We have been seen on:

Simon Baker at the 2009 Golden Globes * Commander in Chief

* Dirty, Sexy, Money * Eli Stone * George Lopez Show * The Great Debaters
* Medium * The Mentalist * Monk * Moonlight * Without a Trace
Prsrt Std
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
Winter 2009 The Costume Designer 3
vol. 5, issue 1
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
COVER
CDG Award statuettes
designed by David Le Vey
Photo courtesy
of Getty Images
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Presidents Letter
From the Desk of the Executive Director
Assistant Executive Directors Report
Labor Report
The Costume Department . . . . . . . . . . . . . . . 28
Meet the Assistants
History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The Process: Sketch to Screen
A Look Back: Marilyn Vances 80s
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DEPARTMENTS
32
FEATURES
Holiday Party . . . . . . . . . . . . . . . . . . . . . . . . . 14
CDG Awards . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Award Nominees . . . . . . . . . . . . . . . . . . . . . . 18
Q&A with this years nominees
Swarovski Sparkles . . . . . . . . . . . . . . . . . . . . 26
A preview of The Young Victoria
34 18
BEST COSTUME DESIGN
Danny Glicker
Milk is a marvel.
Everything is happening here votes are tallied, hearts broken, lives risked and saved, tactical
decisions made, emotions expressed and suppressed but only one thing is happening. What makes
all of this cohere is art, and history. This is how change happens. This is what it looks like.
A.O. SCOTT, THE NEW YORK TIMES
Milk is a marvel.
Everything is happening here votes are tallied, hearts broken, lives risked and saved, tactical
decisions made, emotions expressed and suppressed but only one thing is happening. What makes
all of this cohere is art, and history. This is how change happens. This is what it looks like.
A.O. SCOTT, THE NEW YORK TIMES
Focus Features thanks the Costume Designers
Guild and proudly congratulates Danny Glicker
for his Costume Designers Guild award
nomination for Excellence in Period Film
ARTWORK 2009 FOCUS FEATURES, LLC.
ALL RIGHTS RESERVED.
For up-to-the-minute screening information, go to:
www.FilmInFocus.com/awards08
4 The Costume Designer Winter 2009
009. Where did the year go? Its impossible to believe that the
11th Annual Costume Designers Guild Awards is just around
the corner (February 17). Our black-tie gala proves to be a
very exciting and star-filled evening with the most balanced
slate of honorees to date. The Swarovski Presidents Award will be
given to producer and actor Michael Douglas who is notorious for
his loyalty to Costume Designer Ellen Mirojnick. Legendary television
director James Burrows of Cheers, Fraiser, and Will & Grace fame
will accept our Distinguished Collaborator Award, and our host this
year is none other than the glamorous film and television star, Debra Messing. We
will honor our own Marilyn Vance for her extremely eclectic and character-revealing
designs for more than 50 feature films and Emmy-winning designer Van Broughton
Ramsey for his tremendously detailed
work on countless made- for-television
movies. The list of 2008 nominees (page
18) includes the many talented design-
ers of Local 892 as well as some of our
East Coast counterparts from 829 and
several new European designers as well.
We take pride in spreading the wealth to
designers and their collaborators on both
the large and small screen. Its no secret
that the Costume Designers Guild stands
by our motto: Behind every costume is
a Costume Designer. Film or television, period, fantasy AND contemporary, every
costume tells a story.
Our greatest supporter, Swarovski, returns for the fourth year in a row as our
Presenting Sponsor. We literally couldnt do it without them. Lacoste returns to
sponsor the Career Achievement in Film Award and The Kobal Collection continues
to provide us with the images that grace not only this magazine but the keepsake of
the evening, our tribute book.
We understand that many of you were hit hard by the economic mess known as
2008. With the spirit of hope and change in the air, we do hope you can find a way
to join us for a glorious evening to toast and celebrate your peers and colleagues.
See you there,
Deena Appel
dappel@costumedesignersguild.com
EDITORS NOTE
2
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
Cliff Chally
cchally@costumedesignersguild.com
Lois De Armond (Asst. Costume Designers)
ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators)
fsanchez@costumedesignersguild.com
Tanya Gill (Commercial Costume Designers)
tgill@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com
Susan Nininger
snininger@costumedesignersguild.com
Van Broughton Ramsey
vramsey@costumedesignersguild.com
Helen Butler
hbutler@costumedesignersguild.com
BOARD OF TRUSTEES
Peter Flaherty, Chair
pflaherty@costumedesignersguild.com
Marcy Froehlich
mfroehlich@costumedesignersguild.com
Jacqueline Saint Anne
jsaintanne@costumedesignersguild.com
LABOR DELEGATE
Betty Madden
bpmadden@aol.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
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com

I dont deserve
this award, but I
have arthritis and
I dont deserve
that either.

JACK BENNY

High School Musical 3: Senior Year

Caroline Marx, Costume Designer
Karen Yan, Costume Illustrator
CORRECTION
6 The Costume Designer Winter 2009

or those who attended the CDG Holiday Party, there is no debate that our second annual was a blast. The
attendance was so great that at one point I worried that a local fire marshal might drive by on Ventura
Boulevard. Clearly, this event will live on for years to come, as with other special ACD meetings and
Illustrator gatherings. Realizing that our members are thirsty to rub shoulders with their colleagues, I am
very grateful to our Board for supporting the expense. Many thanks go to this years Holiday Party Chair,
Bonnie Niper, and her gang. Well done!
The holiday season and new year brings out all sorts of special emotions between us. A surprising number
of members asked me about my daughter. Is she OK? Is she back from Iraq? (For those who dont know, my
daughter, Joan Aus, was deployed to Iraq for almost 2 years, 20042006, and some of her letters from Iraq
were printed in the CDG newsletters).
For those compassionate and concerned members, I wanted to share a report of Joans postIraq Life. My husband Gordon
and I were in Grand Forks, N.D., for the holidays where the snow was 24 inches deep and the temperature was minus 14. We
went to the University of North Dakota (NDSU) to watch Joan Aus receive her long-awaited PhD in Education, along with our
now 17- and 11-year-old grandsons, and her very devoted husband, Jon, standing by. After deployment in Iraq, Joan returned to
her career as adjunct professor at NDSU. As a wife and mother and teaching full time, she continued to work on her interrupted
doctorate dissertation while under tremendous pressure from the newly enacted Stop-Loss policy hanging over all those good
men and women who had already served. Now, she is an associate professor in the Education Department. But as I speak of
happiness in our family, we met a young woman while we were in North Dakota, who was leaving for Kosovo. She was with
Joan in Iraq and shared horrid experiences along with a few good memories. In the midst of the world recession, we had almost
forgotten that this is still going on. Please remember these soldiers, brave young men and women like her, if not in Iraq, are now
in Kosovo, by the thousands! My Joan Aus update ends here with warm thanks to those caring members who supported Joan
(and me) during her tour in Iraq.
A special thanks to our magazine editor Deena Appel, who works tirelessly for not just the magazine but also for our PR and
many other things as well, and all those who volunteer whenever we request help. Thank you all.
In the coming year, despite the world economic situation, we can still be satisfied and happy if we try. Obama is finally in
the White House! Now, if only SAG would just get off
In solidarity,
Mary Rose
mrose@costumedesignersguild.com
F
Dear Members,
PRESIDENTS LETTER
UNION LABEL
TUESDAY February 17 11th Annual CDG Awards
SATURDAY February 21 The Masters Mentoring Panel with CDG honorees Van
Broughton Ramsey, Marilyn Vance, and 2008 Award
nominees & winners
MONDAY March 2 General Membership Meetingfinal nominations and
acceptances for CDG Executive Board due from floor;
Constitution changes voted.
MONDAY March 9 Eboard Meeting at the Guild offices
MONDAY April 6 Eboard Meeting at the Guild offices
MONDAY May 4 Eboard Meeting at the Guild offices
MONDAY June 1 Eboard Meeting at the Guild offices
IMPORTANT DATES
8 The Costume Designer Winter 2009
Happy, Healthy New Year, CDG Members!
ur biggest and best news is that the IATSE concluded
very successful negotiations with the producers in
November for the next three-year Basic Agreement.
Leadership of all of the Hollywood Locals is unanimous
in recommending approval of the contract, which will bring 3%
increases on August 1 of 2009, 2010, and 2011. Just as in the
Directors Guild agreement, jurisdiction over any new media that
might develop in the next three years has been secured. Respect
and gratitude goes to IATSE President Matt Loeb and Vice President, Director of
Motion Picture, Michael Miller, who led the negotiations and preserved our health
plan against serious odds. We will hold a special Saturday meeting to answer mem-
ber questions regarding the contract.
I am proud to say that 2008 saw CDG member services mushroom:
For the first time, the Guild subscribed to the West Coast Production
Weekly for all CDG members to access 24/7 on the CDG website.
For the first time in many years, computer classes were offered to CDG mem-
bers at no cost through Contract Services. CDG member participation was
four times greater than expected!
Beginning computer classes were made available through the IDEAS grant at
Valley College and will continue in 2009.
Multiple new classes were offered here at the Guild such as Negotiating Your
Deal, Costume Plot Pro, and Using Photoshop to Improve Fitting Photos.
Our online Availability List has greatly increased participation and accuracy.
The CDG Directory has returned after nearly six years and members were able
to upload illustrations and list recent credits. This was published and mailed
at no cost to the Guild, thanks to our faithful advertiserspatronize them!
E-mail communication to members has increased dramatically and alerted
everyone to timely information while cutting down on mailing labor and
costs. Be sure the Guild has your correct e-mail address and contact info!
The 2nd Annual CDG Holiday Party was the towns hot ticket with standing
room only.
The 10th Annual CDG Awards dinner attracted more publicity for our art and
artists than ever before.
The Guild presented not one, but three panels at Comic-Con, which included
television and film Designers and a joint panel of CDG Illustrators and Local
790 Illustrators/Story Board Artists. For the second year, the Guild awarded a
best costume prize at the masquerade ball.
Member use of the CDG Library and Committee Room has grown dramatically.
While these economic times are daunting, your Guild is here to support you.
Come by, let us hear how we can help, and may there be more good work for all
very soon!
In Solidarity,
Cheryl
cdowney@costumedesignersguild.com
From the Desk of the
Executive Director
UNION LABEL
O
B E S T COS TUME DE S I GN
|
J ACQUE LI NE WE S T
B E S T C O S T U M E D E S I G N
J Q J Q
|
NN
J A C Q U E L I N E W E S T
PARAMOUNTGUILDS.COM
When I had left she was a girl
and a woman had taken her place
She was the most beautiful
woman Id ever seen.
2009 Paramount Pictures. All Rights Reserved.
Every scene is crammed with
detail, from the nooks and
crannies of the settings and
the century-bridging costumes
by Jacqueline West to the faces of
the main cast and countless extras.
Todd McCarthy, Variety
costume
designers
guild
awards
2009
february 17, 2009
beverly wilshire hotel
tickets:
blue room events
310.491.1401
Winter 2009 The Costume Designer 11
Are You
Healthcare Savvy?
id you know that we have one
of the few healthcare plans left
in the United States that is still
fully paid for by the employer?
We have one of the best health plans
in this country and yet most of our
members are not utilizing it to their full
benefit. When members stay within the health plan network,
they not only support the system by keeping costs to the plan
down but they also keep their out-of-pocket costs down. In an
economy where spending less can help all our budgets, smart
healthcare choices are more important than ever. Here are a
few helpful hints.
Live a healthy lifestyle by eating right and not smoking
If you need healthcare, please utilize one of the six MPTF
clinics in the Los Angeles area
If you live outside of Los Angeles, use a Blue Shield preferred
provider
If you need hospitalization, be sure the facility is a Blue
Shield hospital
Order prescriptions through the Medco mail plan
Ask your doctors up front if they are willing to accept what
the plan pays as payment in full.
Below are a few examples from 2008 medical bills that
show how using the Network can help you cut costs.
Mammogram billed at $500:
In-Network cost to patient = $9
Out-of-Network cost to patient = $286
Colonoscopy billed at $1,700:
In-Network cost to patient = $80
Out-of-Network cost to patient $510
Maternity billed at $14,282:
In-Network cost to patient = $0
Out-of-Network cost to patient = $4,285
Heart Surgery billed at $93,100:
In-Network cost to patient = $784
Out-of-Network cost to patient= $76,545
These are just a few of the costs that bog down our pock-
etbooks and deplete the Plans assets. Use the MPTF clinics and
become a smart consumer. Ask questions and become more
proactive about your health and your health plan coverage.
In Solidarity,
Rachael Stanley
rstanley@costumedesignersguild.com
D
Assistant Executive
Directors Report
UNION LABEL
009 is the year of Yes We Can and
Change! Start by reading Thomas
Friedmans Hot, Flat and Crowded. Let
me paraphrase some of Friedmans points
that got my attention: For hundreds of thousands
of years, the average CO2 level has been 280ppm
(parts per million) but we are on the fast track to
580ppm. We, ourselves, have declared war on the
human race.We are the frogs in the pot of water
on the stove. The heat is being turned up slowly so we dont
notice it is getting hotter and our natural watersheds are evap-
orating at an accelerating rate. Mother Nature and Father Profit
can both exist in a clean energy world. Neither will survive in
a dirty energy world.
Activism from the ground up requires international,
national, local, private sector and primary & secondary educa-
tion policies on clean energy. CDG members can be a part of
the CO2 & Electron Reduction Revolution. Replace incan-
descent light bulbs in your home and office with energy-effi-
cient, Earthmate bulbs and install light sensors that shut off
when no ones in the room. Buy a hybrid or electric car. You
know what we all need to do, Sisters and Brothers! Si Se
Pueda!
Labor Delegate,
Betty Madden
bmadden@costumedesignersguild.com
UNION LABEL
2
Labor Report
HOLIDAY PARTY
COMMITTEE
Chair Bonnie Nipar
Co-chair Tanya Gill
Roemehl Hawkins
Brigitta Romanov
NOMINEE Q&A
Tanya Gill
Christine Jordan
Carol Ramsey
Ann Somers Major
LIBRARY
Nadine Haders
Marcelle McKay Chamlee
BOLDFACE NAMES
Sharon Day
Audrey Fisher
Cheryl Marshall
BALLOTING
Richard Bloore
Nickolaus Brown
Tami Eldridge
Terry Gordon
Suzanne Huntington
Kresta Lins
Bonnie Nipar
Brigitta Romanov
Andrea Weaver
THANK YOU
12 The Costume Designer Winter 2009
14 The Costume Designer Winter 2009 Winter 2009 The Costume Designer 15
CDG
Holiday Party
A fun time had by all!
Winter 2009 The Costume Designer 17
Marilyn
Vance
Van Broughton Ramsey, Costume Designer, was born on
Thanksgiving Day in the small Texas town of Wharton. He
graduated from Baylor University with a BA in botany and
chemistry and later received a MA in restoration architecture
from the University of Texas. After working on restoration
projects, Ramsey moved to New York City in 1978 to pursue
a career in costume design, taking theater costume design
classes at night while working as an architect during the day.
It would be a year before a friend introduced him to the-
ater director Gene Frankel who gave Ramsey his first break
designing an off-off Broadway production of War Play.
Three years later, Ramsey was introduced to playwright
Horton Foote who hired Ramsey to design a film based on his
play 1918. The story, about the flu epidemic in WWII, was
based on his family in the small town of Harrison, Texas (aka
Wharton, Texas). There couldnt be a more perfect match.
Lonesome Dove was Ramseys first television project
and the one that would change his career. Screenwriter Bill
Wittliff flew Ramsey to Austin for an interview and hired him
on the spot. The producers would not let him return to New
York. Instead, he was put in a hotel room to start sketching.
Van Ramsey has six Emmy nominations and two wins for
Lonesome Dove and The Oldest Living Confederate Widow
Tells All. He received the CDG Award for television for The
Tempest and was nominated for Sarah, Plain and Tall:
Winters End. He has served as a Governor for the Television
Academy of Arts and Sciences and is currently on the
Executive Board of the CDG.
Marilyn Vance is a native of Brooklyn, New York. She gradu-
ated from the Brooklyn Academy of Music High School and
went on to the Fashion Institute of Technology. She married
and had two sons while designing clothing for 7th Avenue.
Vance moved to Los Angeles in 1981 thinking she was
ready to design a feature film but had no clue about the inter-
nal workings of the costume department. She learned that
creating the fashion of a character can help move the story
and the importance of participation with the entire crew to
bring about the directors vision.
Lawrence Gordon was the first to hire Marilyn Vance to
design the comedy Jekyll and Hyde Together Again. She
found her niche with an innate talent for communicating her
broad creative vision to directors and actors while serving
the integrity of the film.
Vance set the trends of the time with her charac-
ter-designed portrayals for such films as Fast Times at
Ridgemont High, The Breakfast Club, Ferris Buellers Day
Off, Some Kind of Wonderful, Pretty in Pink, Romancing
the Stone and Uncle Buck. She was also the first woman
to costume design for the action genre in such films as:
48 Hours, Die Hard 1 & 2, Predator 1 & 2 and Time Cop.
Vance achieves an authenticity no matter what the genre;
from the gripping period drama Sommersby to the fantasy
world of Mystery Men, all with the vision to create consis-
tently believable characters.
Vance has earned an Academy Award nomination for
The Untouchables, as well as BAFTA nominations for Pretty
Woman and The Untouchables. In addition, Vance won the
Saturn Award for The Rocketeer.
cdg career achievement in television
cdg lacoste career achievement in film
Van Broughton
Ramsey
Debra
Messing
Mistress of
Ceremonies
Michael
Douglas
Swarovski
Presidents Award
James
Burrows
Distinguished
Collaborator Award
costume
designers
guild
awards
2009
16 The Costume Designer Winter 2009
MAMMA MIA!
Costume Designer: ANN ROTH
Assistant Designer: MICHELLE MATLAND
Any surprises? My contract and I dont believe Ive ever had more funtruly. Hardest? Colin Firth
in pinkish paisley trousersand men in stretchy satin. I should have known theyd resist. That mentality that
drives actors to become other characters loses its conviction when faced with a costume that they perceive is
unflattering. Career challenge? This was not the biggest, but the dangers of stepping into an existing creative
recipe could be hellish. Does my vision find itself welcome in this picture? Preconceived pictures are hard to
erase but the creative team was always available, creative and secure in this work. Cant live without?
Music: Mozart, Beethoven, Schubert, Fats Domino, Elvis, George Lewis.
SEX AND THE CITY
Costume Designer: PATRICIA FIELD
No surprises, no difficulties, no unexpected situations.
SLUMDOG MILLIONAIRE
Costume Designer: SUTTIRAT LARLARB
Any surprises? Making a movie, rooted in realism in a film industry geared toward fantasy and escapism
Bollywood. Extras would show up in over-the-top or bejeweled Sunday finest for scenes that took place
in the slums. There was a knee-jerk inclination toward presentability and theatricality over anything ugly or
real. Hardest? The kids slum clothing. I knew wed build Latikas yellow dress but wasnt expecting to have
to build T-shirts, under-vests, shorts. The stores that stock multiples have heavy branding like Nike logos. We
needed 68 multiples to accommodate various stages of distress, multiple units, and stunt doubles. Secondhand
clothing for the principal three children was out of the question.
THE WRESTLER
Costume Designer: AMY WESTCOTT
Assistant Designer: LENORE PEMBERTON
Any surprises? The warmth, nobility and gentle humanity of the wrestlers themselves. Starting out on this
project, my research required me to attend a number of wrestling events, the brutality of which made me
dread the prospect of working in such a macho, violent world. I could not have been more wrong. Hardest?
Marisa Tomeis costumes were toughits hard to balance that amount of sex and desperation, wanting her to
look both beautiful, but real and hard. Biggest career challenge? I feel constantly challenged to make bold
choices and follow my instincts, especially when it is the less obvious path.
THE CURIOUS CASE
OF BENJAMIN BUTTON
Costume Designer: JACQUELINE WEST
Assistant Designer: MARJORIE McCOWN
Illustrator: ROBIN RICHESSON
Any surprises? Having to dress people over the span of 100 years and the mere fact that such a film
could even be made. Hardest to accomplish? The red dress, because David Fincher doesnt like red.
Easiest? Brad Pitts late 40s suit. It was so familiar because of pictures of my father. What couldnt you
live without? My curiosity. Biggest career challenge to date? To never become complacent and to
keep learning. To create the perfect costume for the most complicated character, and to ensure that every
character and background person is important and individual.
THE DUCHESS
Costume Designer: MICHAEL OCONNOR
Assistant Designers: ANNA KOT & LUAN PLACKS
Any surprises? The deeper I got into the period, the more complicated and nuanced it became, with its dif-
ferent styles of dress. Hardest to accomplish? The red/orange drunk dress because of the color choice
and because we needed triplicates. Easiest? The Fox military-style campaigning dress because it was based
on the contemporary military design. What couldnt you live without? Wouldnt like to live without
speech radio. Biggest career challenge to date? Miss Pettigrew Lives for a Day.
MILK
Costume Designer: DANNY GLICKER
Assistant Designer: AUDREY FISHER (L.A. PREP)
Any surprises? How few people remembered Harvey Milk or his accomplishments. Hardest to
accomplish? Re-creating the suit that Harvey was murdered in. Handling his actual suit with dried blood
and bullet holes was a humbling reminder of what my job wasto accurately re-create the life of a vital man,
not some icon. Easiest? Re-creating the outfits of Cleve Jones, Anne Kronenberg, and Danny Nicoletta.
They were always on set to answer my endless questions! What couldnt you live without? The term
mishegas. It takes the edge off any stressful situation. Biggest career challenge to date? Staying calm
and focused while knee-deep in Mishegas.
IRON MAN
Costume Designers: LAURA JEAN SHANNON &
REBECCA BENTJEN
Illustrator: ROBIN RICHESSON
Any surprises? LJS: Stellar castespecially Robert Downey Jr. as Tony Stark. A brilliant and unexpected
choice. Hardest? LJS: Gwyneths blue gown was moved to first up so I had much less time to fit her in the
gown I designed. Also, retrofitting the under armor for the original grey Iron Man suit which had to make sense
in the context of the story. Career challenge? RB: I was hired as the ACD on Iron Man, by my friend, Laura
Jean Shannon, when she found out she was pregnant. She was put on bed rest so I had to execute her work
with constant rewrites and new scenes. I felt bad knowing how hard it was for her to walk away. In the end,
you see both of our hands at work.
REVOLUTIONARY ROAD
Costume Designer: ALBERT WOLSKY
Assistant Designers: SUSAN HALL (L.A.) & DAN LAWSON (N.Y.)
Any surprises? Im very familiar with the period, so not much surprised me. The film is mid-50s, but I did
go back to the very early 50s and even late 40s, to achieve a realistic look. Hardest to accomplish?
Finding proper period fabric modern substitutes are always tricky. Todays rayon does not fall like 40s
rayon. Easiest? Convincing Leonardo Di Caprio to wear his pants at his true waist. After a moment of shock,
he understood it was a major component of the period. Cant live without? Truth, ethics, and kindness.
Career challenge? Lenny with Bob Fosse and Dustin Hoffman. It prepared me for future work and I felt I
CHANGELING
Costume Designer: DEBORAH HOPPER
Assistant Designer & Illustrator: TERRY ANDERSON
Any surprises? The fact that this is a true story. It is so unbelievable. Hardest to accomplish?
Modifying the look of Christine Collins to fit Angelina. Angelina is one of the most beautiful and recognizable
women in the world, but she had to be authentic to make the story credible. Easiest? The murderers
costumesI thought his flamboyancy would be difficult to interpret, but he came together with flare and
subtlety. What couldnt you live without? Comfortable shoes. Biggest career challenge to
date? Keeping up with the pace of a prolific director whom I am incredibly fortunate to work with.
Excellence in Contemporary Film Excellence in Period Film
P
h
o
t
o
s

c
o
u
r
t
e
s
y

o
f

D
e
b
o
r
a
h

L
a
n
d
i
s
A
e
o
n

F
lu
x

P
a
r
a
m
o
u
n
t
/
J
a
s
i
n

B
o
la
n
d

B
r
o
k
e

M
o
u
n
t
a
i
n

F
o
c
u
s

F
e
a
t
u
r
e
s
/
K
i
m
b
e
r
ly

F
r
e
n
c
h

C
h
r
o
n
i
c
le
s

o
f

N
a
r
n
i
a

D
i
s
n
e
y
/

T
h
e

F
a
m
i
ly

S
t
o
n
e

2
0
t
h

C
e
n
t
u
r
y

F
o
x
/
Z
a
d
e

R
o
s
e
n
t
h
a
l
F
u
n


W
i
t
h

D
i
c
k

&

J
a
n
e

C
o
lu
m
b
i
a

P
i
c
t
u
r
e
s
/
R
a
lp
h

N
e
ls
o
n

M
e
m
i
o
r
s

o
f

a

G
e
i
s
h
a

S
o
n
y

P
i
c
t
u
r
e
s
/
D
a
v
i
d

J
a
m
e
s

J
a
r
h
e
a
d

U
n
i
v
e
r
s
a
l
S
t
u
d
i
o
s
/

R
e
n
t

S
o
n
y

P
i
c
t
u
r
e
s
/
P
h
i
l
B
r
a
y

R
u
m
o
r

H
a
s

I
t

W
a
r
n
e
r

B
r
o
s
.
P
i
c
t
u
r
e
s
/
M
e
li
s
s
a

M
o
s
e
le
y

W
a
lk

T
h
e

L
i
n
e

2
0
t
h

C
e
n
t
u
r
y

F
o
x
/
S
u
z
a
n
n
e

T
e
n
n
e
r

T
h
e

N
e
w

W
o
r
ld

N
e
w

L
i
n
e
/
M
e
r
le

W
.
W
a
lla
c
e
DANCING WITH THE STARS
Costume Designer: RANDALL CHRISTENSEN
Assistant Designer: DANIELA GSCHWENDTNER & STEVEN LEE
Any surprises? What NEVER ceases to amaze me is that we actually pull this off. Its an insanely tight
schedule with no room for error! Hardest? Toni Braxton wanted to wear a Marie Antoinetteinspired
gown. THAT had to be done within the same four-day schedule. Cage, draping, corset and all! Easiest? Uh,
there is nothing easy on this show, due to the incredibly tight timeline each week. Cant live without? My
database of costume pics helps the department and the celebrity understand what we are going for in the 15
minutes we have to nail it.
ENTOURAGE
Costume Designer: AMY WESTCOTT
Assistant Designer: OLIVIA MILES
Any surprises? Everyones creative ambition and drive to do it better, even in the fifth season. Hardest? A
scripted fashion trunk show with no clothes until about two days before. Dolce & Gabbana agreed to work
with us, but we had to fit and coordinate an entire fashion show in no time. Easier? Stellan Skarsgard. I had
some crazy ideas for his wardrobe as a German director. He was a dreamwe were on the same page, no
matter how silly. I just love fearless actors. Biggest challenge? Keeping the guys fashionable and interesting,
but not too trendy, regular guys within a cohesive palette. And keeping myself from running out too far onto
that limb.
GOSSIP GIRL
Costume Designer: ERIC DAMAN
Assistant Designer: MATTHEW SIMONELLI
Any surprises? The impact the wardrobe has had on the way girls dress amazes me. I originally based
our schoolgirls on upper eastside prep school girls and now those same girls are dressing like our characters.
Hardest? Designing Jenny Humphreys clothing collection. Designed and fabricated as we got scripts. It was
a crazy process. Challenge? Staying in front of the trends on a weekly basis while running from set to stores
all over Manhattan. We set the bar high, striving to keep the level of originality high. Cant live without?
My Cartier trilogy ring.
UGLY BETTY
Costume Designers: EDUARDO CASTRO & PATRICIA FIELD
Any surprises? EC: We learned to live with surprises every day constantly creating photo shoots,
magazine layouts, runway collections, weddings, funerals. Hardest? EC: The fashion baseball uniforms we
created for Mode vs. ELLE made of fabrics not meant for sport, with designer belts, high-heeled sneakers and
fashion tights. Combining practicality with high fashion panache. Easiest? EC: Victoria Beckham walked into the
Vera Wang Maid of Honor dress and she adored our made-to-order frumpy version. Career challenge?
EC: Flying to India on a couple days notice to take over two films. Mira Nairs Kama Sutra, two weeks before
shooting and Gurinder Chadahas Bollywood musical Bride & Prejudice, two weeks into shooting!
30 ROCK
Costume Designer: TOM BROECKER
Assistant Designer: CHRIS ANN PAPPAS
Any surprises? The thing that surprised me most about the project is how serious comedy is. Harder
to accomplish? Lately, turning Tracy Morgan into a human cash machine. Easiest? Kenneth, the pages
costume. Because its a uniform theres no question as to what it should be. Your biggest career chal-
lenge to date? My biggest challenge so far was figuring out how to design shows on opposite coasts at the
same time, while designing Saturday Night Live and The Comeback on HBO. Cant live without? Coffee and
the subway.
Outstanding Contemporary TV Series
COCO CHANEL
Costume Designers: PIERRE-YVES GAYRAUD (Chanel costumes)
& STEFANO DE NARDIS
Any surprises? PYG: Seeing Coco discover her vocation. Hardest? PYG: Adapting models of Chanel clas-
sic icons to suit the actresses. We didnt use any authentic Chanel, we created an impression. SdN: The Dior-
like dress worn in the 1950s segment needed to look sufficiently Dior and become a believable Chanel
little black dress. Easier than expected? SdN: The two 1905 dresses for Balsans mother. I loved some
authentic pieces from Tirellis that were VERY tiny. The actress arrived the day before shooting, and she was
so thin, the dresses simply looked like her own.
CRANFORD
Costume Designer: JENNY BEAVAN
Assistant Designer: CHARLOTTE LAW
Any surprises? I was amazed by the humanity in the characters and the frightening speed of sickness and
death without antibiotics, and the fragility of life in those times. Hard to accomplish? The character of
Lady Ludlow was the hardest to find, but I was hugely helped by Francesca Annis, who played her. Easier?
The red dress for Miss Caroline Tompkinson. I found this wonderful rhubarb silk and the dress just followed!
Biggest career challenge? Alexander 20,000 costumes, all of which had to be made in 16 weeks. How
did I do it? A remarkable crew! Couldnt live without? My computer, which makes sharing information
so much easier.
JOHN ADAMS
Costume Designer: DONNA ZAKOWSKA
Assistant Designer: MICHAEL SHARPE
Any surprises? How involved and moved I became with the story and details of American independence.
The story felt very relevant to our present situation. Hardest? Trying to create period clothes that felt cred-
ible and captured individual character traits. Anything easier? Costuming the many children turned out to
be much more accessible than expected. Small is fun. Career challenge? Without question, John Adams.
Time and money were very tight for the scope, time span and location work here and in Europe. Cant live
without? Buttonsnot enough interesting buttons in the entirety of the world. Without buttons, there is
no 18th century!
SENSE AND SENSIBILITY
Costume Designer: MICHELE CLAPTON
Any surprises? The wonderful casting. Every character was just as I imagined; it made designing it a joy.
Hardest? Not a particular costume, it was just getting the palette as I wanted. Color and texture are para-
mount; we dyed and dipped and stitched endlessly. Cant live without? My notebook, of research notes and
pictures, color swatches, and sketchesits my plan for the show. And my crew. Career challenge? Designing
costumes for The Devils Whore. We had to set up a workroom from in South Africa on a minimal budget and
make approximately 600 period costumes. Long days!
BERNARD AND DORIS
Costume Designer: JOSEPH AULISI
Assistant Designer: AUTUMN SAVILLE
(Joseph Aulisi was not available at press time)
Outstanding TV MOW, Miniseries or Special
THE CHRONICLES OF NARNIA: PRINCE CASPIAN
Costume Designer: ISIS MUSSENDEN
Assistant Designer: KIMBERLY ADAMS GALLIGAN
Illustrator: OKSANA NEDAVNIAYA
Any surprises? The wonder of being in the center of Europe and having so many amazing sources from so many
countries. Hardest to accomplish? Miraz coat proved to be quite the puzzle. Getting just the right scale, move-
ment, and gradation of the printed velvet swirl trim was tricky. Easiest thing? They all seem easy now that they are
long done. What I couldnt live without? Light. Biggest career challenge to date? Balancing work and
health, mental and physical. Oh, and manufacturing for 300 soldiers all made by people who only speak Czech.
THE MUMMY: TOMB OF THE DRAGON EMPEROR
Costume Designer: SANJA M. HAYS
Assistant Designer: IRENA STEPIC-RENDULIC
Illustrators: PHILLIP BOUTTE JR. & CHRISTIAN CORDELLA
Any surprises? The combined talent of the artists and craftsmen in Los Angeles, Montreal, and China. Hardest
thing to accomplish? Making Michelle Yeohs pleated skirt open in a full circle like a fan for the final fight with Jet.
Easiest thing? The jade armor for Jet Li. Once we committed to constructing it in L.A., Russ Shinkle created a mas-
terpiece, light and with a full range of movement that looked like regal armor. Cant live without? MacBook Pro.
Biggest career challenge? The Mummy because of the number of the costumes, action sequences and volume of
extras. The workshops and sets were in the three different countries and with actors from all over the world.
THE DARK KNIGHT
Costume Designer: LINDY HEMMING
Assistant Designers: GRAHAM CHURCHYARD, ANDREA CRIPPS & GUY SPERANZA
Illustrator: JAMIE RAMA
Any surprises? How my concept for the Joker leapt from the drawing board due to the brilliance of Heath Ledger
so exciting a moment! Hardest thing to accomplish? The new batsuit. We made it just in time, due to the
great team led by Graham Churchyard. Cant live without? Italy. Biggest career challenge to date? Our
work in generalit keeps us mentally active, young, and for the most part, happy.
Excellence in Fantasy Film
PUSHING DAISIES
Costume Designer: ROBERT BLACKMAN
Any surprises? I didnt really have a total comprehension of how complicated and difficult this little series was.
Hardest? Our six principal players, sometimes have six or eight changes per episode. It is highly conceptual so
a lot of the stuff has to be made. Career challenge? For all of us to find enough projects to keep working.
You feel terrible when your series is cancelled and is replaced with a reality showwhich puts us all out of work.
Cant live without? I dont know how I did without it but at this point, the Internet.
THE TUDORS
Costume Designer: JOAN BERGIN
Supervisor: SUSAN OCONNOR CAVE
Assistant Designer: GABRIEL OBRIEN
Illustrators: KELVIN FEENEY & NATALIE CONATY
Hardest thing to accomplish? You start to feel like you know the principals, so the hardest part would be
the secondary characters in mere scale alone. They dont appear in every episode but they are very historically
significant. Career challenge? An Irish movie called Reign of Fire. All of the dragons had eaten and destroyed
everything. So all of the costumes were made of found objects, half a pair of pants, part of a jacket, buttons were
made of spoons. Cant live without? My lunch hour when I read the society papers of the day and biographies,
searching for those unusual details that set each character of The Tudors apart.
MAD MEN
Costume Designer: KATHERINE JANE BRYANT
Assistant Designer: ALLISON LEACH
Any surprises? The fashion craze of Mad Men! Hardest? Peggys fat suits for season one. The padding hap-
pened in small increments and had to seem natural and real. I was very stressed every time Elisabeth Moss wore
a new costume with a new pad! Stressful! Career challenge? When I moved to L.A. after designing in NYC,
I couldnt get a job! It was two years before I was hired on a feature in L.A. The challenge was keeping the faith
that something would come along that I loved designing. David Milch hired me to design Deadwood, and I decided
to stay in the film business.
Outstanding Period/Fantasy TV Series
LEVIS, HIS
Costume Designer: KYM BARRETT
Assistant Designer: SPARKA LEE HALL
Any surprises? I was surprised how many retailers were willing to do a deal for our small budget.
Hardest? Shooting each shot forward and then backward.....many times! Easiest? The easiest decision
was my costume, as my ACD Sparka and I did not expect to have to work in the dressing scene. Cant
live without? My other life at home.
NIKE, FATE
Costume Designer: TRISH SUMMERVILLE
Any surprises? How much David Fincher knows about football! We matched each players individuality to
the actor. Wearing a uniform, you find ways to make it your own, even in football. The way they taped their
hands, what color, how they wore their wristbands, which pads under their uniforms, to what style of socks,
etc. Hardest to accomplish? Distressing 150 NFL uniforms to look like they were in the fourth quarter.
Easiest? It was fun researching Troy Polamalu and LaDainian Tomlinsons style from toddlers to college. Like
Troy wearing a Cant Touch This T-shirt when he was 9. Couldnt live without? For this, a Hudson
sprayer and glycerin!
MILK, WHITE GOLD
Costume Designer: CASEY STORM
Any surprises? Freedom. The ad agency had a rough idea of the character, but let us create the details,
outfits, and personality. We were pretty much left alone to create 1520 outfits for this rock-and-roll per-
former. Hardest? We were working with creative materials like feathers and stiff leathers. The clothes had
to be flexible so the character could perform, but also be creative and well structured. Cant live without?
Japanese food. Career challenge to date? Zodiac. The script and director made this a lovable but difficult
project. As the first major period film I designed, so much was new to me.
Outstanding Commercials
THANKS THE COSTUME DESIGNERS GUILD
AND PROUDLY CONGRATULATES OUR NOMINEE
Isis Mussenden
EXCELLENCE IN FANTASY FILM
DISNEY/ WALDEN. THE CHRONICLES OF NARNIA, NARNIA, and all book titles, characters and locales original thereto are trademarks and are used with permission.
11149 VANOWEN STREET
NORTH HOLLYWOOD, CA91605
TEL: (818)753-3700
FAX:(818)753-3737
COSTUME RENTALS CORPORATION
CONTACT: MEL SABINO
24 The Costume Designer Winter 2009
26 The Costume Designer Winter 2009 Winter 2009 The Costume Designer 27
Academy Award winners Martin Scorsese and Graham King join
forces with director Jean-Marc Vallee to bring The Young Victoria
to the screen. The film chronicles Queen Victorias rise to power,
the turbulent years of her early reign and her legendary romance
and marriage to Prince Albert. Remarkably, Queen Victoria was
Daniel Swarovskis first client, so it was only fitting that two-
time Oscar-winning Costume Designer Sandy Powell called upon
Swarovski to ensure Victoria (Emily Blunt) sparkled throughout the
film as she did in life.
Victoria wore clothes made by a number of French dressmakers
including George Frederick Worth, a pioneer of haute-couture
and loyal customer to Swarovski. Today, the films authentic cos-
tumes were created by legendary Costume Designer Sandy Powell.
Swarovski provided access to the Swarovski Corporate Archive in
Milan, home to more than 14,000 pieces of costume and antique
jewelry for Powells meticulous research into the diamonds and
pearls which captivated Victoria. The stones and jewelry are
copies of actual pieces, says Powell, replicas made by a jeweler
in Swarovski crystals. From the dazzling diadem made by Martin
Adams, to the scepters and royal regalia held by the newly crowned
queen at her coronation in 1838, Swarovski crystal plays an integral
part in the resplendent glory of the film.
When Queen Victoria died in 1901, she had spent 40 years dressed
almost entirely in black, mourning the death of her husband Albert.
As a new widow in 1861, her prevailing passion for glittering gems
shone through her sobriety. For Victoria, dress and jewelry was
not only personal; it was intrinsic to the public perception of her
as queen and empress.

From the early days of Hollywood, Swarovski has worked hand
in hand with costume and set designers to create show-stopping
jewels, costumes and stage sets which capture the spotlight. The
companys reputation for the highest quality and variety of finely
cut crystal is illuminated on and off the silver screen.

As Hollywoods premier crystal purveyor, Swarovski has had the
privilege to adorn stars such as Marilyn Monroe in Gentlemen
Prefer Blondes, Grace Kelly in High Society, and Audrey Hepburn
in Sabrina. Nicole Kidman shone with Swarovski in Moulin Rouge,
James Bond sparkled with Swarovski in Die Another Day and The
Phantom of the Opera featured crystal-embellished costumes
of operatic proportions and the awe-inspiring chandelier with
more than 20,000 crystals, worth more than 1m. More recently,
Cascade and Blossom chandeliers from the Swarovski Crystal
Palace Collection dazzled in Oceans Thirteen, whilst Oscar winner
Jennifer Hudson and Beyonce Knowles sashayed past a crystal cur-
tain wearing Swarovski detailed gowns as the Dreamgirls.
Judith Watt
26 The Costume Designer Winter 2009
P
h
o
t
o
s

b
y

L
i
a
m

D
a
n
i
e
l,
G
K

F
i
lm
s

L
L
C

2
0
0
8
S
warovski
Sparkling in The Young Victoria
MEET THE ASSISTANTS
THE COSTUME DEPARTMENT
28 The Costume Designer Winter 2009
C
H
R
I
S
T
I
N
E

J
O
R
D
A
N
cant live without
iPhone, black notebook,
emergency chocolate
JR Hawbaker
jhawbaker@costumedesignersguild.com
The bailiwick of stagecraft
afforded this Assistant her rise
through the ranks from stitcher,
first hand, Assistant Designer, to
Costume Director at Opera Pacific.
Management of shop operations
instilled Christine with a deep appre-
ciation of the crews talents and
needs. Speaking and understanding
the same technical language of the
workroom is invaluable to form, fit,
construction, and shopping.
With a subtle touch and a
finger on the pulse, Christine
relies on her deft grasp of con-
struction and good eye as artisti-
cally essential. Also, her computer
savvy and photo edits are relied
upon to give the design the pro-
fessional presentation it deserves.
As the industry grows and stu-
dios demand more for less, mis-
takes can be costly. Navigation
(be it traffic, Internet, budget, or
people) is key. A good ACD is a
cost-effective driver in making the
vision happen. Although the biz
is driven and hanging on the edge
of chaos, Christine says, when it
all comes together, its a thing of
beauty.
costumegirl@mail.com
www.thecostumegirl.com
A
N
D
R
E
A

S
W
E
E
T
cant live without
my crackberry,
comfortable shoes
This Southern girl from Louisiana
has run the gamut in the costume
department: from commercials,
music videos and indie films in New
Orleans (aka Hollywood South) to
set costumer, supervisor and ACD
positions in Los Angeles. Although
leaving Louisiana seemed scary at
the time, working with Designer
Janie Bryant on a pilot opened the
door for Andrea to make the move.
Sweet joined the Guild as Miss
Bryants Assistant on Deadwood.
Delving into research, historical
behaviors, and cultural habits make
period projects challenging as well
as unique both in design and detail.
Andrea freely maneuvers within
genres, also working in contempo-
rary episodic with Designer Audrey
Fisher (True Blood) and sketch com-
edies with Designer Alison Freer
(Mind of Mencia, The Factory). She
works with an eye for contemporary
design where clothing choices are
diverse. Breaking into the industry
requires tenacity, determination,
and a bit of luck. This diversified
problem solvers advice: Stay on
your toes, exercise creativity and
dont be fooled! This is not easy!
aragansweet@yahoo.com
S
P
A
R
K
A

L
E
E

H
A
L
L
cant live without
light and space
to create
Sparka Lee Halls commute
between Berlin and Los Angeles
rivals that of rush hour on the 405!
After growing up in Berkeley and
San Diego and studying art film
& costume history, she traveled
the world discovering her second
home in Germany. Having a love
for many walks of life and work-
ing in stage, commercials, jew-
elry, historical fairs, and millinery
led Sparka to work as an ACD. A
self-proclaimed lifer, shes worked
with Designers Kym Barrett, Alison
Freer, and Ann Roth.
As a liaison to production,
Sparka is concise and friendly with
lots of e-mails, calendars, and
updates on progress. As a beacon
of information to the workroom,
she secures the best from their
craft, and as a sponge for the crew,
she soaks up the situation, financ-
es, timeline, taste, and objectives
of my colleagues absorbing it
all and spreading it around! It also
helps to study old movies, work on
your own aesthetic values, dont
freak out, and learn how to make
anything in five minutes!
leesparka@aol.com
2009 Warner Bros. Entertainment Inc. All Rights Reserved.
Warner Bros. Pictures
would like to thank the Costume Designers Guild
and congratulate our nominees
Lindy Hemming
The Dark Knight
Excellence in Fantasy Film
Patricia Field
Sex and the City
Excellence in Contemporary Film
30 The Costume Designer Winter 2009
THE COSTUME DEPARTMENT
acre: The whitish substance that mollusks
secrete around a foreign object that gets into
their shells. This substance is what forms
pearls.
Nadragi: Mens folk costume pants from Rumania. They
are made from four widths of fabric. One and a half widths
are used for each leg, and one width for the seat. The pants
have no fly. They are typically made in black, brown and
dark blue and decorated with blue or red braid around the
pockets.
Nankeen: Fabric and clothing made of cheaply manufac-
tured cotton. Originating in China more than 3,000 years
ago; it starts out pale yellow and
then is often dyed with indigo
or stenciled with a paste of
soya bean and slaked lime,
which is applied and then
scraped off after the fabric has
been dyed.
Nehru Jacket: A hip-length tailored
jacket for men and women with a standup
or mandarin collar. Made popular
by Jawaharlal Nehrus achkan in
the 40s, 50s and 60s and later
by the Beatles in the 60s (think
Sgt. Peppers album). The Nehru
jacket has become a countercul-
ture fashion statement.
New Look: The end of
WWII left women in
the United States
and Europe tired
of war and doing
without, tired of rationing and black-
outs, tired of their old worn clothes.
The young French fashion designer,
Christian Dior, created a fresh silhou-
ette, soft, billowing and wasp waisted,
that was a complete departure from
the more austere lines of wartime. With
the promise of selling all that fabric, he
convinced fabric manufacturer Marcel
Boussac to take the chance on backing his fashion house
in Paris. The flower women in Diors 1947 Carolle col-
lection were a huge success, prompting Carmel Snow, the
editor of U.S. Harpers Bazaar to proclaim: Its quite a rev-
elation dear Christian; your dresses have such a new look!
Niello: The process of inlaying engraved metal with a
black alloy of sulfer, copper, silver and lead to form designs.
Indications are that the process was
developed by the Egyptians and spread
to Europe during the Middle Ages.
Nightshirt: A version of sleep-
wear that was particularly popu-
lar in the 19th century. A lon-
ger, looser version of the day
shirt, it usually came to mid-
thigh or knee length. This
version, however, was evolved
from the earlier garment that was
worn 24 hours a day, the outer gar-
ments being taken off at night and
donned again upon rising.
Norfolk Jacket: Made
its first appearance
in England around
1860 and was
often associated
with sporting
activities such
as shooting
and fishing. They are gen-
erally made of plaid and tweedy-type fabrics
and have patch pockets and a built in belt.
Typically the back has anywhere from one to
three box pleats.
Nupura: Are ringing anklets (adorned with
bells) used in describing Hindu gods and god-
desses as accompanied by pleasing sounds
wherever they go.
N
HISTORY OF DRESS A-Z
Illustrations by Robin Richesson
rrichesson@costumedesignersguild.com
Text by Karyn Wagner
kwagner@costumedesignersguild.com
would like to Congratulate
all the nominees for the 11th Annual
Costume Designers Guild Awards
Joseph Aulisi
Kym Barrett
Jenny Beavan
Rebecca Bentjen
Joan Bergin
Robert Blackman
Katherine Jane Bryant
Tom Broecker
Eduardo Castro
Randall Christensen
Michele Clapton
Eric Daman
Stefano De Nardis
Patricia Field
Pierre-Yves Gayraud
Danny Glicker
Sanja M. Hays
Lindy Hemming
Deborah Hopper
Suttirat Larlarb
Isis Mussenden
Michael OConnor
Ann Roth
Laura Jean Shannon
Casey Storm
Trish Summerville
Jacqueline West
Amy Westcott
Albert Wolsky
Donna Zakowska
Lacoste Career Achievement in Film
Marilyn Vance
Career Achievement in Television
Van Broughton Ramsey
Winter 2009 The Costume Designer 33 32 The Costume Designer Winter 2009
IN FOCUS
Materials: Watercolor paper, colored pens and watercolors by Faber
Castell and Faber Castell.
Maria Schicker started illustrating the costumes for Dark Streets on her
script pages, adding images to words. She sketched countless options for
the musical number (pictured) When Twilight Falls, condensed those to
15 and then narrowed that down to the ones she further realized in color.
Set in a visually dazzling fantasy of the early 1930s, Dark Streets tells the
story of Chaz Davenport (Gabriel Mann), a dashing but naive playboy
who owns the hottest new nightclub in town, The Tower. Surrounded
by blues music and two gorgeous singers played by Bijou Phillips and
Izabella Miko, Dark Streets is a neo-noir blues musical that richly stimu-
lates the senses.
MS: Creating the pleasure dome costumes for this noir tale is truly a Cos-
tume Designers dream! I designed the dancers using art deco patterns
and unusual fabrics, embellished with Swarovski crystals. Referencing
surreal elements from the Futurism and Russian Avant-garde movements
combined with painters Magritte and Dali, and research from the Cotton
Club, Pigalle Place and the Lido, helped embody the costumes with illu-
sions and secrets. We wander in the 30s but utilize some familiar and
modern pieces to achieve a unique look for the Tower Club.
DARK STREETS 2008
Designer and Illustrator: Maria Schicker
THE PROCESS: SKETCH TO SCREEN
Final Photograph
Early design development
D
a
r
k

S
t
r
e
e
t
s

S
a
m
u
e
l

G
o
l
d
w
y
n

F
i
l
m
s
IN FOCUS
34 The Costume Designer Winter 2009
B
r
e
a
k
f
a
s
t

C
lu
b

U
n
i
v
e
r
s
a
l,
P
r
e
t
t
y

in

P
in
k

P
a
r
a
m
o
u
n
t
,
F
e
r
r
is

B
u
e
lle
r
s

D
a
y

O
f
f

P
a
r
a
m
o
u
n
t
,
a
ll
c
o
u
r
t
e
s
t
y

o
f

T
h
e

K
o
b
a
l
C
o
lle
c
t
i
o
n
n a trio of mid-80s classicsThe Breakfast Club (1984),
Pretty in Pink and Ferris Buellers Day Off (both
1986)Marilyn Vance defined a decade with her playfully
insightful costume design for John Hughes vision of 1980s
teen society. Hitting the high notes with boldly original
costumes set against the backdrop of a flawlessly cos-
tumed crowd, Marilyn captured and refined classic 1980s
looks for the silver screen. In reality, her film costumes defined a
moment and set trends in retail markets across the United States.
Her designs also embraced the charm and moxie of Hughes irre-
pressible supporting characters, helping to formalize the beloved
role of the quirky best friend.
In The Breakfast Club, Marilyn simply and strongly designed
the costumes for five iconic high schoolers: the prom queen, the
jock, the brain, the freak and the rebel. Each characters details are
wonderfully descriptive of time, place and status, from princessy
Claires chestnut leather jacket, to athlete Andrews Nike tank, to
bad boy Carls bandana-wrapped motorcycle boot. These costumes
serve as individualized uniforms, telling the audience volumes
about each character before the teens finally break the social
barriers to bond with each other during their endless eight-hour
Saturday detention.
Pretty in Pink stays in familiar teenage angst territory, focus-
ing this time on star-crossed lovers Andie and Blane and their
gaggle of friends. Smart, spunky, working-class Andie is a budding
fashion designer who loves pink. This conceit allowed Marilyn to
create an 80s-vintage bombshell: Andie sports bowlers wrapped
with floral scarves, lace collars, jeweled brooches on buttoned-up
dress shirts, brocade vests, slouchy socks with granny boots and
mismatched dangly earrings. Duckie, her Teddy Boy male counter-
part, is never without his porkpie, bolo tie, suspenders and those
famous scuffed white creepers. Andies crush, Blane, and his well-
heeled crowd are preppy Miami Vice wannabes, and their pastel
blandness showcases Andies sartorial flare. BFF Iona vamps it up
in a series of breathtaking 80s outfits: Madonna Goth, 40s redux,
new geisha, retro prom, and jaunty cruise.
Ferris Buellers Day Off is a warm-hearted caper which sends
Ferris, girlfriend Sloane and wingman Cameron on a ridiculously
lucky, grown-up day of playing hooky in big-city Chicago. Silver-
tongued Ferris and Sloane want to cheer up depressed Cameron,
so the trio ditches school and takes off in Camerons Dads prized
1961 Ferrari. Ferris is Duckie Version X, breezily confident in his
fashionable letterman-style jacket, sweater vest, white spectators,
and beret. Sexy Sloane is the perfect 1986 It Girl in a white-fringed
leather jacket; Cameron plays the goofy sidekick wearing his beloved
Gordie Howe red-and-white-striped Detroit Redwings jersey. Ferris
conniving sister Jeanie is a scene-stealing frizzy-haired mall-brat in
wide-shouldered jackets and high-waisted pants.
John Hughes box-office hits were deeply enhanced by
Marilyn Vances definition of social trends and style through cos-
tume design. Each characters signature lookfrom Claire to
Andie to Ferristells the characters backstory while hinting at
their future. Looking back at Marilyns designs, each costume rep-
resents a 1980s time capsule, rich in detail, full of meaning, offer-
ing us a glimpse of that incredibly creative and unique time in
fashion: the beloved 80s.
Audrey Fisher
afisher@costumedesignersguild.com
Marilyn Vance and the 80s: Classic Costumes for Hughes Hits
A LOOK BACK
I
Fine mens and womens fabrics for stage and screen from Ermenegildo Zegna
West Coast
Scott Anderson
323-650-8875
East Coast
201-708-1600
Toll Free
800-227-1724
sales@gladsonltd.com
Winter 2009 The Costume Designer 37
IN FOCUS
Christine Bieselin Clark joined CD Michael Wilkinson on
TR2N as Associate Costume Designer. The duo will prep in
Los Angeles before filming begins in Vancouver, B.C. Marvel
Comics is counting on CD Mary Zophres and ACD Jenny
Eagan to mesmerize the audience with the costumes for
Rasputin, which will be shot mostly in Los Angeles. CD Tri-
cia Gray recently wrapped comedy troupe Broken Lizards
The Slammin Salmon and is designing her third feature for
the Lizards, entitled Freeloaders. The flick revolves around
five guys and a girl living in a rock stars mansion whose
sweet situation is threatened when the star decides to sell.
CD Christopher Lawrence recently collaborated again with
HS classmate, director Phil Joanou, on an AT&T commer-
cial. ACD Stacy Caballero teamed with CD Kym Barrett to
design a fun Audi commercial, scheduled to air during the
Super Bowl, which spans the 1970s to present day. Alexan-
dra Welker is busy this season: she will be designing a new
pilot called Flash Forward for ABC, the film Alvin and the
Chipmunks starting in mid-February, and Spinal Taps 2009
tourwhich marks the 25th anniversary of the classic roc-
kumentary. CD Caroline B. Marx is headed to Sundance
with The Killing Room, which follows four people who sign
up for a governmental research study only to discover that
they are the subjects of a brutal, secret program.
CD Isis Mussenden has just started work on her third ani-
mated film for DreamWorks, Puss N Boots, where she is
using her animation and CGI skills more than ever! Illustra-
tor Derek B. Sullivan was pleased to assist CD Susan Lyall
on HBOs new pilot The Washingtonienne, which wrapped
mid-November. CD Molly Maginnis signed on to design TV
show Bones with ACD Nanrose Buchman and recently de-
signed the comedy Role Models. Web Therapy, a webisode
about an Internet therapist (Lisa Kudrow) who does three-
minute sessions, features costumes by CD Ariyela Wald-
Cohain. Watch at www.Lstudio.com. CD Jenni Gullet is
designing both a miniseries for CBS and Paramount Pictures
entitled Harpers Island, and she is happy to see series tele-
vision back in production. Susan Kaufmann just wrapped
her first season of the A&E series The Beast, starring Patrick
Swayze and Travis Fimmel. CD Denise Wingate is currently
designing the costumes for Fox pilot Eva Adams.
In NYC, CD Melissa Meister is busy assisting Jenny Bea-
ven on WBs Sherlock Holmes, with Guy Ritchie directing
and Robert Downey Jr. starring as the beloved English de-
tective. CD Amy Westcott is also in New York working on
13, the American remake of the award-winning French film,
13 Tzameti, a dark tale of high-stakes Russian roulette star-
ring Mickey Rourke and Ray Winstone. CD Dana Campbell
reports having a challenging and joyful experience working
with Lasse Hallstrm on Dear John, which filmed in beau-
tiful Charleston, S.C. On location in Michigan, CD Maria
France wraps stoner comedy High School starring Adrian
Brody and directed by John Stalberg in January. L.A. locals
ACD Brie Harris and supervisor Brenda Maben joined
Frances team. Deena Appel is heading to Portland, Ore-
gon, to design the drama Untitled Crowley Project, starring
Brendan Fraiser and Harrison Ford. Ford will be working
with longtime collaborator Bernie Pollack.
BOLDFACE PRESS
CD Michele Michel graces the cover of the First Entertain-
ment Credit Union magazine, the Show. With a monthly
distribution of 60,000, this issue of the Show will put the
BOLDFACE AT WORK
BOLDFACE NAMES
costume department
High-End Contemporary Clothing&Accessoriess Mens and Womens Vintage thruModern
545 Circle Seven Drive Glendale, CA 91201 818.553.4800 (p) 818.545.0468 (f)
Monday - Friday 8am-6pm
- Womens Couture Room
- Mens Couture Room
-Costumes &Uniforms
- Jewelry
- FittingRoom
- Designer Rooms
WORK
IN STYLE
Michele Michel on the cover of the Show.
38 The Costume Designer Winter 2009
BOLDFACE PRESS
focus on the work of CDG members. Check out Micheles website and shop
for unique products designed by your fellow costume designers at www.de-
signedbyhollywood.com. L.A. Times/The Envelope writer Elizabeth Snead
interviewed our two Dannys: Danny Glicker, who talked about his once-in-
a-lifetime experience working on Gus Van Sants film Milk (Dec. 3) and CD
Daniel Orlandi on his designs for Frost/Nixon (Jan. 7). Orlandi explained
his approach to 70s style which is as modern today as it was then. Starz
documentary Fashion in Film (http://www.starz.com/titles/fashioninfilm)
featured mini-interviews with Guild members Sharen Davis, Michael Ka-
plan, Deborah Landis, Debra McGuire and Arianne Phillips Boothe
Moore, fashion critic for the L.A. Times wrote: Fashioning a Character. Cos-
tumes arent just eye candy in this seasons Oscar-bait films. Style telegraphs
the inner journey. She goes on to say save for a few product placements
fashion companies have stayed out of the picture, leaving the work to the
real costume designers. Dec. 7, 2008, Image section. Varietys V Plus, Eye
on the Oscars singled out two heavily researched, artfully crafted period dra-
mas: Milk by CD Danny Glicker and The Curious Case of Benjamin Button
(Jacqueline West) for Creating the look, grounded in reality.
BOLDFACE NAMES
Starz documentary Fashion in Film
Daily Variety
Full-service tailor shop, ftting
on site or at your location,
alterations overnight-service
available, leather work, custom
made for men and women,
wedding gowns made,
hand beading.
Serj Costumes
& Tai l ori ng
30 years of tailoring experience.
Head tailor - Fox Studios - 2002-2008
7324 Greenbush Ave.
North Hollywood, CA 91605
TEL (818) 982-8268
CELL (818) 389-7163
FAX (818) 503-1960
serjcostumes@yahoo.com
Winter 2009 The Costume Designer 41 40 The Costume Designer Winter 2009
BOLDFACE FESTIVALS & EVENTS
The Chronicles of Narnia: The Exhibition began its five-year
tour at The Franklin Museum in Philadelphia this winter and
will be open through April 2009. The interactive science ex-
hibit displays more than 20 costumes designed by Isis Mus-
senden and her Associate Designer, Kimberly Adams. Osso
Bucco, with costumes by Ellen Ryba, has been nominated
for Best Feature at the 2008 Best of the Midwest Awards.
Worlds Greatest Dad, directed by Bobcat Goldthwait and
starring Robin Williams, will premiere at Sundance in Janu-
ary and features costumes designed by Sarah De Sa Rego.
Women in Film has chosen NY member Juliet Polcsa as
the first Costume Designer to be interviewed for their video
series. This past November, Bloomingdales NY displayed CD
Johnetta Boones costumes for Cadillac Records in their
windows at 59th and Lexington. CD Wendy Partridge was
astonished to get the call from the Lincoln Highway Na-
tional Museum who asked her to create 37 authentic WWI
uniforms and an Abraham Lincoln costume for the museums
inauguration parade float. Partridge, who is donating her time
and the materials, will participate in the Washington parade
for President Barack Obama.
BOLDFACE HONORS
Clint Eastwood presented Deborah Hopper with the Cos-
tume Designer of the Year Award at the 12th Annual Hol-
lywood Awards black tie gala, October 27. In December,
The Womans International Film and Television Showcase,
which is committed to recognizing both the contribu-
tion and leadership of International filmmakers, honored
Sharen Davis for her outstanding Costume Designs. CD
Anya Sarre was presented with the Film Fashion Vision-
ary Award at The Bel Air Film Festival. Anya is featured
daily on The Insiders Get the Look for Less and at www.
theinsider.com/obsessions/LRA%27S Wardrobe Cam.
BOLDFACE NAMES
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
Clint Eastwood and Deborah Hopper
C
lin
t
E
a
s
t
w
o
o
d
&
D
e
b
o
r
a
h
H
o
p
p
e
r
: W
ir
e
I
m
a
g
e
s
/G
e
t
t
y
42 The Costume Designer Winter 2009
BOLDFACE HONORS
Albert Wolsky received the Hollywood
Life/Hamilton Watches, Behind the Cam-
era Award presented by Evan Rachel
Wood, November 9.
Congratulations to our fellow CDG design-
ers on their 2008 nominations: Danny
Glicker/Milk (Oscar), Deborah Hopper/
Changeling (BAFTA), Jacqueline West/
The Curious Case of Benjamin Button
(Oscar & BAFTA), Albert Wolsky/Revo-
lutionary Road (Oscar & BAFTA).
BOLDFACE
ENTREPRENEURS
In January, designers Jim Lapidus and
Michael Travis were in Las Vegas to col-
laborate with The Liberace Museum on a
coffee table book which will include Lapi-
dus sketches and Travis designs for the
world-famous entertainer. CD Cyntha
Bergstrom of Private Practice, alongside
ACD Kathryn Battistone, will travel to
Las Vegas to show their handmade flower
accessory line, Ryn Rina, at the Pool Trade-
show, a division of Magic geared toward
innovations in fashion (February 1719).
Check out www.Rynrina.com. CD Diah
Wymont has partnered with an Italian
mens wholesale company to produce
BOLDFACE NAMES
C
u
a
d
p
ro

M
a
rk
e
tin
g
0
9
-0
7

Let MI CU f i nd t he per f ect f i t f or you wi t h unbeat abl e r at es! t he per f ect f i t

Hollywood Branch
817 N. Vine Street, Suite 200
Hollywood, CA 90038
Toll Free: 800 / 393-3833
Phone: 323 / 462-6447
Fax: 323 / 462-4411
Studio City Branch
11440 Ventura Blvd, Suite 101
Studio City, CA 91604
Toll Free: 800 / 393-3833
Phone: 818 / 763-7005
Fax: 818 / 505-8407
Musicians Interguild Credit Union
ofers a wide array of savings & loan
products, SURPASSINGthe big banks
with the BEST RATES in town!
Whether your needs are BIGor SMALL,
Musicians Interguild Credit Union
promises to BEAT or MATCH any
approved loan rate!*
With Musicians Interguild Credit Unions
unsurpassed service and personal
attention to your needs....
BANKINGJUST GOT EASIER!
*For DETAILS call us toll free at
1-800-393-3833
or visit us online at
www.musicianscu.org
Evan Rachel Wood presenting
Albert Wolsky with his award.
E
v
a
n
R
a
c
h
e
l W
o
o
d
&
A
lb
e
r
t
W
o
ls
k
y
/C
o
u
r
t
e
s
y
o
f H
o
lly
w
o
o
d
N
e
t
w
o
r
k
, I
n
c
./G
e
t
t
y
I
m
a
g
e
s
BOLDFACE ENTREPRENEURS
ready-to-wear suits in
the style of Prada and
Dolce & Gabbana. This
custom, union-approved
line is manufactured
in Italy. Contact Diah
( 310- 980- 8821 or
diahdiah@aol.com) to
view the collection at her
downtown L.A. studio.
During her hiatus from
Lincoln Heights, CD
Tashiba Jones-Wilson
has launched zmjdenim,
designer denim in wom-
ens sizes. Check out
Tashibas fashionable
and fabulous designs at
zmjdenim.com. CD Kris-
tin Burke announces
the launch of frocktalk.
com, which spotlights the
artistry of Costume Design in film and features a Costume Design
Review with contributing editors who are working CDs. In addi-
tion to frocktalk.com, this past October, Kristin was featured in an
article about Scandinavian women in Hollywood for Swedish Elle.
Compiled by:
Sharon Day sday@costumedesignersguild.com
Audrey Fisher asher@costumedesignersguild.com
Cheryl Marshall cmarshall@costumedesignersguild.com
Deena Appel dappel@costumedesignersguild.com
44 The Costume Designer Winter 2009
Theda Baras
Cleopatra
Necklaces and
Pearl Halter Top
Sold For:
$6,572
HA.com/696-100001
Theda Baras Cleopatra
Head Piece
Sold For: $19,120
HA.com/696-100003
Theda Baras Cleopatra Falcon Coronation Crown
Sold For: $10,755
HA.com/696-100004
Theda Baras Madame
DuBarry Gown
Sold For: $7,170
HA.com/696-100007
pppp
00 00 00
pppp
001 001 001
Theda Baras Cleopatra Long Pearl
Bra and Jewel Tassel, and Salome
Gold Pantaloons with Pearls
Sold For: $8,962
HA.com/696-100002
a Baras Thed Thed TTT a Bara d eda Bar hheda B heda Barass ddame d Madd Mad Madaam amee
dddddd
a
d
dd
co ccoo
Th d Thed TTT e hhe hedd
Bra a
Gold
Sol
HA.c HA.c A.c
rr
,,
00
rown roo
755 77
00004 00
h d Th d B TThhh Cl Cl t
MUSIC & ENTERTAINMENT MEMORABILIA
Annual Sales Exceed $700 Million
425,000+ Online Registered Bidder-Members
Receive a free copy of this catalog, or one from another
Heritage category. Register online at HA.com/CDG16543
or call 866-835-3243 and mention reference CDG16543.
The entire auction will go online approximately May 17
at HA.com/Entertainment.
TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Mike Sadler 16129;
AndreaVoss 16406. - 1h|s auct|on |s sub[ect to a 19.5%8uyer's Prem|um. 16543
CONSIGN NOW!
Doug Norwine
800-872-6467, ext. 1452
(DougN@HA.com)
3500 Maple Avenue, 17th Floor
Dallas, Texas 75219
800-872-6467
HA.com/Entertainment
WE ARE ALWAYS ACCEPTING CONSIGNMENTS INTHE FOLLOWING CATEGORIES:
P|ne & 0ecorat|ve Arts, Ant|ques, kare Co|ns & Currency, |||ustrat|on Art, Com|cs & Com|c Art, C|v|| war & Amer|cana, Amer|can |nd|an Art,
kare 8ooks & Manuscr|pts, Lnterta|nment Memorab|||a, Jewe|ry &1|mep|eces, Natura| R|story, Sports Co||ect|b|es, v|ntage Mov|e Posters, and Stamps.
W
e P
ay Fin
d
ers Fees
1o cons|gn your mater|a| to a future auct|on, ca|| one of our cons|gnment d|rectors today! 1he cons|gnment dead||ne for th|s auct|on |s Apr|| 14.
Consign to our upcoming Music & Entertainment Auction
June 6-7, 2009 Dallas, Texas
|f you have Mus|c and Lnterta|nment Memorab|||a that you wou|d
||ke to turn |nto cash, |ook no further than Rer|tage Auct|on ua||er|es.
Nobody gets you more for your treasures. Nobody!
REALIZING TOP PRICES FOR:
Screen-Worn Costumes
Scripts and Props
Autographed Material
Awards
A|| ua||ty Lnterta|nment
Memorabilia
THE
SPOTLIGHT
IS ON HERITAGE FOR
STAR-STUDDED RESULTS
, , , , , , , , , ,
CD Wymonts ready-to-wear suits.
COSTUME DESIGN CENTER
Congratulates
the nominees & honorees
of the 11th annual
Costume Designers
Guild Awards
Timeless...
Custoa Vanulacturing - Costuae kentals - |rep Spaces
8l8.7:4.l277 - aaa.absl.coa
and 2009 Warner Bros. Entertainment Inc. All rights reserved
BOLDFACE NAMES
46 The Costume Designer Winter 2009
SCRAPBOOK
Costume Designer Marilyn Vance and Kevin Costner, The Untouchables, 1987.