Beruflich Dokumente
Kultur Dokumente
Y O U R
C O N S I D E R A T I O N
www.universalpicturesawards.com
vol. 1, issue 1
features
Collaborations . . . . . . . . . . . . . . . . . . . . . 22
Nancy Meyers: Director, Writer, Producer
Q&A with a distinguished collaborator
Awards Preview . . . . . . . . . . . . . . . . . . . 24
Spotlight Award for Television and Film Designers of the Fifties Edith Head Award
Profiling: Colleen Atwood, Robert Blackman, Bill Thomas, Renie Conley, Bill Travilla, Anna Hill Johnstone
departments
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Presidents Letter From the Desk of the Executive Director Assistant Executive Directors Report
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
COSTUME DESIGNERS GUILD 4730 Woodman Ave., Suite 430 Sherman Oaks, CA 91423-2400 phone: 818.905.1557 fax: 818.905.1560 email: cdgia@earthlink.net
COVER: Marilyn Monroe, The Seven Year Itch, Costume Designer William Travilla The Kobal Collection/ 20th Century Fox/Sam Shaw
F O R
Y O U R
C O N S I D E R A T I O N
www.universalpicturesawards.com
Editors Note
PRESIDENT Dr. Deborah N. Landis
president@costumedesignersguild.com
Hope Hanafin
HHanafin@costumedesignersguild.com
Carol Ramsey
CRamsey@costumedesignersguild.com
Sharon Day
SDay@costumedesignersguild.com
Karyn Wagner
KWagner@costumedesignersguild.com
Mary Malin
MMalin@costumedesignersguild.com
REPRESENTATIVES
ASST. COSTUME DESIGNER REP
Anette Czagany
Asst.CostumeRep@costumedesignersguild.com COSTUME ILLUSTRATOR REP
Robin Richesson
IllustratorRep@costumedesignersguild.com COMMERCIAL COSTUME DESIGNER REP
Susan Nininger
CommercialRep@costumedesignersguild.com LABOR REP
Betty Madden
bmadden@costumedesignersguild.com BOARD OF TRUSTEES
Cliff Chally
CChally@costumedesignersguild.com
Marilyn Mathews
MMathews@costumedesignersguild.com
EXECUTIVES
EXECUTIVE DIRECTOR
Cheryl Downey
cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR
Rachael Stanley
Executivedirector@costumedesignersguild.com
MAGAZINE STAFF EDITOR Sharon Day PHOTO EDITOR Deena Appel PUBLISHER The Ingle Group
an you hear that? Its the sound of applause! Yes, ladies and gentlemen take your bows. You deserve them! We can exhale now and with pride as we add razzle-dazzle to our media repertoire and announce The Costume Designer. This magazine is for you! The features were written by members of our Guild, the amazing imagery has been collected with the artful eye of our Photo Editor Deena Appel. We thank Kobal Images for their generous support and contribution of the fabulous stills in The Costume Designer. On February 25, 2006, the 8th Annual Costume Designers Guild Awards will be held at the Beverly Hilton Hotel with Presenting Sponsor Swarovski. We will be honoring some of the brightest Costume Designers of the 1950s and spotlighting the meteoric careers of Colleen Atwood and Bob Blackman. In the following pages, you shall see a preview of our honorees in February. By the way, be sure to purchase your seats in advance from our Event Producer, The jLINE Group 310.601.3221 or at cdg@jlinegroup.com.This years awards are going to be standing room only! As you turn the pages of this delicious publication youll find some old favorites like Boldface Names written by Alexandra Welker and Joe Tompkins interview with Theodora Van Runkle.Theodora is the Costume Designer who personally cut short the reign of the miniskirt with Faye Dunaways brilliant costumes as Bonnie Parker in Bonnie and Clyde. It was then, we embraced the maxi. Film does influence fashion. Betty Maddens report in Union Label tells us how we can participate in our community.Any political step you take, no matter how small, is a contribution toward a better life for workers. Maybe youll find a precinct walk will lead right back to your own front door. History of Dress AZ is a new column from Karyn Wagner and Robin Richesson.We know youll love this When I am dictionary of dress,starting with the working on a letter A, because research is another problem I never part of the dance and in this first installment they are on pointe. think about beauty. We thank the volunteer editoI only think about rial staff: Wendy Greiner, Dmitri how to solve the Seth, Wendy Chuck, Alexandra Welker, Erin Lareau, Jacqueline problem. But when Saint Anne, and Isis Mussenden for I have finished, if their contributions to The Costume the solution is not Designer. Read on, and enjoy!
f o r
y o u r
c o n s i d e r a t i o n
REVOLUTIONARY
Could turn out to be the most revolutionary movie of the year. A film in which love feels almost as if it were being invented. It is also a rare crowd-pleaser with the potential to change hearts and minds.
Owen Gleiberman, ENTERTAINMENT WEEKLY
Dear Friends,
Swarovski is proud to announce its return for the second consecutive year as the Presenting Sponsor of the Costume Designers Guild Awards. We will also once again host an inspirational crystal application workshop for designers during two dates to best accommodate your busy schedules. These will take place in the week following the awards ceremony on February 25dates/venue/timing to be announced. We genuinely hope we will see you all there, details and invitations to follow soon!
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BEST PICTURE T
BEST COSTUME DESIGN T E Jacqueline Durran
SUPREMELY ENTERTAINING AND LUSHLY ROMANTIC. BEWITCHES THE VIEWER COMPLETELY AND INCANDESCENTLY. ####.
- Claudia Puig, USA TODAY
UNION
From the Desk of the Executive Director
LABEL
Dear Designers, Assistant Designers and Illustrators, ere launched! Ever since my arrival at the CDG, its been a major challenge to secure sufficient advertising revenue to get out each CDG newsletter. Not any more! From now on, Advertising Director Dan Dodd and The Ingle Group, a publishing company that produces quarterly magazines for the DGA, SAG, PGA, and our sister, Local 706/Makeup Artists & Hairstylists, will make us look brilliant in every way, professionally, creatively and financially. We will continue to produce a smaller newsletter, also four times a year, to stay in regular touch with you, our membership. Know that these all will arrive in your mailbox at almost NO cost to this Guild, underwritten by generous advertising partners, whom we hope you will support! Spirits were high at our General Membership Meeting on October 17 as 28 new members were sworn in.Energy was also generated by an AFL-CIO representative who reminded members of the many benefits that Labor has negotiated long and hard to secure. Several of us from Local 892 contributed our time to serve on Phone Banks and Precinct Walks, involving the CDG in protecting Labors voice during this important election while raising the CDGs profile. But the heart and soul of the General Membership Meeting concerned the early IATSE negotiations that will take place the first two weeks in December for a new contract beginning August 1, 2006.Your CDG leadership knew what you confirmed in the surveys conducted earlier and at that meeting: its all about the money. Money means respect, respect commensurate with our creative contribution.You can count on this being our primary concern in negotiations. I look forward to your reactions to The Costume Designer, which reflects the input of so many of our talented members who have newly volunteered to lend a hand researching, interviewing, and writing. The Costume Designer wouldnt be in your hands without them. Kudos and thanks to each of them. Watch for their names throughout this issue. More volunteers are welcome and needed; please call or email editor Sharon Day, sday@costumedesignersguild.com, or I see this myself at the office. I see this magazine as a symbol of the magazine as significant forward momentum at the a symbol of Costume Designers Guild that reaches the significant beyond Los Angeles. We may not be a large Local, but we are making our cumulative forward mark. Our members influence world culmomentum ture, one design, and one show at a time. Take pride in yourselves and your work. at the Costume
IATSE-Time at Showtime
Overall Contract for IATSE Crews for Showtime Development Corporation Inked October 4, 2005 NEW YORKThe International Alliance of Theatrical Stage Employees (IATSE) has signed a contract with the Showtime division of Viacom for exclusive use of IATSE crews on original programming in the United States and Canada. The agreement with Showtime Development Corporation, sought by IATSE for 23 years, mirrors the arrangement IATSE has with HBO Original Programming and creates a level playing field for both pay-cable producers.
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J E N N Y B E AVA N
F O R YO U R C O N S I D E R AT I O N
buenavistapicturesawards.com
Touchstone Pictures
FOR
YOUR
CONSIDERATION
BEST
COSTUME
DESIGN
2005 Columbia Pictures Industries, Inc. and DreamWorks L.L.C. and Spyglass Entertainment Group, LLC. All Rights Reserved.
UNION
Assistant Executive Directors Report Crewing Up
LABEL
ouve finally got that job youve been waiting for. You had a wonderful crew on your last job and you would like to use them again. Did you know that there is a protocol on the hiring of crew? Our costume crew consists of the design team from the Costume Designers Guild,Local 892, and a wardrobe team from our sister local, Motion Picture Costumers, Local 705.The Costume Designer chooses his/her Assistant Costume Designer and Illustrator from the membership of Local 892. Choosing a Costume Supervisor from Local 705 is also generally left to the discretion of the Costume Designer. The Costume Supervisor then hires the costume crew from the membership of Local 705. It is usually to the benefit of the Costume Designer and the Costume Supervisor to consult on the choice of crew so that the most desirable, cohesive crew can be assembled. A Costume Designer cannot and should not hire Set Costumers or Alteration or Workroom crew prior to hiring a Costume Supervisor. This is a violation of contract. It is important to determine if adequate staffing is in place to handle the workload the Designer and Supervisor determines the show will require. Each project must have a Costume Supervisor and that Supervisor must begin work once there are costumes to be handled, purchased, or rented. The Designer and Supervisor can then collaborate on how the rest of the man-hours will be best utilized on the project. The Designer may request that due to the nature of the project and the location of the work site that an on-site Alteration team be included in the budgeting of the crew. However, the actual hiring of that crew
FOR YOUR C O N S I D E R AT I O N
BEST
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comes under the jurisdiction of the Supervisor and Local 705. It is the job of the Costume Supervisor to direct the Local 705 crew. However, the design team is under the supervision of the Costume Designer. The Assistant Costume Designer answers directly to the Costume Designer and works closely with him/her in all design areas of the project.The Asssistant Costume Designer does not work under the Costume Supervisor and should not be directed to perform any work by the Supervisor. When you are ready to crew up on your next project,be sure to keep these guidelines in mind. Maintaining a happy and productive Costume Department is an art that is made easier by knowing the rules and established protocol and working within the parameters of the Basic Agreement.
Labor Report
NOVEMBER 9, 2005
Congratulations to the West Coast IATSE political action organization and President Thomas Short, on giving all to win a victory in the California, November 8, 2005 Special Election. When the time came to stand up and be counted, the entertainment industry labor force did all it could to stop Propositions 74, 75, and 76 from passage.The rally at IATSE Local 80 was electrifying on the morning before the election. When the polling locations were relocated,we started contacting all union workers in the private and public sectors to let them know about the change in their polling locations. GOTV,get out the vote, started at 7 a.m. walking and calling our brothers and sisters until 8 p.m. when the polls closed. We were at our assigned polling locations to make sure everyone who wanted to vote did vote. Union workers all over the state can feel a special pride in this victory. When the Governator tried to silence the voice of organized labor, we said,No.
DE COSTUME BEST
SIGN
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Artwork 2005 The Weinstein Company. All Rights Reserved.
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NOTEWORTHY EVENTS
December 2005 January 2006
WEDDING GOWNS, 1880PRESENT King Vintage Museum Vintage Clothing and Lifestyle Museum Oakhurst, Calif. (559) 658-6999 Ongoing 18TH CENTURY RED VELVET MANS COURT SUIT Legion of Honor, Lincoln Park, San Francisco, Calif. November 12, 2005, to May 14, 2006 JANE AUSTEN: FILM AND FASHION Museum of Costume Bennett Street, Bath BA1 2QH Tel. 44.0.1225.477789 To December 31, 2005 TREASURES FROM THE ATTIC South San Francisco Historical Society Museum Magnolia Senior Center South San Francisco, Calif. (650) 829-3825 Ongoing TAISHO CHIC: JAPANESE MODERNITY, NOSTALGIA AND DECO University of California Art Museum Berkeley, Calif. (510) 642-0808 To December 23, 2005 STYLE AND SPLENDOR QUEEN MAUD OF NORWAYS WARDROBE 1895-1938 Victoria and Albert Museum London, SW 7 Tel. 44.0.20.7942.2000 Through January 8, 2006
818.954.1297 800.375.3085
wbsfcostumedesk@warnerbros.com
WARNER BROS. STUDIO FACILITIES 4000 Warner Boulevard Burbank, California 91522
and 2005 Warner Bros. Entertainment Inc. All rights reserved
On January 4, the L.A. Opera and its Costume Director, Jenny Greene, are extending a generous invitation to a small group of CDG members to observe the Operas workshop in full work mode that Wednesday at 11 a.m. The first 10 members to RSVP to the CDG at 818.905.1557, ext. 0 will be able to take this rare tour of the L.A. Operas costume shop and wardrobe stock. Mark your calendar and make your reservation ASAP!
18 The Costume Designer Fall 2005
BEST PICTURE
BEST COSTUME DESIGN
Odile Dicks Mireaux
####. A masterwork. Dazzles the eyes and engages the brain in a way that few recent films have come close to approaching.
Claudia Puig,
The look of the lm is astoundingly detailed, from the replica of Jerusalem to the costumes of the combatants It looks like it means business, and it does. Jeffrey Chen, ReelTalk
Collaborations
Nancy Meyers: Director, Writer, Producer`
f theres one thing Nancy Meyers knows, its strong women. From Private Benjamin to Baby Boom and I Love Trouble to What Women Want, Meyers has spent her career telling stories about complicated women who learn how to stand out in a mans world. In 2003, Ms. Meyers gave the traditional May-December relationship a long overdue fresh face with her hugely successful film Somethings Gotta Give and in the process, proved that women can be as bankable at the box office as their counterparts. In this first installment of questions posed to a distinguished collaborator, I asked Nancy Meyers about the importance of contemporary Costume Design.
The first thing I look for is a sense of style. I find almost everyone is starting to look alike, young and old, male and femaleso someone with a true sense of individuality and style that they can impart to the characters is very valuable. I want someone with a vision for the characters.
HOW DO YOU THINK COSTUME DESIGN CONTRIBUTES TO THE STORY, A CHARACTER AND EVEN THE ACTORS PERFORMANCE?
By surprising the audience or by reinforcing character with costume, helps tell the story. Something old, something too big, something sexy. A signature item. I look for ideas as well as collaboration from the Costume Designer in the area of story. Character? Well, as Fitzgerald said,character is action. So doing the character right or enhancing it, continues to tell the story. In Baby Boom, Susan Becker came up with the idea to belt all of Diane Keatons suits. I thought that idea gave Dianes work look a real identity. She was not just the corporate woman in an Armani suit. I also thought it felt as if Diane was wearing armor and I think it helped create her walk and her office persona.
AS A WRITER FIRST AND THEN A DIRECTOR, DID YOU HAVE A DIFFERENT PERCEPTION OF COSTUME DESIGN AS YOUR CAREER EVOLVED?
Yes. Right away, on my first film I realized how the wrong costume could really affect a scene and the right one could enhance everything. Each new outfit is like someone else is adding dialogue to my scene. Letting it enhance but not letting it intrude or misdirect is a tough balancing act.
HOW DO YOU WEIGH TALENT VS. BUDGET, CONSCIOUSNESS VS. PERSONALITY, IN HIRING/WORKING WITH A COSTUME DESIGNER?
Good question.Talent is everything.Well almost. A difficult personality can ruin that, right? So, I guess a talented, collaborative person is what I look for. But if I had to choose the most important characteristic, Id pick talent. Always.
WITH THE ACTORS IN THE CENTER OF EVERY FRAME, WHERE DO YOU SEE THE COSTUME DESIGNERS PLACE OF VALUE IN RELATION TO THE PRODUCTION DESIGNER, CINEMATOGRAPHER AND EDITOR?
You got it.The Costume Designer is right up there.Those are the big jobs.Those are the people who control what we see on the screen.Thats the kitchen cabinet.
HOW IMPORTANT DO YOU FIND THE COLLABORATION BETWEEN THOSE DEPARTMENTS TO HELP REALIZE YOUR VISION?
Essential.The more synergy the better.If someone shows up in a shirt the same color as the wall theyre standing in front of ... thats definitely a problem. I think the Costume Designer and Production Designer need to constantly talk. The way you live and the way you dress are often similar, both suggest character and choices.
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YOURE KNOWN FOR WRITING AND DIRECTING CONTEMPORARY FILMS. HOW ARE THEY TOUGH FOR THE COSTUME DESIGNER TO GET IT RIGHT?
The hard job, the exciting job is to do a contemporary film in an inventive way. Its tough to get it right because its so easy to make it current with no individuality.Trends are dangerous.
WHAT CONTEMPORARY FILM WAS MEMORABLE TO YOU BECAUSE OF THE DESIGNERS USE OF COSTUMES?
in His Girl Friday [Robert Kalloch] and that hat she wore which she was never comfortable with. She used it as a great prop to show her indecision.And how about Annie Hall [Ruth Morley]? A new kind of sexy was created. I could go on and on.
WHAT DO YOU FIND TO BE THE SINGLE BIGGEST CHALLENGE FOR YOU AS A DIRECTOR?
Credits
DIRECTOR, WRITER, PRODUCER
Holiday 2006 [Marlene Stewart] Somethings Gotta Give 2003 [Suzanne McCabe]
Remember that silly dress Shirley MacLaine wore in Terms of Endearment [Kristi Zea]? It was so funny, and then when she got wet in it, she was flopping around. It gave her so much to work with.
PERIOD FILM?
DIRECTOR, PRODUCER
What Women Want 2000 [Ellen Mirojnick]
Hmmmm. I suppose the biggest challenge is always to listen to my gut, every take, every scene, every day. A long time ago, I read William Wellman who said a director must resist the temptation to be a good fellow. I understand that so well.
DO YOU THINK THAT THERE ARE STILL BARRIERS FOR WOMEN IN THIS INDUSTRY?
DIRECTOR, WRITER
The Parent Trap 1998 [Penny Rose]
How about Bonnie and Clyde [Theodora Van Runkle]? I bet when Faye Dunaway dressed as Bonnie Parker, she was halfway there with her character. Crime, sex and style. Very memorable. I love Roz Russells pin-striped suit
WRITER, PRODUCER
Father of the Bride II 1995 [Enid Harris] I Love Trouble 1994 [Susan Becker] Father of the Bride 1991 [Susan Becker] Baby Boom 1987 [Susan Becker] Private Benjamin 1980 [Betsy Cox]
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Awards Preview
SPOTLIGHT IN FILM AWARD Colleen Atwood
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Clockwise from top left: Colleen Atwood, Mars Attacks Warner Bros./The Kobal Collection/Bruce Talamon, Lemony Snicket Paramount/Francois Duhamel, Geisha Illustration by Felipe Sanchez courtesy Colleen Atwood
olleen Atwood has said of her impressive list of work that ranges from period, to contemporary dramas to futuristic stories, that she relishes the opportunities to create new worlds.I feel like Ive been lucky in the things Ive gotten to work on because Ive really been able to keep it fresh, always getting to do different kinds of things. With a fashion degree from Cornish School of Fine Arts in Seattle, Colleen Atwood began her career as an assistant to Production Designer Patrizia van Brandenstein on the film Ragtime (1981). Her first solo credit as Costume Designer was on director Michael Apteds Firstborn (1984). She next collaborated with renowned Production Designer Fernando Scarfiotti designing the costumes for the Sting concert film Bring on the Night (1985). This early association with the performer resulted in Atwoods designing the costumes for Stings concerts and music videos. Award-winning Costume Designer Colleen Atwood has collaborated several times with directors Tim Burton and Jonathan Demme and her subtle and versatile work was also seen in Jonathan Demmes Philadelphia, The Silence of the Lambs and Married to the Mob.The same year she received Academy Award and BAFTA nominations for Little Women,Atwood also created costumes for Wyatt Earp. She had previously received a BAFTA nomination for her special contribution to Tim Burtons Edward Scissorhands. More recently she designed the costumes for Burtons Mars Attacks and Big Fish. In 2002, she collected an Oscar for her work on Chicago. She was previously nominated for Sleepy Hollow, Beloved, and Little Women. Ms.Atwood won the CDG Award, BAFTA, and Golden Satellite Awards for Sleepy Hollow in 1999, and her second CDG Award again in 2004 for Lemony Snicket. Adding to her already prestigious career are the soon-to-be-released Memoirs of a Geisha and Mission Impossible 3.
R
Clockwise from top right: Bob Blackman, Enterprises Muk courtesy Bob Blackman, Voyagers Jeri Ryan Paramount TV/The Kobal Collection, Deep Space Nine The Kobal Collection
Robert Blackman
obert Blackman has designed costumes for more than 600 hours of episodic televisionthe vast majority for the Star Trek franchise. Bob became the Costume Designer for The Next Generation at the beginning of its third season; he continued through its seven-season run and designed the following three series for their entire runs: Deep Space Nine (seven seasons), Voyager (seven seasons), and Enterprise (four seasons). During those 18 years at Paramount, Blackman was able to experiment with costume in ways more common to film than television. The producers supported Blackman with a solely dedicated workroom under the remarkable supervision of Carol Kunz, and staffed by extraordinarily talented Costumers and wardrobe artisans. At capacity, the workroom employed a core staff of 14, which would often climb to 30.The background action could consist of as many as 80 extras a day, each individually pre-fitted and altered. A typical episode would require manufacturing costumes from leather, neoprene, spandex, metal, wool and chiffonoften in complex combinations. Beyond the challenge of inventing centuries yet to be, each series left no period unexploredGreek, Gothic, Victorian, the American West, the 20th century (including an ongoing tribute to 1930s), space genre, and even an homage to Costume Designer William Ware Theiss original 1966 Star Trek series uniforms. Blackman is completely indebted to those members of his team who realized, and often improved upon what was originally sketched, repeatedly producing couture quality costumes in mere days. Blackman won an Emmy Award in 199192 for Star Trek: The Next Generation and has received nine nominations. His film work includes night, Mother, The Running Man, Stones for Ibarra, Star Trek VII: Generations and Star Trek X: Nemesis. His recent theatrical work includes Costume Design for The Lady With All the Answers at the Old Globe, The Royal Family at the Ahmanson Theatre (Ovation nomination), Cat on a Hot Tin Roof and Uncle Vanya at the Geffen Playhouse. Robert Blackman has an MFA from the Yale School of Drama.
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Renie Conley
Renie, born Irene Brouillet and also known as Renie Conley, was born on July 31, 1901, in Republic,Washington. Renie received an Academy Award for Costume Design for Cleopatra and was nominated for The Model and the Marriage Broker in 1951, The Presidents Lady, The Big Fisherman and Caravans in 1978. For more than three decades, Renie was a prominent Hollywood Costume Designer noted for clothing the stars in subtle, elegant outfits, as can be seen in the costumes Ginger Rogers wore as the glamorous AllAmerican working girl in Kitty Foyle (1940). She got her start designing theater sets and then working as a sketch artist for Paramount. In 1937, she became a Costume Designer for RKO. She remained with the studio, attiring its biggest stars until the 50s when she started freelancing. In addition to films, Renies work can also be seen on such TV series as Haywire.
Bill Travilla was born on March 22, 1920.With more than 100 credits to his name spanning from the 1940s until the 1980s, he is one of our most prolific designers. Travilla, as he was known, became a Hollywood star in his own right, thanks in large part to his premier client, actress Marilyn Monroe. Best known for designing Monroes costumes in eight filmsincluding Gentlemen Prefer Blondes and How to Marry a MillionaireTravilla also lit up the silver screen with Valley of the Dolls, Black Widow, Theres No Business Like Show Business and Bloodhounds of Broadway.When the Golden Era of Hollywood ended, Travilla focused on running his own couture-quality business. He also found time to freelance for television epics such as Evita, The Thorn Birds, and Dallas. One Oscar and several Emmys later, its easy to recognize the legacy of this outstanding designer.
Bill Travilla
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Counterclockwise from top right: Cat Ballou Columbia/The Kobal Collection, Kitty Foyle courtesy Deborah Landis, The Revolt of Mamie Stover 20th Century Fox/The Kobal Collection, Bill Travilla, Bill Sarris Collection/Schiffer Publishing, Renie Conley Photofest, Bill Thomas Photofest
Jude Christian Orlando was born in Hawaii where he grew up carefree, barefoot and joyous. He carried that joie de vivre with him here to California where he graduated from the Fashion Institute of Design and Merchandising (FIDM). After a study tour in Paris, Jude returned to Los Angeles where he began working in the fashion industry as an Associate Designer. Jude worked with the late curator Maggie Murray at the FIDM Museum doing fashion illustrations for the FIDM website. Maggie introduced Jude to Costume Designer Jacqueline West, and she mentored him into Local 892 as an Illustrator. Jude has illustrated many films for Jacqueline including The Banger Sisters and Lonely Hearts. Recently, Jude has also illustrated Running With Scissors for Lou Eyrich. Local 892 has been the grateful recipient of Judes generosity of spirit. He has volunteered tirelessly with Sharon Day to create and launch our CDG website, develop and edit our newsletter and bring technological education to our membership enabling them to post their portfolios online. Currently, Jude is on a brief hiatus from the industry returning to the world of fashion at the invitation of Guess? Handbags. Jude is rushing to finish his Spring 2006 Mens Carry Wear line available in retail stores in January 2006. Call (310) 922-7474 or email him at judecorlando@yahoo.com
Jacqueline K. Saint Anne jsaintanne@ costumedesignersguild.com
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heodora Van Runkle is easily one of the most intriguing, wildly imaginative, and extraordinarily talented members of our Guild. She is also ethereal and divinely quirky. All those definitions of artistic seem to swirl around her in total abandon. Theodora has enjoyed an amazing career of diverse and dream projects. Im using a lot of superlatives here, but you cannot talk about Theodora without them. Theodora grew up in Beverly Hills and San Marino, but as she says, escaped early in Life. She first dreamed of being a muralist, then a sculptor, then an illustrator. By the time she was 6, she envisioned her destiny, and saw herself with a portfolio under her arm. With two children to support alone, going into the film business, and being
successful there, was a necessity. Dorothy Jeakins gave me my start, my first chance in films. Her mentors? All the artists she had read about. Among her favorite and most memorable career experiences was designing for Faye Dunaway. I LOVED
Jimmy is personally available for private or VIP in studio fittings for a small fee. One-Stop shopping for your shorter actors. Selected Items available in multiples. Alterations Available
Now TEMPORARILY OPEN at the following address until the end of December 2005:
Westfield Promenade 6100 Topanga Canyon Blvd #2220 Woodland Hills, CA 91367 Call (818) 716-6292 for Current Size and Style Selection Alan@JimmyAus.com
New Store Opening in Beverly Hills January 2006
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Bonnie and Clyde 1967 Warner Bros./Seven Arts and Tatira-Hiller Productions
DESIGNERS EXPRESS
designing for Faye Dunaway! Who wouldnt? She is so beautiful and made for clothesevery inch perfect! Another who provided her with her best designing experiences: I loved and was appreciated by Colin Higgins who wrote Harold and Maude and directed The Best Little Whorehouse in Texashe was generous and funny-quirky and he got me. Asked about worst career experiences: Theodora has never minced words and is very outspokenshe NAMES names. So maybe wed best just move along here. Now Theodora describes herself as an Ardent Recluse, who fills her busy days with writing and illustrating stories, beautifying a constantly expanding garden, reading, studying, painting and traveling. She rewards herself with a stroll through the garden at twilight, and gets her greatest pleasure from difficult jobs well done. I believe in the virtue and rewards of hard work enjoyedand in envisioning results. Her favorite word: Surrender. Her most despised word: Hate. Her favorite sounds: Footsteps on gravel, and Chopin. Least favorite sounds: Auto horns in traffic. Her favorite curse word: [the lady-like] Merde! Theodoras Words of Wisdom to the new and upcoming designer generation: Inform yourself, and be educated in every aspect of the jobthe business, the
I believe in the virtue and rewards of hard work enjoyed and in envisioning results.
management, the exactitude of the experiencenot just the inspiration and visionary parts. Be sure to have a crew and assistants who are stable, trustworthy, and on your side. You will probably have to earn their respect and loyalty, [which is] not an easy task. When Theodora gets to the Pearly Gates, she would most like to hear St. Peter say, Baby, you overcame it all, rose above it, and outwitted all that lousy karma.
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All-in-one: Combination brassiere and corset, often including panties or a girdle. It first appeared in the 20s using steel instead of the whalebone used in earlier corsets. By the 30s, steel had been replaced by a two-way stretch fabric called Latex. Argyle: A multi-colored diamond pattern in socks,
sweaters and scarves. Argyll is the name of the clan whose tartan is imitated in this kind of knitting.
Acca: A medieval fabric woven of silk mixed with gold threads. It was probably named for Acre, the Syrian seaport that was central to the Crusades. Aigrette: Upright plumes or tufts of feathers from
the egret or heron. They were often used for womens headdress, or hat trimming and were very popular in the 20s.
Attifet: A heart-shaped headdress worn by ladies in the 16th century. The front edges were wired to hold the shape which dipped to a point over the forehead and curved up and back in an arc on either side. The headdress was usually white, or silk or linen, and was embroidered and trimmed with lace edging. Mary Queen of Scots favored this headdress, while Catherine deMedici favored a black version in her widowhood. By Karyn Wagner kwagner@costumedesignersguild.com Illustrations by Robin Richesson
Alb or alba: A secular tunic with its origin in ancient Rome worn up to the ninth century. Longsleeved and full-length, it was white and usually embroidered. The alb is now exclusively worn as a liturgical garment. ABA
ALL-IN-ONE
AIGRETTE
ATTIFET
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Resources: African dress: http://www.costumes.org/ethnic/1PAGES/afrocentriclinks.htm#Traditional%20Dress Aztec dress: http://www.angelfire.com/az/atid410/and http://www.britannica.com/eb/article-14020 Karyn Wagner karenwagner@earthlink.net and Robin Richesson robins.nest@verizon.net
studio services
Lights! Camera! Wardrobe! Let Nordstrom play a role in your next productionjust give us a call and well place the latest fashion at your fingertips. Our inventory and years of experience will help simplify your job and make you the star. Receive a gift when you mention this ad, compliments of Nordstrom. Our services include: Reserved parking at Westside Pavilion and Glendale Galleria Complimentary valet parking at The Grove and Topanga 5-day approval on memo Individual attention from our courteous, professional staff Extended shoe sizes: Mens 7-18m, 9-14n, 7- 14ww; womens 4-13n and w Mens big and tall sizes in suits, shirts and trousers Corporate accounts available: Contact Amber Quintana-Castro at 714.513.4424
nordstrom
Glendale Galleria 200 West Broadway Glendale, CA 91210 phone: 818.502.1683 fax: 818.502.2142 Michelle Buehler, Manager Westside Pavilion 10830 West Pico Boulevard Los Angeles, CA 90064 phone: 310.254.1670 fax: 310.254.2778 Debra Hastain, Manager
Topanga Plaza 6602 Topanga Canyon Blvd. Canoga Park, CA 91303 phone: 818.592.4622 fax: 818.592.4623
The Grove 189 The Grove Drive, Suite P80 Los Angeles, CA 90036 phone: 323.900.1670 fax: 323.900.1671 Lauri Elias, Manager
IN FOCUS
Congratulations President Short Timeless Style Awards from left: Betsy Heimann, Deena Appel, Nancy Steiner, Arianne Phillips, Rita Ryack
BOLDFACE NAMES
The Costume Designers Guild, Local 892, recently turned out in style to congratulate IATSE President Thomas Short, who was honored at Local 871s five-year anniversary celebration in Studio City hosted by the remarkable Local 871 Business Agent Lainie Miller. Pictured with President Short are Local 892 Officers, Executives and Eboard members Deborah Nadoolman-Landis, Cheryl Downey, Sharon Day, Jacqueline Saint Anne, Karyn Wagner, Valerie Laven-Cooper, Barbara Inglehart and Jude Orlando. Spoylt Lingeries fundraiser for the Susan G. Komen Breast Cancer Foundation,Design for the Cure 2005, a cocktail party and fashion show spotlighting the Emmy-nominated Costume Designers. Catherine Adair, Janie Bryant, Laura Goldsmith, Chrisi Karvonides Dushenko and Jill Ohanneson mixed costumes from their respective series with Spoylts sexy intimates for an alluring runway show. The first-time event was a huge success, raising $10,000. In a gala ceremony at the Beverly Hills Hilton, Colleen Atwood received the Hollywood Costume Designer of the Year award at the Hollywood Film Festival in October. Colleens Memoirs of a Geisha graces the December issue of Vogue, a special fantasy issue also featuring Tilda Swinton as the White Witch of The Lion, the Witch and the Wardrobe, which showcases designer Isis Mussendens dramatic costumes. Janie Bryants Deadwood is featured in the New York Times Travel Magazines November 20 issue, which profiles Deadwood, South Dakota, as a travel destinationexploring the impact that Deadwood has had capturing tourists imagination. On November 22, at Christies New York, Bob Mackie is auctioning costumes from The Carol Burnett Show and The Sonny & Cher Comedy Hour, red-carpet gowns and costume sketches. Covering his 40-year career in Hollywood, Mackie: Costume and Couture From the Private Archives of Bob Mackie includes Whoopi Goldbergs Queen Elizabeth I from the 1999 Academy Awards and Elton Johns Donald Duck costume from his 1975 tour. A portion of the sale benefits the Elton John AIDS Foundation. Two of Bobs fabulous costumes from Once Upon a Mattress are on display at the Museum of Radio and Television in Beverly Hills. In December, Costume Designer Erin Lareau pulls off the costumes for a lavish, contemporary Latin music extravaganza airing on PBS. Nights of Fire stars Benise, a flamenco guitarist on a musical journey through samba, salsa, and carnival music. By the way, the Fowler Museum at UCLA begins their exhibition on Carnival later this month. At our 8th Annual CDG Awards on February 25, legendary designers Moss Mabry, Michael Woulfe and Grady Hunt will be honored for their contribution to the art of Costume Design and their long-standing membership in the Costume Designers Guild, Local 892. See you there!
SpoyIt Lingerie for Susan G. Komen from left: Janie Bryant, Laura Goldsmith, Betty Rodriquez, Cate Adair, Jill Ohanneson
Timeless Style Awards: Gilbert Flores, SpoyIt Lingerie for Susan G Komen: Mark Sullivan
WARDROBE
CLOTHING RENTAL SERVICE
Wardrobe carries a range of designer wear that includes, but is not limited to: gowns, cocktail dresses, suits, jackets, blouses, shirts, sweaters, tshirts, jeans, swimwear, handbags, shoes, and sunglasses. Wardrobe is the only company that has built designer relationships facilitating receiving merchandise at the same time as department stores. We rent at approximately 10% of retail pricing.
NYC
10014
W W W. WA R D R O B E - N Y C . C O M I N F O @ WA R D R O B E - N Y C . C O M
WHATS ON
Big Love
Costume Designer:
Bones
Costume Designer:
CHRIS KARVONIDES
BOBBIE READ
Commander in Chief
Costume Designer:
Criminal Minds
Costume Designer:
VICKI SANCHEZ
CATHERINE THOMAS
E-Ring
Costume Designer:
Invasion
Costume Designer:
MAGALI GUIDASCI
Assistant Designer:
YASMINE ABRAHAM
How I Met Your Mother
Costume Designer:
CHRISTINE PETERS
Ghost Whisperer
Costume Designer:
JOSEPH PORRO
SUSANNA PUISTO
Rome
Costume Designer:
APRIL FERRY
DARRYLE JOHNSON
My Name Is Earl
Costume Designer:
GIOVANNA OTTOBRE-MELTON
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Big Love HBO/ Ron Batzdorff, Bones FOX/Frank Ockenfels, Commander in Chief ABC/Peter Hopper Stone, Criminal Minds Touchstone TV/Nigel Parry, E-Ring Warner Bros.TV, Invasion ABC/Bob DAmico, Ghost Whisperer Touchstone TV/Robert Voets, How I Met Your Mother CBS/Monty Brinton, Rome HBO/Franco Biciocchi, Everybody Hates Chris UPN/Robert Voets, My Name Is Earl NBC Universal
WHATS OUT
Aeon Flux Paramount/Jasin Boland, Brokeback Mountain Focus Features/Kimberly French, The Chronicles of Narnia Disney, The Family Stone 20th Century Fox/Zade Rosenthal, Fun With Dick and Jane Columbia Pictures/Ralph Nelson, Memoirs of a Geisha Sony Pictures/David James, Jarhead Universal Studios, Rent Sony Pictures/Phil Bray, Rumor Has It Warner Bros. Pictures/Melissa Moseley, Walk the Line 20th Century Fox/Suzanne Tenner, The New World New Line Productions/Merie W. Wallace
Brokeback Mountain
Costume Designer:
MARIT ALLEN
Aeon Flux
Costume Designer:
ISIS MUSSENDEN
Assistant Designer:
KIMBERLY ADAMS
Fun With Dick and Jane
Costume Designer:
ALEXIS SCOTT
JULIE WEISS
Assistant Designer:
JOHN PRAY
Jarhead
Costume Designer:
SHAY CUNLIFFE
Memoirs of a Geisha
Costume Designer:
ALBERT WOLSKY
Assistant Designer:
COLLEEN ATWOOD
Assistant Designer:
GEORGE LITTLE
FELIPE SANCHEZ
Rumor Has It
Costume Designer:
Rent (1980s)
CostumeDesigner:
KYM BARRETT
Assistant Designer:
AGGIE RODGERS
HOLLY DAVIS
ARIANNE PHILLIPS
Assistant Designer:
JACQUELINE WEST
CARLOS ROSARIO
Fall 2005 The Costume Designer 37
SCRAPBOOK
Above: Designer Irene Sharaff (left) with Lily Fonda fitting a gown for Elizabeth Taylor in Cleopatra
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...Shopgirl, which is both funny and sweetly sad, aims for something other than salaciousness or sentimentality. It is partly about how the specter of love can give ordinary life a feeling of risk and enchantment, a process that Mr. Tucker discreetly recapitulates on screen...Claire Danes performance is flawless.
______________________ ______________________
Nancy Steiner
buenavistapicturesawards.com
Buena Vista Pictures Distribution and Hyde Park Entertainment, Inc.
Isis Mussenden
buenavistapicturesawards.com
THE CHRONICLES OF NARNIA, NARNIA, and all book titles, characters and locales original thereto are trademarks and are used with permission. DISNEY ENTERPRISES, INC. and WALDEN MEDIA, LLC. All rights reserved.
Costume Designers Guild Local 892I.A.T.S.E. 4730 Woodman Avenue, Suite 430 Sherman Oaks, CA 91423-2400
Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450