breasted with a large collar and revers and some-
times includes a short cape. Full length or three quarters, it
is tailored at the waist and generally has a fuller skirt. By the
1890s, the design had been adapted for womens wear.
REVERS: Part of the turned back or facing of the
lapel which folds back to show the reverse side
or revers.
ROCKET, roquet: A short, full, smock-
like, woolen garment worn since the Middle
Ages in various cultures. In
the 15th century, it was worn
by commoners and pages who
added a hooded shoulder cape
for warmth. By the 18th century,
some version of it was seen in all
classes. In the 19th century, it was
worn by ecclesiastics; made of
white linen with the lower half of
the front incorporating heavy lace.
ROMPER: One-piece garment,
originated for young children;
a combination of waist and
short bloomers. Also, worn
by girls and women for
gymnastic work
and leisure.
RUFF: A pleated
or crimped collar or
frill, stiffly starched
and completely encircling the neck
which became very popular in the late 16th and
early 17th century. A large cartwheel, starched and
wired, the width of the fashionable ruff was about a
quarter of a yard wide and 18 to 19 yards in length.
Made of fine linen lawn or Holland cambric, in
various colors. A frame of wire covered with silk
thread (rebato) was worn under it for support.
RUMBA COSTUME: Costume consisting of
short bolero-style jacket with cap sleeves and a
floor-length black satin skirt that is tightly molded
to the figure to below the hips and from there
down is a mass of multicolored ruffles. Jacket
and skirt do not meet at waistline, leaving
the stomach bare.
Q
Illustrations by Robin Richesson
rrichesson@costumedesignersguild.com
Text by Karyn Wagner
kwagner@costumedesignersguild.com
HISTORY OF DRESS A-Z
R
28 The Costume Designer Fall 2009
THE COSTUME DEPARTMENT
ased on the unprecedented
gift of $6 million from San
Diego philanthropist David
C. Copley, UCLA has estab-
lished the David C. Copley
Center for the Study of Costume Design
naming Costume Designer and former
CDG President Deborah Nadoolman
Landis as Chair and Director of the
Center. The Copley Center is dedi-
cated to the deeper understanding of
Costume Designers in the collaborative
process of the cinematic and perform-
ing arts, Landis said, a goal that I
have always pursued. This is a great
honor and a priceless opportunity.
The Center will be the the first of its
kind, building an academic base for a
new generation of Costume Designers
through research, course work, and the
participation of the foremost industry
professionals in the world.
UCLA Dean Robert Rosen said,
Establishing the Copley Center will
break new ground in academia and
help secure the schools future preem-
inence in this artistic endeavor. Areas
of study will include the history of
Costume Design in Hollywood, genre
research, costume illustration as an
art form and the influence of Costume
Design on fashion and culture.
The new Centers mission is threefold:
To become the world leader in the
academic study of Costume Design,
crossing media boundaries and
enhancing the already top-ranked
Theatrical Costume Design program
at UCLA with a bold new focus on
film, television and digital media;
To prepare graduates for successful
artistic careers through a balanced
curriculum of theory, practical expe-
rience, and mentorship from the
most accomplished practitioners;
To honor the cultural significance
of Costume Design and its relation-
ship to aesthetic theory, and the role
of Costume Design as the nexus of
artistic vision and narrative.
This appointment acknowledges Landis
professional and academic excellence,
and recognizes the profound creative
contribution of the Costume Designer.
The artistry of Costume Design deserves
significant attention from a great educa-
tional institution such as UCLA, and Im
confident (this gift) will pay dividends
for scholars and practitioners for years
to come, said benefactor Copley.
B
LANDIS: UCLAS COPLEY CHAIR
Deborah Nadoolman Landis, David
Copley, Dean of UCLAs School of Theater,
Film and Television Teri Schwartz
Up in the Air
ad to come
Fine mens and womens fabrics for stage and screen from Gladson Ltd.
West Coast
Scott Anderson
323-650-8875
East Coast
201-708-1600
Toll Free
800-227-1724
sales@gladsonltd.com
30 The Costume Designer Fall 2009
IN FOCUS
Materials: Nedavniaya started with a pencil sketch and then worked with
Arches Aquarelle watercolor blocks and Winsor & Newton Artists paints.
In this nal scene of Prince Caspian, the children return to England
through the magic tree in the town square. Susan, played by Anna Popplewell,
wears a French silk, embroidered brocade dress, trimmed in silver metal with
white silk pongee sleeves.
Isis rst met Oksana during the autograph session that followed the
Comic-Con Film Designer Panel in 2006. Oksana, fresh from California State
University, Long Beach, had brought her portfolio in tow. The pair have sub-
sequently collaborated on Caspian, Voyage of the Dawn Treader and the
animated DreamWorks feature Puss in Boots.
Mussenden: Oksanas sketches were rich with color and texture. Her ren-
derings had a sophistication that was quite striking considering we were in
the middle of Comic-Con where everything is pulp.
Nedavniaya: We look at different research images and talk about the con-
cepts, fabrics, details, etc. Most of the time Isis provides a rough pencil sketch,
usually with tons of notes; which are really helpful when I nally sit down at
the drawing table. My next step would be a preliminary pencil sketch, which
might need some tweaking and reworking. Once that was approved, I moved
on to the watercolors.
Oksana worked with Isis on Prince Caspian for nine months creating early
concept sketches and approximately 100 costume sketches.
THE CHRONICLES OF NARNIA:
PRINCE CASPIAN 2008
Designer: ISIS MUSSENDEN Illustrator: OKSANA NEDAVNIAYA
THE PROCESS: SKETCH TO SCREEN
Fall 2009 The Costume Designer 31
IN FOCUS
32 The Costume Designer Fall 2009
IN FOCUS
he cult classic Brazil, written by Terry
Gilliam with playwright Tom Stoppard,
is set in a futuristic dystopia burdened by
mindless bureaucracy, terrorist attacks, and
red tape. This dark farce of a film premiered
Christmas Day 85 to qualify for Academy
consideration, and the Christian holiday
figures prominently as a sad vestige of
spirituality within the bleak reality of a dictator state. Brazil
is named for the 1939 popular song, which haunts the film,
offering a tantalizing contrast to bombs and cement.
Gilliams vision borrows many recognizable icons from Nazi
art and architecture, and James Achesons costume design,
in perfect harmony with production design, strongly sup-
ports his fascist nightmare. Achesons costumes take their
cue from the sharply defined but often sensual silhouette of
the 1930s, and this masterful design standardized the look of
every level of Brazils society. The many uniforms for the
workforce include Nazi-inspired military garb, beautifully
monochrome gray suiting for the hordes of office drones,
and both the official (and very humorous) Central Services
coveralls and the SWATlike jumpsuits for the rogue heating
technicians/terrorists. Achesons complex civilian cos-
tumes also offer a layered rebuke of Brazils cruel and bro-
ken society. Well-heeled aristocrats, still thriving at the top
of the bankrupt hierarchy, bustle through the filthy urban
streets looking like exotic birds in gorgeous hats, wide
lapels and plush furs. The impoverished masses, however,
wear the faded depression-era clothes of Dorothea Lange
photos, eking out their miserable lives in decrepit council
flats. Battleship grey monoliths, squalid public housing and
micro office cubicles, dosed with retro steam-punk gadgetry
and wheezing pneumatic tubes, demonstrate that a future
run by madmen and machines is a dangerous proposition.
Brazils story focuses on Orwellian anti-hero Sam Lowry, a
gray-suited Information Retrieval specialist who escapes
his daily grind through fantasy. In his dreams, Sam is Icarus,
encased in silver armor and locked in battle for a beautiful
maiden. In reality, Sam has a dead-end job, his tiny auto-
mated apartment has a serious HVAC problem, and his
meddling socialite mother, Ida, is addicted to radical plastic
surgery. The ever-younger Ida is like a demented Auntie
Mame, and appears in a parade of fabulous Schiaparelli-
esque confections, topped with a replica of the infamous
1937 upside-down shoe hat co-designed with Salvador Dali.
Sams unlucky journey leads him to madness at the hands of
his old friend, a sadistic government torturer named Jack,
who wears a grotesque blood-splattered baby mask while
executing his victims.
James Achesons ambitious costume design for Brazil per-
fectly supports the films critical narrative of mind control,
greed, and abuse of power. And the story is even better
served because Acheson amplified his detailed design to
partner the films satiric soul. Gilliams heady cautionary tale
is brought to visual life by his extraordinary design team,
making Brazil one of the most inventive, influential, and
important films of the 1980s.
Audrey Fisher
afisher@costumedesignersguild.com
James Acheson & Brazil: Costumes Fit for a Fascist Parody
A LOOK BACK
T
B
r
a
z
il,
U
n
i
v
e
r
s
a
l/
E
m
b
a
s
s
y
/
T
h
e

K
o
b
a
l
C
o
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c
t
i
o
n
Fall 2009 The Costume Designer 35
IN FOCUS
MALLS
Cambridgeside Galleria Mall
100 Cambridgeside Pl., Cambridge 02141
(617) 621-8666 cambridgesidegalleria.com
A bit more urban, cheap and cheerful.
Copley Place Mall
2 Copley Place, Boston, MA 01126
(617) 369-5000
Barneys, Neiman Marcus, Jimmy Choo
Tiffany & Co. Most stores do studio.
Natick Collection
1245 Worcester St., Natick, MA 01760
(508) 655-4800 natickcollection.com
The largest mall in New England,
30 minutes outside of Boston.
The Prudential Center
800 Boylston St., Boston, MA 02199
(617) 236-0834 prudentialcenter.com
Attached to Copley Place, Saks 5th Ave.
SHOPPING AREAS
Charles Street
Located in historic Beacon Hill section.
Boutiques and vintage jewelry.
Chinatown
Some good fabric and leather stores,
and thrift stores to buy in bulk.
Newbury Street
THE shopping street of Boston.
High-end designer shops & boutiques.
Vintage and resale shops.
Washington Street
Stores open late to 10 p.m.
Macys, Marshalls, TJMaxx, H&M, DSW
BOUTIQUES
Alan Bilzerian
34 Newbury St., Boston, MA 02116
(617) 536-1001
McQueen, Margela, Lanvin, Yamamoto, etc.
Bodega
6 Clearway St., Boston, MA 02115
(617) 421-1550
Cutting-edge sports clothes for hipsters
ER Butler & Co.
38 Charles St., Boston, MA 02114-4643
(617) 722-0230 www.erbutler.com
Amazing jewelry on the side!
Holiday
53 Charles St., Boston, MA 02114
(617) 973-9730
Private label and custom and designer
LouisBoston
234 Berkeley St., Boston, MA 02116
(617) 262-6100
Renowned high-end fashion boutique
MDF
17 Brattle St., Cambridge, MA 02138
(617) 491-2789
One-of-a-kind jewelry and custom makers
Moxi
51 Charles St., Boston, MA 02114
(617) 557-9991
Designer shoes, handbags, accessories.
Turtle
619 Tremont St., Boston, MA 02118
(617) 266-2610
Emerging urban designers. Classy & arty.
Uniform
511 Tremont St., Boston, MA 02118
(617) 247-2360 Very cool mens shop
Wish
49 Charles St., Boston, MA 02114
(617) 227-4441
Young contemporary designers

VINTAGE & RESALE
20th Century Limited
73 Charles St., Boston, MA 02114
(617) 742-1031
Designer vintage costume jewelry.
Bobby From Boston
19 Thayer St., Boston, MA 02118
(617) 423-9299
Fantastic vintage menswear and shoes
Owner has a huge warehouse in Chelsea
The Closet
175 Newbury St., Boston, MA 02116
(617) 536-1919
Bostons finest consignment store
Keezers Resale Shop
140 River St., Cambridge, MA 02139
(617) 547-2455
Mens formal and vintage wear.
Second Time Around
176 Newbury St., Boston, MA 02116
(617) 247-3504
Contemporary, new and resale designer
Poor Little Rich Girl
166 Newbury St., Boston, MA 02116
(617) 425-4874
The Garment District
200 Broadway, Cambridge, MA 02139
(617) 876-5230
Very cheap vintage. On Fridays, they
sell clothes for $1 a pound.
SPECIALTY
Aalok International (Indian)
404 Moody St., Waltham, MA 02453
(781) 642-1200 aalokfashion.com
Lady Grace Intimate Apparel
1364 Beacon St., Brookline, MA
(617) 566-8194 www.ladygrace.com
Bras, bathing suits and some lingerie.
Salmagundi
765 Centre St., Jamaica Plain, MA 02130
(617) 522-5047 salmagundiboston.com
Hats and vintage jewelry
FABRIC & CRAFT
Beadworks
167 Newbury St., Boston, MA 02116
(617) 247-7227
Bead store, contemp. - vintage baubles
Pearl Art & Craft
579 Massachusetts Ave., Cambridge 02139
(617) 547-6600
Zimmans
80 Market St., Lynn, MA 01901
(781) 598-9432
Best fabric store in Boston area.
DRY CLEANERS
Clevergreen Dry Cleaners
109 Charles St., Boston, MA 02114
(617) 523-6925 Green & overnight service.
location, location, location:
FOOD & DRINK
Aquitaine
569 Tremont St., Boston, MA 02118
(617) 424-8577 www.aquitaineboston.com
French bistro
B&G Oysters
550 Tremont St., Boston, MA 02116
(617) 423-0550 www.bandgoysters.com
Excellent for lobsters and oysters
Bricco
241 Hanover St., Boston, MA 02113
(617) 248-6800 www.bricco.com
Italian with a spectacular Tasting Menu.
Craigie on Main
853 Main St., Cambridge, MA 02139
(617) 497-5511 craigieonmain.com
French-inspired rustic cuisine
Davios
75 Arlington St., Boston, MA 02116
(617) 357-4810 www.davios.com
Northern Italian steakhouse
District Lounge
180LincolnSt.,Boston,MA
(617) 426-0180 www.districtboston.com
Fun bar with dancing
Erbaluce
69 Church St., Boston, MA 02116
(857) 362-7358 www.erbaluce-boston.com
Cozy, Exceptionl Italian. Theater District.
Eastern Standard Bar
528 Commonwealth Ave., Boston, MA
(617) 532-9100 easternstandardboston.com
Cocktails and food in a beautiful bar.
Flour Bakery & Caf
1595 Washington St., Boston, MA 02118
(617) 267-4300 www.flourbakery.com
Sticky buns are fabulous!!!
Marco
253 Hanover Street, Boston, MA 02113
(617) 742-1276 www.marcoboston.com
Award-winning chef, Marc Orfaly.
Fall 2009 The Costume Designer 37
IN FOCUS
38 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 39
FOOD & DRINK
Neptunes Oyster
63 Salem St., Boston, MA 02110
(617) 742-3474 www.neptuneoyster.com
Incredible oysters and lobster roll.
Oleana
134 Hampshire St., Cambridge, MA 02139
(617) 661-0505 www.oleanarestaurant.com
Gourmet Middle Eastern twist.
O Ya
9 East Street Boston, MA 02111
(617) 654-9900 oyarestaurantboston.com
Best sushi in Boston!
Pomodoro
319 Hanover St., Boston, MA 02113
(617) 367-4348 www.pomodoroboston.com
Tiny. Homemade Italian food.
Scampo
215 Charles St., Boston, MA 02114
(617) 536-2100 www.scampoboston.com
Famous for their Lobster Pizza
Sonsie
327 Newbury St., Boston MA 02115-2710
(617) 351-2500 www.sonsieboston.com
Fun bar, great food, best martinis
South End Buttery
314 Shawmut Ave., Boston, MA
(617) 482-1015 www.southendbuttery.com
Coffee & cupcakes, brunch & dinner
The Butcher Shop
552 Tremont St., Boston, MA 02118
(617) 423-4800 thebutchershopboston.com
Wine bar and full-service butcher shop!
The Upper Crust
222 Newbury St., Boston, MA 02116
(617) 262-0090 theuppercrustpizzeria.com
Gourmet thin crust pizza.

Toro
1704 Washington St., Boston, MA 02118
(617) 536-4300 www.toro-restaurant.com
Fantastic tapas!
Tremont 647
647 Tremont St., Boston, MA 02118
(617) 266-4600 www.tremont647.com
A foodie favorite.
R & R
Bella Sante
38 Newbury St., Boston, MA 02116-3267
(617) 424-9930 Fun, laid back, modern
Emerge Spa and Salon
275 Newbury St., Boston, MA 02115
(617) 437-0006 Good deep tissue
Exhale Spa
28 Arlington St., Boston, MA 02116
(617) 532-7000 Excellent
G Spa
35 Newbury St., Boston, MA 02116
(617) 267-4772 Fast mani/pedi
Grettacole Salon & Spa
Westin Lobby at Copley Place
10 Huntington Ave., Boston, MA 02116
(617) 266-6166 Elegant full-service
Laurens Nails
164 Newbury St., Boston, MA 02116
(617) 267-1496 Quick, cheap mani/pedi
COMPILED BY
Bonnie Nipar
bnipar@mac.com
CONTRIBUTORS
Mark Bridges, Ellen Lutter, Susan Matheson,
Mona May, Karen Patch, Arianne Phillips,
Alexandra Welker
IN FOCUS
*WE HAVE PLENTY OF VALIDATED PARKING.
818 S. Broadway Suite 801
Los Angeles, CA 90014
323-653-9155
TO ALL MY NEW
AND OLD FRIENDS
WHO WERE USED
TO FINDING ME
ON MELROSE, WE
ARE PLEASED TO
WELCOME YOU TO
OUR NEW LOCATION.
Fall 2009 The Costume Designer 41
IN FOCUS
40 The Costume Designer Fall 2009
CD Shoshana Rubin just wrapped the Comedy Central pilot
Ghosts/Aliens, based on Trey Hamburgers comic novel about
two potheads quest to prove the existence of the things that
go bump in the night. Also on the topic of the supernatural,
CD Jenni Gullett is designing the second season of Foxs sci-
fi series Fringe, and Audrey Fisher and ACD JR Hawbaker
are back to work on Season 3 of HBOs True Blood. After
airing only three episodes, Fox ordered a full season of the
musical comedy show Glee, and CD Lou Eyrich is happily
at the helm. CD Joyce Kim Lee designed the costumes for
Nickelodeons The Fresh Beat Band, which centers on four
friends who attend music school and love to sing and dance.
Created by Emmy-award winners Nadine van der Velde and
Scott Kraft, the half-hour series teaches preschoolers how to
express their feelings through movement, song and instru-
mental music. Frank Helmer is the new CD for Season 2
of 90210 with new mem-
ber Kime Buzzelli as his
ACD. Follow them: Twi
tter.com/90210Costumes.
CD Ane Crabtree is de-
signing Lawman, an FX
episodic drama based on
Elmore Leonards short
story, Fire in the Hole. The
story was adapted for tele-
vision by Graham Yost and
stars Timothy Olyphant. In
NYC, CD John Dunn is
designing the costumes for
the new HBO series Board-
walk Empire. Set in 1920s
Atlantic City, the sprawling story revolves around Prohibi-
tions impact on American Society, and Martin Scorsese di-
rected the pilot.
Here in Los Angeles, CD Valerie Laven-Cooper designed
Minkow, a lm based on the 80s ponzi schemer Barry
Minkows ZZZZ Best carpet cleaning service, starring Jus-
tin Baldoni and James Caan. Fellow CD Susan Nininger
teamed up on the project as supervisor. CD Ariyela Wald-
Cohain just wrapped Slumdog Virgin, a spoof of Judd
Apatows movies. CD Mary Vogt, along with ACD Laura
Frecon, designed Jay Roachs film Dinner for Schmucks,
starring Steve Carell and Paul Rudd. CD Sarah De Sa Rego
is excited to be designing the costumes for the new Larry
Clark film Wild Child. CD Catherine Marie Thomas is cur-
rently working on her third collaboration with Drew Bar-
rymore, the comedy/romance Going the Distance, starring
Barrymore, Christina Applegate, and Justin Long. From the
canine department: CD Kristin Burke is designing a lot of
dog costumes for Disneys Beverly Hills Chihuahua 2. Kris-
tin asks: When was the last time you saw a Chihuahua on
top of a table in the Warner Bros. workroom?
Up in Portland, OR, Danny Glicker designed Gus Van Sants
new film Restless, the complex tale of a teenage boy and girl
who share a preoccupation with mortality. Danny recently
returned from Holland, MI, after designing Whats Wrong
With Virginia, a drama written and directed Milks Oscar-
winning writer, Dustin Lance Black. The film stars Jennifer
Connelly as a disturbed mother whose secret affair with
the local sheriff is put in jeopardy when her son starts dat-
ing the sheriffs daughter. ACD Michele K. Short worked
with Glicker on both projects. CD Deborah Scott designed
the costumes for Avatar, the highly anticipated live-action
movie with a new generation of special effects conceived
and directed by James Cameron. Deborah is now collabo-
BOLDFACE AT WORK
BOLDFACE NAMES
rating with Edward Zwick on Fox 2000s Love and Other
Drugs, shooting in Pittsburgh, PA. The film, starring Jake
Gyllenhaal and Anne Hathaway, is based on Jamie Reidys
memoir Hard Sell: The Evolution of a Viagra Salesman,
about the cutthroat world of pharmaceutical sales.
CD Sanja Hays just wrapped Sony/Columbias apocalyp-
tic thriller Battle: Los Angeles, which was ironically shot
in Shreveport and Baton Rouge. Also in Shreveport, CD
Christopher Lawrence is re-teaming with Simon West on
the thriller The Mechanic, starring Jason Stratham for Mil-
lennium Films. On location in Kentucky and Louisiana, CD
Michael T. Boyd designed the period film Secretariat. The
Disney feature is about the legendary stallion Big Red who
won 1973s Triple Crown, and stars John Malkovich and
Diane Lane. CD Julie Weiss designed Ms. Lanes costumes,
and Lois De Armond served as Michaels assistant designer.
In Atlanta, CD Ruth Carter is designing Tyler Perrys For
Colored Girls. The Lionsgate film is based on a play made up
of 20 poems of love, abandonment, abuse and other issues
faced by African-American women in contemporary society.
Mary Zophres is gearing up for her next Coen Bros. col-
laboration (could this be number 10?!) the remake of True
Grit, 1969. ACD Jenny Eagan will be sharing the reins in
Austin and Park City. CD Susanna Puisto finished work on
MacGruber, a comedy based on the Saturday Night Live
parodies of the late 80s action/adventure TV show Mac-
Gyver. Shot in Albuquerque, NM, the film stars Will Forte
and Val Kilmer.
In and around NYC, CD Susan Lyall and ACD Amy Ritch-
ings have begun photography for Summit Entertainments
The Beaver, starring Mel Gibson and Jodie Foster. Ms. Foster
is also directing the film. CD Carol Ramsey is also in the
Big Apple designing the action-packed comedy The Other
Guys starring Will Ferrell and Mark Wahlberg as an unlikely
cop-buddy duo. Teaming up with Ramsey are CD Ellen Fal-
guiere as ACD and Lois De Armond as Illustrator/ACD. CD
Erin (Topaz) Lareau was part of a team of costume design-
ers whose work is featured in the Michael Jackson film, This
Is It. Erin designed costumes for dancers, aerialists, backup
singers, and even provided crystallized guitars with match-
ing straps for the band! Erins fall was busy as well: she de-
signed costumes for VH1 Divas Live, the Scream Awards,
and two commercials: Healthy Choice (starring Don Lake
and Julia Louis Dreyfus) and the DIRECTV campaign.
CD Jacqueline Saint Anne recently designed Owen Win-
grave at the Chicago Opera Theatre. Here at the Pasadena
Playhouse this November, CD Lizz Wolf designed a produc-
tion of the 1960s musical Baby Its You, which is headed to
Broadway. In September, CD Monique Long styled an info-
mercial for Knockout Abs. CD Marilyn Vance is busy with
a film creation of her own, a series entitled Verotique. Ghost
Lovers, the first erotic thriller in the series, has Marilyn serv-
ing double duty creating story content as well as directing.
CD Cendra Martel is balancing the roles of production and
costume designer.
BOLDFACE ENTREPRENEURS
CD Johnna Lynn has created a custom guitar strap and ac-
cessory company, Copperpeace. CPs custom guitar straps
were featured in the film Fame, worn by both Kevin Skinner
and Drew Stevyns on Americas Got Talent, and are favored
by many established and up-and-coming bands. Please visit
copperpeace.com. CD Kathryn Langston Orindgreff has
been working on her Etsy store, making childrens clothing,
eco-friendly gift bags, and more! Check out: www.redket
tleco.etsy.com. CD Liuba Randolph started a business with
her mother called Little Popka, which makes customized
and embroidered hooded towels for babies and toddlers.
Contact Liuba for details: Liubarandolph@hotmail.com.
After being featured as a couturier for Vogues Fashion
Night Out, CD Diana Orr started a couture business called
Capstone Couture Designs. Diana creates one-of-a-kind
CD Lees Fresh Beat Band
90210, CD Frank Helmer
Lawman, CD Ane Crabtree
CD Randolphs Little Popka
Lynns custom Copperpeace guitar strap
by Daphne Merkin, detailed Phillips life and work. Fashion
photographer Jean-Baptiste Mondino took this cool portrait
for the piece. Check out the excellent article at: http://www
.nytimes.com/indexes/2009/08/16/style/t/index.html#page
wanted=0&pageName=16phillipsw&. Mad Men CD Janie
Bryant worked diligently to put a face to the Designer behind
the scenes contributing to several projects during the series
third season. The Oprah Winfrey Show featured a Mad Men
themed episode, for which Janie created original dresses for
both Oprah and Gayle King. Simultaneously, Brooks Broth-
ers debuted Bryants exclusive 60s-inspired Mad Men suit
in select stores; and Varietys prestigious Womens Impact
Report 09 featured an article about Mad Mens spillover
effect into contemporary fashion. In the same report,
CD Catherine Marie Thomas was interviewed about her
dream design job for HBOs biopic Grey Gardens as well as
other aspects of her career, including her styling for Womens
Wear Daily. To read both articles, got to the link and scroll
down to Below the Liners: http://www.variety.com/index
.asp?layout=hottopic&id=womensimpact09. This October,
Entertainment Weeklys
On the Set covered
CD Tom Broecker who
divulged juicy informa-
tion about gay pirates
and chicken suits on
the set of his show 30
Rock. Check out: http://
www. ew. com/ew/ar
ticle/0,,20309487,00.
html. CD Mary Zo-
phres was profiled by Tina Daunt for the Los Angeles Times
(Image, Nov. 11). She shares her thoughts about dressing her
1967 characters for A Serious Man from the undergarments
out, whether youll see them or not and how she still gets
those fitting-room butterflies when costumes and charac-
ter kind of click. http://www.latimes.com/entertainment/
news/la-en-costumezophres11-2009nov11,0,3401228.story
42 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 43
clothing for her clients and works with recycled and renew-
able textiles. Her couture creations are available exclusively
through Roseark www.roseark.com. Diana is also designing
exclusive burlesque costumes with the famed dancer and
designer Catherine Dlish.
BOLDFACE PRESS
The New York Times magazines 5th Anniversary Fashion
Issue prominently featured CD Arianne Phillips illustrious
career. The blockbuster article, Whos That Girl? written
BOLDFACE NAMES
BOLDFACE ENTREPRENEURS
Zophres LA Times Image
CD Phillips Vogues for The NY Times
Bryants designs for Oprah & Brooks Bros.
Diana Orrs couture
IN FOCUS
In September, CDs Hope Hanan and Robert Blackman
gave a presentation at DreamWorks Animation entitled Cos-
tumes and Storytelling, which highlighted some of Bobs
award-winning contributions to both the Star Trek juggernaut
and TVs Pushing Daisies. The seminar, broadcast throughout
the campus, was also intended to stress the importance of collab-
oration with Costume Designers on animated projects. Hanafin
also contributed to a fun article this fall about political Hallow-
een costumes on the website The Hill. Read it: http://thehill.
com/capital-living/cover-stories/65265-a-capi tol-hill-halloween.
CD Kristin Burke was tapped by Copley Center Director (and
former CDG President) Deborah Landis to teach an MFA class
at UCLA this fall entitled Costume Design for Film: From Con-
cept to Camera. See related story on page 28.
BOLDFACE HONORS
CD Colleen Atwood re-
ceived the Hollywood Film
Festival Award for Costume
Design on October 27 at a
black-tie gala in the Beverly
Hilton Hotel for her work
on this years Public En-
emies and Nine. Director/
presenter Michael Mann
spoke eloquently and at
length about their collabo-
ration on this years En-
emies as well as their early
work together on Man-
hunter (1986). Legendary
Costume Designer Ann
Roth was honored for her
beautiful work on Julie &
Julia this year with the
2009 Movieline/Hamilton
Behind the Camera Award.
Actress Tippi Hedren pre-
sented Roths statuette at
the Highlands Club on No-
vember 8 in Hollywood.
Compiled by:
Suzanne Huntington shuntington@costumedesignersguild.com
Audrey Fisher asher@costumedesignersguild.com
BOLDFACE NAMES
Hedren & Roth
BOLDFACE EDUCATION
Atwood & Mann
44 The Costume Designer Fall 2009 Fall 2009 The Costume Designer 45
Invictus
Costume Designer:
DEBORAH HOPPER
Assistant Designer:
TERRY ANDERSON
T
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Accidentally on
Purpose
Costume Designer:
LINDA BASS
Community
Costume Designer:
SABRINA ROSEN
Trauma
Costume Designer:
JILL OHANNESON
Modern Family
Costume Designer:
MARISSA BORSETTO
Eastwick
Costume Designer:
EDUARDO CASTRO
The Forgotten
Costume Designer:
LUKE REICHLE
Vampire Diaries
Costume Designer:
JENNIFER BRYAN
Hung
Costume Designer:
ALIX FRIEDBERG
Glee
Costume Designer:
LOU EYRICH
Assistant Designer:
JENNIFER EVE
Melrose Place
Costume Designer:
EMMA TRASK
Assistant Designer:
DANIEL MUSTO
Flash Forward
Costume Designer::
MARI-AN CEO
Men Who Stare at
Goats
Costume Designer:
LOUISE FROGLEY
Surrogates
Costume Designer:
APRIL FERRY
Assistant Designer:
DONNA BERWICK
Illustrator:
JACKIE WAZIR
Where the
Wild Things Are
Costume Designer:
CASEY STORM
Zombieland
Costume Designer:
MAGALI GUIDASCI
Assistant Designer:
JOULLES WRIGHT
A Single Man
Costume Designer:
ARIANNE PHILLIPS
The Invention
of Lying
Costume Designer:
SUSIE DESANTO
Amelia
Costume Designer:
KASIA WALICKA-
MAIMONE
Assistant Designer:
CORI BURCHELL
Motherhood
Costume Designer:
SUSAN LYALL
The Lovely Bones
Costume Designer:
NANCY STEINER
Assistant Designer:
JILL LOSQUADRO
Up in the Air
Costume Designer:
DANNY GLICKER
Assistant Designer:
MICHELE K. SHORT
WHATS ON WHATS IN
Z
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.
A Serious Man
Costume Designer:
MARY ZOPHRES
Assistant Designer:
JENNY EAGAN
Cougar Town
Costume Designer:
KIM TILLMAN
46 The Costume Designer Fall 2009
SCRAPBOOK
April Ferry gets cozy with James Woods & Glenn Close, Immediate Family, 1989