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MICU 06-11
FEATURE
DEPARTMENTS
The Immortal Costume . . . . . . . . . . . . . . . . 12
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Presidents Letter
From the Desk of the Executive Director
Assistant Executive Directors Report
The Costume Department. . . . . . . . . . . . . . . . 16
Designers Express
New Technology
Meet the Illustrators
From the East
History of Dress A-Z
Whats On / Whats Out . . . . . . . . . . . . . . . . . 26
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . 30
vol. 2, issue 2
COVER:
A glorious patchwork of labels by
Costume Designers for their original
designs.
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
GENERAL MEMBERSHIP
MEETING:
Monday, June 19, at 7 p.m.
at the Studio City Library,
12511 Moorpark St.
at the corner of Whitsett.
Spring 2006 The Costume Designer 3
4 The Costume Designer Spring 2006
EDITOR-IN-CHIEF
Dr. Deborah N. Landis
EDITOR
Sharon Day
ASSOCIATE/PHOTO EDITOR
Deena Appel
MANAGING EDITOR
Cheryl Downey
PRESIDENT
Dr. Deborah N. Landis
president@costumedesignersguild.com
VICE PRESIDENT
Pamela Shaw
vicepresident@costumedesignersguild.com
SECRETARY
Barbara Inglehart
secretary@costumedesignersguild.com
TREASURER
Mary Rose
treasurer@costumedesignersguild.com
MEMBERS AT LARGE
Deena Appel
DAppel@costumedesignersguild.com
Hope Hanafin
HHanafin@costumedesignersguild.com
Jacqueline Saint Anne
JSaintAnne@costumedesignersguild.com
Carol Ramsey
CRamsey@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laura-Cooper
VLCooper@costumedesignersguild.com
Sharon Day
SDay@costumedesignersguild.com
Karyn Wagner
KWagner@costumedesignersguild.com
Mary Malin
MMalin@costumedesignersguild.com
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
Peter Flaherty, Chair
PFlaherty@costumedesignersguild.com
Cliff Chally
CChally@costumedesignersguild.com
Marilyn Mathews
MMathews@costumedesignersguild.com
Shay Cunliffe, Alternate
SCunliffe@costumedesignersguild.com
EXECUTIVE DIRECTOR
Cheryl Downey
cdowneycdgia@earthlink.net
ASST. EXECUTIVE DIRECTOR
Rachael Stanley
rmstanleycdgia@earthlink.net
PUBLISHER
The Ingle Group
FOR ADVERTISING INQUIRIES
CONTACT
Dan Dodd 818.556.6300
dandodd@pacbell.net
o you love to ponder? I do. Heres a good one. Suppose
your work is part of a retrospective on costume in
film. No one can substantiate that the designs and cos-
tumes are yours. How can you be included or credited?
Historically, a sign, mark, or signature, authenticates and
imports value to an object. An author is a person who creates
something and brings it into existence.
Let us say, that your work is so unique that it becomes legendary; how can that be
proven? How can your heirs protect your estate? Another artist, very successful in the
world of architecture, told me, Your name is the touchstone of your identity, something
you hold precious throughout your life. Signifying and adding your name endorses and
gives value.
Sign your work
Establish authorship
Authenticate your designs
In Solidarity,
Sharon Day
SDay@costumedesignersguild.com
EDITORS NOTE
D
I am easily
satisfied by the
very best.
-Winston Churchill

In our continued effort to raise the profile of Costume Designers in the public
eye, to educate our industry to the contribution of Costume Designers as
storytellers first and to combat the misconception of fashion in film, the
Costume Designers Guild has hired Lisa Taback Consulting to be our publicist
during this non-Awards season.
It is our hope to draw attention to upcoming events that include a panel of
designers participating in COMIC-CON International, the first-ever FIDM
Television Costume Design exhibit and the Emmy-nominated designers who are
often not as publicized as their Oscar counterparts.
Please feel free to contact Lisa or her colleague, Candice Grabois if you have
any current or upcoming work that you feel would be press worthy. We espe-
cially need you to communicate with us about any upcoming television projects
on your radar as we often have more difficulty gaining information from the net-
work PR machines.
Remember, we cant promote it, if we dont know about it. Take this oppor-
tunity. This is for all of us.
Contact: Lisa and Candice at:
Lisa@LT-LA.com Office: (310) 274-3880
Candice@LT-LT.com Fax: (310) 274-3990
Deena Appel, Publicity Committee Chair
dappel@costumedesignersguild.com
CDG Hires New Publicist, Lisa Taback
Our Label Not Theirs
Dear Friends,
Fashion Designers value lies entirely in their name and label; and throughout their career they are in
the service of the BRAND. This brand has a style or a look which must be instantly identifiable to the
buyer and codified; whether its Juicy Couture or Chanelwhether the trademark is a camellia or a bam-
boo toggle.That brand is marketed by the licensee and the more successful with the public, the quicker the banks
are repaid. These signature design elements are readily copied by lesser priced brands without license, and by
fakes.The value of any copy is in the exact replication of a recognizable brand. Fashion Designers need to fore-
cast or predict trends years/seasons ahead.This is foreign to Costume Designers.Accuracy in trend prediction is
crucial for the fashion business. They must second-guess the publics future desires. Sometimes, they are even
inspired by the costumes in movies and shows we design. Fashion Designers build their brand in exactly the same way Kelloggs,
General Motors, or Hallmark build their brands; with a logo, marketing, testing, and trend research. Advertising budgets do the
rest.Then, in a moment that is just like the release of a movie, Fashion Designers wait for the public to show up and buy the col-
lection, or not.The clothes must sell or the label will die. Its a daunting prospect.
As Costume Designers, we must subsume our individual style to the demands of the story and the vision of the director. If
we are lucky, we move through our career having the opportunity to collaborate with many different directors and design in a
multiplicity of genre. For modern productions, successful costumes mean invisible costumes, disappearing into the narrative and
the composition of the frame. Its the character the public should remember; not the clothes. A Costume Designers work
must have no signature and no identifiable style. Because we serve the story, and not ourselves, a recognizable style would be as
destructive to the character as it would be to the career of the Costume Designer. We deliberately design style neutral so as not
to date our modern project when the production is released or aired. We are not the stars of any production; we dont take the
bow on center stage. The public (and Fashion Designers) do not know our name. And, we make it all look so easy like we
were never there. We have not benefited from our shyness. Our reti-
cence has cost us plenty.
Costume Designers are so proficient at this disappearing
act and so modest about taking credit, that the public and the indus-
try believe that costumes design themselves.We were on the brink of
self-obliteration and redundancy. No contracts in Live TV, no credit in
newspaper billing blocks, low scale, insult added to injury. Fashion
Designers take credit for designing modern films if one single jacket
is used as part of a costume. But the public wants to see actors do
what they do besttransform themselves into other people.
Glamour and celebrity are powerful sales tools, but a fashion show
does not make a movie. This is the moment to change both the indus-
try and publics perception that COSTUME means fancy dress and
the rest is just product placement. We create Characters not Clothes.
Costume Design is Film; not Fashion. Creating a label is an act of
pride and of hope that our name and our work will endure. The well
bred may be anonymous and invisible, but this strategy aint worked
for Costume Designers. Take Credit for your work. Be on the DVD.
A collection lasts one seasona movie (and reruns) lasts
forever.
In Solidarity,
Deborah Landis
president@costumedesignersguild.com
PRESIDENTS LETTER
UNION LABEL
COSTUME DESIGN CENTER
Costume Rentals Manufacturing Prep Spaces
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
A
Condolences to Shana Targosz
who recently lost her brother through a tragic car accident.
6 The Costume Designer Spring 2006
Dear Designers All,
our Executive Board spent all day, Saturday, April 29, working on a long-term strategic plan and a business
plan for the future of the CDG.We cant be a force in the future, without defining our realities today.
Some goals are already in progress. Last year at this time we invited Assistant Costume Designers and
Illustrators to participate in a forum at the Guild. At this frank discussion, members revealed their dire
straights, including insufficient work to qualify for the pension/health plans. As a direct consequence, The Costume
Designer will continue to introduce the portfolios and credentials of CDG Illustrators in each edition. Many
Illustrators have the background to function as an Assistant Costume Designer. In this manner, members can gain
weekly employment and spread their wings.We encourage Illustrators to leave sketch samples in the Illustrators
Notebook available to every Designer who visits the CDG office. Illustrators are encouraged to display their work
at every General Membership Meeting to familiarize Designers with their style. Designers, even if your budget
allows days and not weeks for your illustrating needs, hire our talented Illustrators.
Designers have been heeding the logic of hiring an Assistant Costume Designer on heavy design shows.When the Costume
Designer is adequately supported and staffed, the 705 crew gains support as well. Thoughtful initial evaluation assessing the
design needs of a production, coupled with creative shifting of budget so that the bottom line remains the same, can result in
the hiring of an ACD. Success stories of Designers, who never hired ACDs before (especially in television), have materialized.This
is an education process for producers, studios, and production managers, as well as our own members.
CDG jurisdiction must be carefully followed to avoid misunderstandings. ACDs are part of our Local 892 design team and
hence can do no Local 705 work. ACDs report to the Designer and not to the Supervisor. Once a Designer has convinced pro-
duction to bring on an ACD, its
vital the ACD return this loyalty by
remaining on the production.
Quitting is not a choice in this
freelance industry, especially for a
hard-fought position. While con-
tractually most of us only have a
week-to-week contract from pro-
ducers, the industry expectation is
that when we sign on for a pro-
duction, we will stay through to
completion of photography.
Building industry support for the
Assistant Designer position, which
is de rigueur in New York, is a
commitment Local 892 has made
to our membership.
Please give me a call if you
need an ACD on your next project.
Perhaps I can help you get the
support you desperately need.
About half of our new members
join as Assistants; lets get them
working with us!
With high regard for the Design
Team,
Cheryl
cdowneycdgia@earthlink.net
Y
UNION LABEL
From the Desk of the Executive Director
Democracy at its best. On
March 8, 2006, we participated at
the Labor Councils COPE
(Committee On Political
Education) Convention to
endorse candidates running for
election this June. The candidates
were screened by committee
prior to the convention, and now
face the task of getting endorse-
ments from delegates of more
than 100 locals. There was a larg-
er than usual crowd of delegates
wanting to participate in this vote with so much riding on this election. These candidates
need to win, and then we need to hold them accountable.There was much passion and
debate over some of the recommended candidates, with some locals expressing both pos-
itive and negative experiences with many of the candidates. Finally, the vote was called.
It became clear why we were endorsing these particular men and women.What empow-
erment we felt, and what a great day it was for grass-roots democracy. We are now pre-
pared for the June 2006 election with dedicated professionals as our leaders.
Remember, go to the polls. It is our responsibility to vote our conscience.
One vote. One voice.
For a list of the endorsed candidates for the 2006 Primary Election:
www.launionaflcio.org/yourvote.html
Betty Madden
CDG Labor Representative
bpmadden@aol.com
Labor Report
May 2006
L to R: Joanne Sanders, IATSE International Representative, Brian
Lawlor, IATSE 10th Vice President, Deborah Landis, President,
CDG Local 892, Pamela Shaw, Vice President, CDG Local 892,
Cecelia Fredericks, Business Representative, United Scenic Artists
Local 829.
8 The Costume Designer Spring 2006
sing a union shop should
never be cons i d e r e d a
luxury. When a producer has
signed a contract with the
IATSE, they have agreed to use
union labor. There should be no
question that your alterations and
MO work will be done in a union
costume shop where members are
protected under the agreements of the contract and
guaranteed health and pension benefits. By support-
ing union shops you are helping to provide jobs for
other union members and helping the pension and
health plans which are funded by union productions
to stay vital.As a member of Local 892, it is your obli-
gation to support your sister unions within the
IATSE. Local 705 costume shops have been provid-
ing services to the industry since 1937 and offer
experienced cutters, fitters, seamstresses, and tailors
that will help to realize your designs. There are cur-
rently 15 signatory costume shops available in the
Los Angeles area and there is even a traveling union
workroom that can come to you on location to meet
your alteration and MO needs.
Remember that any lost union job is a loss to all
of us. Support your brothers and sisters and stand
firm in solidarity. Work union and use union
labor.
Rachael Stanley
rmstanleycdgia@earthlink.net
Assi stant Executi ve
Di rectors Report
U
Alter Your Thinking on Alteration
Spring 2006 The Costume Designer 9
INFO@CARELABEL.COM
1-800-652-2357
YOUR PERFECT
SOURCE FOR
CUSTOM-MADE
WOVEN LABELS
YOUR DESIGN, YOUR COLOR, YOUR SIZE
HANDLED WITH EASE ONLINE OR BY PHONE
Our recent Costume Designer clients include:
Deena Appel
Colleen Atwood
Katherine Jane Bryant Deadwood
Sharon Day
Laura Goldsmith Alias
Hope Hanafin
Mona May
Ellen Mirojnick
Erica E. Phillips
Vicki Sanchez
UNION LABEL
Saturday, June 3, 10:30 a.m. to 12 p.m.
Below the Line Expo. The much-lauded team of artists,
including Isis Mussenden, CDG member, from The
Chronicles of Narnia: The Lion, the Witch and the Wardrobe
reveals the secret weapons used to create the seamless world
of Narnia.
Raleigh Studios Hollywood, 5300 Melrose Ave.
No charge for panels. www.btlnews.com
Saturday, June 10, 10 a.m. to 1 p.m.
Motion Picture Costumers Job Faire, Local 705
Costume Rental Corporation, 11149 Vanowen St.,
N. Hollywood
Local 892 members are encouraged to display (and sell) their
talents. Call Paul De Lucca at (818) 487-5655 to reserve your
table.
Saturday, June 10, 2 to 5 p.m. & Sunday, June 11,
11 a.m. to 2 p.m.
Design Showcase West, UCLA, Macgowan Hall.
Top national university design students in costume, set, sound
and lighting will exhibit their portfolios. All CDG members
are encouraged to attend. www.tft.ucla.edu/dsw
Monday, June 19, 7 p.m.
CDG General Membership Meeting
Studio City Library, 12511 Moorpark, corner Whitsett.
Raffle, refreshments, available at 6:30. Come learn what our
new affiliation with the Musicians Interguild Credit Union can
do for you. See you there!
July 10Sept. 9
The Outstanding Art of Television Costume Design
Saturday, July 8, Opening Cocktail Party for CDG members.
FIDM, 919 So. Grand Ave., L.A. 20052006 Emmy nomina-
tions for Costume Design and more than 100 costumes
celebrating 40 years of Television Design will be featured.
Monday through Saturday 10 a.m.4 p.m. Free.
ThursdaySaturday, July 2022
Comic-Con International Convention, San Diego Convention
Center.
The CDG goes direct to 250,000 fans at the largest comic-
book convention in the world. Each day, the CDG will
present a 90-minute panel of member-designers before 500
admirers. Come join the fun. www.comic-con.org
Mondays: June 5, Aug. 7, Sept. 11
Executive Board meetings at the CDG offices 7 p.m.
DESIGNERS CALENDAR
NBC Universal
818.777.3000 800.892.1979 818.840.4724
THE FILMMAKERS DESTINATION
WWW.NBCUNI.COM/STUDIO
Costume Rentals,
Manufacturing,
Alterations,
Alterations,
Fitting Rooms
& Offices
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COSTUME
I
first became aware of collectors while prepping
Austin Powers in Goldmember. I wanted to
repeat Austins gold satin robe from the first film,
but where had it gone? New Line doesnt have a
costume department, so I imagined it had been
auctioned off on the New Line website along with
the rest of Austins made-to-order costumes and
hundreds more that were built for the three installments.
Thats how I met Doug Haase. A collector living in
Arkansas, he has amassed a vast group of costumes from the
Austin Powers trilogy but alas, he was not the collector who
currently owned the robe I needed to borrow back. The
robe was later
tracked by the studio
to yet another collec-
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ence opened my eyes
to this growing indus-
try and the afterlife of
our costumes.
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ings are so extensive that he was called upon to loan one of Austins suits to the
AMPAS 50 Designers/50 Costumes exhibit. Haase is not in the film business. Hes a
marketing consultant, husband, and father whose memories of the 1960s were so
vivid that when Austin Powers came along, he wanted to own a part of it. He has
since expanded his collection to include costumes from a spectrum of films as
diverse as The Cell [Eiko] and Little Nicky [Ellen Lutter].
Haase regularly displays a rotating group of 22 costumes at his home, keep-
ing the rest in climate-controlled storage. When hes not loaning his costumes to
museums and exhibits, he puts his passion to work for charity. By showcasing his
costumes, he has raised $100,000 for the American Diabetes Association and con-
tributed to a fundraiser for his local childrens art school while providing a for-
mat where beauty and craftsmanship can be appreciated.
You may have read about Tom Gregory in People magazine. Gregory, an actor
and gay activist, paid $100,100.51 on eBay for two shirts from Brokeback
THE
IMMORTAL

As the value of
the costume sketch
increases, so will
the perception of
Costume Design as
a true art form
the experience
opened my eyes
to this growing
industry and
the afterlife of our
costumes.

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Mountain [Marit Allen] that were pivotal to the story line. He
believes They are the ruby slippers of our time.
Speaking of the ruby slippers from The Wizard of Oz
[Adrian], there are four pair that were known to be worn by
Judy Garland. One of which was auctioned off at Christies in
May of 2000 for $666,000 to movie memorabilia collector,
David Elkouby. Another pair makes its home at the
Smithsonians National Museum of American History. Curator
Dwight Blocker Bowers says, They are the most requested
item by visitors to the museum. Also on display at the
Smithsonian is the Seinfeld puffy shirt [Charmaine
Simmons], Captain Kangaroos iconic jacket [Bill Griffin] and
the red sequined gown worn by Dustin Hoffman on the
poster for Tootsie [Ruth Morley]. Mr. Bowers says his mission
for the Smithsonian is to preserve the history and legacy of
these artifacts that tell the stories. With a budget that is
dependent on the kindness of strangers, he looks for cos-
tumes that influence American culture or that document and
define an era in film and television.
Sothebys Leila Dunbar held a costume and prop auction
in 2001 in conjunction with Planet Hollywood that brought
in a staggering $1 million in sales.The famous pale silk negli-
gee worn by Vivien Leigh in A Streetcar Named Desire
[Lucinda Ballard], a purple robe with gold bullion appliqu
from The King and I [Irene Sharaff], a dress worn by Julie
Andrews in The Sound of Music [Dorothy Jeakins] and cos-
tumes from countless contemporary films and television
shows such as Rain Man [Bernie Pollack], and Urban
Cowboy [Gloria Gresham] were included in the auction.
Juliens Auctions in West Hollywood presents high-end
entertainment memorabilia in a live auction format. Darren
Julien offered the hugely successful Her Name Is Barbra auc-
tion. Ms. Streisand understood the historical and financial value
of her costumes when she auctioned more than 400 items
from her personal collection in 2004. All proceeds went to
AUTHOR! AUTHOR!
With the value of our costumes clearly detailed by one
exampl e after anotheryoud al most be l ul l ed i nto
believing that Costume Designers have earned a place in
history. Unfortunately, the plethora of collectors who
make it their business or pleasure to own a piece of
Hollywood often have no idea who designed the object of
their passion.
Why arent Costume Designers credited in auction cata-
logues or in gallery exhibits? Because the thousands of
costumes that are displayed, and that earn millions of
dollars as they are repeatedly sold and traded, are not
labeled. How can a curator know who designed a garment
if there isnt a label or a credit in the costume?
Every collector, curator and auction house I spoke with,
told me that what they value most about the costumes is
their history. Dwight Blocker Bowers of the Smithsonian
says, There is never enough information about a cos-
tume to satisfy a historian. Leila Dunbar of Sothebys
would love to give Costume Designers recognition, if
only she knew whom to credit. Donelle Dadigan, presi-
dent of the Hollywood Museum, feels she has a unique
opportuni ty to tel l the story, of the costumes she
exhibits and would like to give credit to the artists who
create them.
Carrie Williams, director of the New Line auction site,
warns, Its important to be recognized because you never
know where your costume will end up. Bill Quereshi, a
private collector, feels that Costumes create a sense of
authenticity and can be a character in themselves. Avid
collector, Doug Haase, believes More people will enjoy
this art form if we associate the designers name with the
passion. Its like the lotto, you cant win unless you play,
play and be part of the conversation.
Labeling provides a way for us to claim authorship of our
designs. The first step toward making the industry and
the world acknowledge the designer behind every cos-
tume is to put a designers name in every costume.
Consider the fate of your designs:
Do the stars, understanding the historical value of
costumes they have worn, contractually keep those
costumes to sell or donate to a charity auction?
Do the studios, understanding the monetary value of
costumes, immediately put them up for auction to the
highest bidder?
Do the costume rental houses, understanding the
continuing life and value of costumes, add them to
their racks to be rented out to the next show?
These common practices make it seem as if everyone
understands the intrinsic value of our costumes but us. In
a climate where most of our industry believes costumes
fall out of the sky, labeling, is one thing we can do now to
preserve our place in history.
Consider this at an auction held at Christies in October
1999, a costume worn by Marilyn Monroe in Lets Make
Love [Dorothy Jeaki ns] sol d for $79,500 and two
unsigned sketches sold for $6,325 each. These items,
sold 40 years after they were seen on screen, were not
attributed to Ms. Jeakins because there was no label in
the garment, and no signature on the sketches.
T
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COSTUME
Spring 2006 The Costume Designer 13
Continued on page 14
Continued on page 14
Profiles in Historys August 2003 auc-
tion fetched $129,800 for an original
Superman sui t from the 50s TV
series. A black suit worn by Sean
Young i n Bl ade Runner [Mi chael
Kaplan] went for $25,000. Profiles in
History will always include the design-
ers name at auction, unless there is
no label. These costumes were not
labeled.
To date, New Line Cinemas in-house
auction website has earned well over
$200,000 in sales of costumes from
the Austin Powers trilogy, designed by
Deena Appel. None of these costumes
were labeled.
Our costumes will change hands over
and over, assuredly living long after we
do. Embrace the example set by the
pioneers on the cover of this magazine.
Keep our history alive by crediting your-
self as the designer with labels that bear
your name in all made-to-order cos-
tumes. We must take ourselves serious-
ly if we expect the business to do the
same. Looking for credit has become a
tiresome, competitive sport in
Hollywood. The truth is, for the Costume
Designer its not about vanity, its about
history.
14 The Costume Designer Spring 2006
humanitarian and environmental causes through The Streisand Foundation.
Included was the black sheer teddy and pants featured on the poster for The Owl
and the Pussycat [Ann Roth], which sold for $15,600.
Joe Maddalena, CEO of Profiles in History, a dealer of original historical auto-
graphs, letters and documents for the past 20 years, began holding regular
Hollywood memorabilia auctions five years ago. While his March 2006 auction of
nearly 600 collectibles saw tremendous sales from their offered costumes,
Maddalena feels most excited about the growing interest in collecting Costume
Design sketches. He says, When I first started, 20 years ago, a costume sketch
wouldnt sell for $50.An original Walter Plunkett sketch for Vivien Leigh in Gone
With the Wind sold in 2005 for $35,400. He hopes that as the value of the costume
sketch increases, so will the perception of Costume Design as a true art form.
So why are films and television shows typecast as either a costume drama
or not a costume movie? Clearly theres a very large industry that sees the
value in collecting Alices uniform from The Brady Bunch (sold for more than
$2,000, 37 years after the show first aired) or Dustin Hoffmans prison uniform
from Papillon ($3,595), Gilligans signature red tee shirt ($28,750), the leather
jacket from Terminator 2 ($46,000), or Spocks tunic from the original Star Trek
series ($132,250). When is a costume a costume, and when does it have value?
ALWAYS.
Deena Appel
dappel@costumedesignersguild.com
We will continue to collect labels and showcase them in upcoming
issues so please send your samples to Deena Appel c/o the Guild office.
Spring 2006 The Costume Designer 15
Congratulations
Colleen Atwood
Michael Keller
and Jim Vandernoth
Keller Vandernoth
1133 Broadway
Suite 911
New York, NY 10010

On winning the Oscar

for
Achievement in Costume Design
for the film
Memoirs of a Geisha
in the 78th
Academy Awards

705 SIGNATORY COSTUME HOUSES

American Costume Co.
(818) 764-2239
Artistic Costumes by Accardi
(818) 842-4288
Bill Hargate Costumes
(323) 876-4432
C & J Custom Tailoring Inc.
(818) 765-0191
Costume Detail West
(310) 314-9659
Costume Rentals Corporation
(818) 753-3700
Dennis Kim Inc.
(213) 387-1935
Dominic Gherardi Costumes
(323) 933-7500 or
(323) 933-7537
Eastern Costume Inc.
(818) 982-3611
Elizabeth Courtney
(818) 506-7695 or
(818) 763-8615
John David Ridge
(601) 859-3090
Lenis Prorsum Custom Tailoring
(213) 427-9909
Marilyn Madsen
(626) 798-8448
Motion Picture Costume Co.
(818) 557-1247
Muto-Little Inc.
(323) 469-1618
Pae and Kim Custom Tailoring
(818) 508-1772
Western Costume Company
(818) 760-0902
STUDIO COSTUME DEPARTMENTS
ABC. . . . . . . . . . . . . . . . . . . . . . . . . . . . (323) 671-4737
CBS . . . . . . . . . . . . . . . . . . . . . . . . . . . (323) 575-2666
NBC . . . . . . . . . . . . . . . . . . . . . . . . . . . (818) 840-3016
Sony Pictures . . . . . . . . . . . . . . . . . . . . . (310) 244-5995
20th Century Fox . . . . . . . . . . . . . . . . . . (310) 369-1897
Universal Studios . . . . . . . . . . . . . . . . . . (818) 777-2722
Walt Disney Studios . . . . . . . . . . . . . . . . (818) 553-4800
Warner Bros. Studios. . . . . . . . . . . . . . . . (818) 954-1297
uth Myers: I was brought up in a very grey, post-
World War II, Manchester, England.At an early age my par-
ents took me to see a production of Brigadoon at the
Manchester Opera House, and from the moment the cur-
tain went up and I saw this blast of vividly colored kilts, my career
was chosen. After that, all I did was dream of being able to design
costumes. I trained at St. Martins School of Art in London, and then
I went to work at the Royal Court Theatre on a student grant.At that
point, the idea of working on films never entered my mind; I was in
love with the theatre. My very first professional assignment was
sewing sequins all night on costumes for the great Designer
Anthony Powell and sleeping on his floor. We both still have fond
memories of this.
Around this time, I was lucky enough to work as assistant to the
legendary Sophie Devine, who as Motley had created the costumes
for many of the early English classic films including director David
Leans Great Expectations. Her inspiration has been with me ever
since. I almost always look at my drawings after I have finished them
and wonder what Sophie would have added to them.What she real-
ly taught mewas that nothing was too small (to be ignored), no
effort was too great (to be expended), and anything could be
achieved. She also taught me that it was perfectly all right to be
funny.With her encouragement, I started to design in the theatre and
then on small low-budget English films. From the moment I walked
on a film set the theatre became secondary. I realized that the cam-
era captures all sorts of nuances that get lost in a larger format.The
first film that I designed was Smashing Time now famous for [its
mod look]. This was the beginning of what has proved to be an
incredibly rewarding and passionate pursuit. I have loved almost
every film I have ever worked on but there have been some amaz-
ing highlights; Ruling Class, Addams Family, Emma, and probably
my most favorite, L.A. Confidential.This year I was in China design-
ing gorgeous, 20s costumes for The Painted Veil, the very first
American/Chinese co-productionit was the adventure of a life-
time.
Our niche in the film industry has very much changed in the
course of my 35-year career and roughly 70 films that I have
designed. I still have enormous passion for what I do but at times
the pressures of budgets, less prep time and answering to a studio
as opposed to a director can compromise the designers freedom.
Even so, there are very few highs in life like seeing your design real-
ized on the screen!
Ruth Myers is one of the most distinguished Costume
Designers working in our field today. The Academy of Motion
Picture Arts and Sciences has recognized her talents with two Oscar
nominations; the first for The Addams Family (1991), and the sec-
ond for Emma (1996). Ruth garnered nominations for two BAFTA
Awards for Isadora (1968) and L.A. Confidential (1997). For her
superb contribution to the pilot design of the hit series Carnivale
she won a CDG Award and an Emmy the same year 2004, both
shared with Costume Designer Terry Dresbach. Ruth lives her cre-
ative life in London, Los Angeles and locations around the globe.
Joe Tompkins
ToJoeinPS@aol.com
16 The Costume Designer Spring 2006
THE COSTUME DEPARTMENT
DESIGNERS EXPRESS
RUTH MYERS
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Spring 2006 The Costume Designer 17
THE COSTUME DEPARTMENT
Spring 2006 The Costume Designer 17
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e are all affected by the world of new technology.
There was a time when a pager was the new gizmo
on a production. My crew would create little codes,
0000 meant come back to set or 3333call off
the search.Today cell phones are necessary and Blackberries are
not far behind, Polaroids have been replaced by the digital camera.
The other day an Assistant Designer asked if I could receive an
image on my phone so she could click a photo at the store to
show me something. Crazy? Yes. The Age of Information is in full
swing and Costume Designers must accept itlike it or not.
From large budget effect-laden films such as The Lion, the
Witch and the Wardrobe, to the NBC pilot I just finishedvisual
effects and doing it in postis common on many projects. On one
small production we built a green screen tie, put it on the bored
businessman at his desk, and then changed the pattern/color of
the tie to show the passage of time.We changed it in post that is.
Who decides what that tie should look likein post? On a much
larger project, we required a 5,000-strong army of people and crea-
NEWTECHNOLOGY
COSTUMES EXPANDING UNIVERSE
A satyr, while filming the battle sequence from Narnia, wearing
green screen pants with motion-capture florescent dots.
Continued on page 18
18 The Costume Designer Spring 2006
THE COSTUME DEPARTMENT
tures, and we had only 200 extras.Who decides what they will
wear? Who designs the practical costumes and who designs the
digital costumes? The Costume Designer does.
Visual effects have evolved from the blue screen to green
screen, to motion capture and more, and each has different
requirements for computer-generated images. I began my jour-
ney into CGI when I was brought on to design Shrek.The ani-
mators needed to know about the look, feel and manufacture of
garments, to feed this information into software that was being
produced. The technology was young and everything was new.
I was learning about the parameters of digital clothing and the
animators were learning about drape and cut. An exciting part-
nership was born.
With the Production Designer and the Cinematographer;
Visual Effects Producers and Supervisors are our most recent
collaborators in shaping the look of a film. Although they can
alter our work in post production without our knowledge;
there are ways to maintain our vision through the final cut,
while simultaneously aiding the post-production process.
Effects Supervisors have enough to do without redesigningor
making up new looks for the character; designing the cos-
tumes is still our job.
The most definitive way to protect your vision is to share
it. Creating a Visual Effects Bible is one of the best ways to
document your intent. This tool should contain ideas for the
multiplication of characters, samples of the textiles for color,
texture, scale of pattern, weave and movement. And photo-
graphs of actual clothes are a good visual aid. The choices may
seem obvious to a Costume Designer but they are not to the
effects house. All this information helps the VFX to produce
something real and believable, hence, a better-looking product.
Sometimes, asking the right question is the key, but knowing
what to ask can be tricky. What is the visualization for the
sequence with ALL the new elements? How many images are
going to be manipulated? What elements are going to be added
to the live action characters? Where is that blend going to start?
The answers to these questions are vital, because by incorporat-
ing this information in our work; we can make certain that our
design is not compromised later.
New technology challenges us daily and understanding
how Costume Design fits into this equation is essential. The
design process is still the same: story breakdown, color palettes,
silhouette, details in textile and character. The foundation of
our job has not changed and using new technology to our
advantage is exciting. After all, I did use a Polaroid just yester-
day theres nothing like an instant picture.
Isis Mussenden
imussenden@hotmail.com
As a family company we are a proud sponsor of the Costume Designers Guild
and have been serving the entertainment industry for over 10 years. We can serve
the menswear needs of any costume designer through the wide array of
wonderful suits that we manufacture with the finest fabrics!
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Wardrobe carries a range of designer wear that includes, but is not
limited to: gowns, cocktail dresses, suits, jackets, blouses, shirts,
sweaters, t-shirts, 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.
20 The Costume Designer Spring 2006
THE COSTUME DEPARTMENT
K
aren Schultz is one of our most versatile
Illustrators. Karen learned to draw at 3 years
old, her mom being a professional graphic
designer. Karen received a BFA in Fashion
with a concentration in Costume Design from the
Massachusetts College of Art and returned to Los
Angeles in 1999. Karens been designing two theatrical
fashion collections; Lip Service Los Angeles, a club/rock
n roll inspired line, and Blacklist, a romantic, gothic,
Victoriana-inspired line.
Between fashion gigs, Karen has
been f reel anci ng as a Cos t ume
Illustrator. Her career began when she
was fortunate enough to work with Ruth
Carter on Serenity (2005). The film
was later organized by the IATSE,
whi ch al l owed Karen the
opport uni t y t o j oi n
Local 892.
Karen is posi-
tioned to utilize all
her experience and
artistic ability by com-
bining old and new
technology to create
innovat i ve i l l ust rat i on
techniques. I l l us t r at i on
i s Karens first love, and
shes eager for the next
cha l l e nge ! Kar e n
Schul t z nowhere-
girl@hotmail.com
E.J.
Krisor is a fine artist, illustrator, and
filmmaker. After receiving a masters degree
from New York University, E.J. took New York
by storm with multiple gallery and museum
shows and delighted a list of portrait clients.
Hoping to continue his success as an artist, E.J. moved to L.A. where
a friend introduced him to Costume Designer Marlene Stewart. He
approached the illustrations for Oliver Stones Alexander as portraiture
and sought to capture the presence of the character on the page. Since
becoming a CDG Illustrator, E.J. has collaborated with many distin-
guished designers on high-profile projects including James Acheson for
Spiderman 3, Colleen Atwood for Believe It or Not, Jeffrey Kurland for
I Dream of Jeannie, Louise Mingenbach for Superman Returns,
Ellen Lutter for The Longest Yard, L.J. Shannon for Zathura: A Space
Adventure and Louise Frogley for Constantine.
From high school graduation, when he received a recruitment letter
from Disney Animation, E.J. has always wanted to tell stories through
illustrations. His chief interest has always been the character.
Revealing the character through a great story is what its all about.
ejkrisor@yahoo.com
Jacqueline Saint Anne
jsaintanne@costumedesignersguild.com
MEET THE
ILLUSTRATORS
Illustrated By
Karen Schultz
Illustrated By
E.J. Krisor
22 The Costume Designer Spring 2006
THE COSTUME DEPARTMENT
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very year, Costume Design Awards in New York and Los
Angeles give Costume Designers a chance to mingle, meet
and congratulate each another. Designers giving Designers
the recognition for their merit, talent, and achievement,
reminds us that we are part of a select and honored art. Whether
designing for a film or a dance concert, an opera or a TV show, or
whether a Designer works in NY or LA;the process of creating char-
acters through costume remains the same.
Every project and every city generates a different design and
logistical challenge. New York can inspire and thwart any Designer
at the same time. Recently, I spoke with a handful of New York film
and television Designers about how they ply their craft in the Big
Apple; under the jurisdiction of United Scenic Artists Local 829, of
course!
The density and compactness of New York is one of the over-
whelming reasons these Designers love to work here. Everything
you need exists within a few square miles: fabric and trims, studio
services, costume rentals, costume and tailoring shops, retail stores,
fashion houses and actors. William Ivey Long was reported to have
chastised an assistant for returning empty handed by saying, Its
New York. It exists.Add subway accessibility, and youve got a recipe
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Juliet Polcsa with Tim Van Patten & David Chase on the set of
The Sopranos
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Made to order, fittings and alterations
Washers, dryers, dyeing facilities
Fitting rooms
for efficiency and with prep times getting shorter, efficiency counts.
Sarah Edwards,finishing Michael Clayton with George Clooney, agrees,
Everything in New York is so central;you can cover all your studio serv-
ice shopping in one day. The logistics of the city are manageable.
Of course, New York is not without its challenges. Minimal num-
bers of studios mean minimal available office space. I must reinvent the
wheel on every show, often starting from scratch in a raw space.
Precious design time is taken away by the need to set up a fitting room
and order racks. Available office space is even harder to come by when
the city is busy.Due to a combination of pilot season AND the New York
State tax incentives program, NYC productions are pressured with a
shortage of office space, locations and parking. A busy city means the
stores that offer studio services get busy. Then, add the challenge of try-
ing to find a crew! Pilot season will come to an end, but hopefully the
Tax Incentive Bill will survive well into the future.
Shooting a period film in NY, the logistics can be challenging.The
cost of NYC real estate prohibits the existence of many would-be cos-
tume rental houses. While some excellent rental resources for period
clothing exist; a trip to Europe, North Carolina or LA is sometimes a
necessity. Sourcing new vendors for vintage clothing is incredibly
rewarding but time-consuming.John Dunn,currently designing a 1950s
pilot called Madmen, feels that budgets need to be increased for that
additional sourcing.We constantly have to innovate, so the work is
then more innovative,says Ellen Lutter, now designing a pilot called Six
Degrees. Because New York is one of the worlds fashion capitals, it
keeps the efficiency quota up for a modern dress show. Fashion design-
ers from around the world have showrooms and shops in NYC. Patricia
Field, designing the pilot Ugly Betty with Salma Hayek, knows that fash-
ion house accessibilityis a key element to modern design in New York.
A busy New York means more work for Costume Designers. It also
means more work for Assistant Costume Designers, a key member of
our crew. The Assistant Costume Designer has greater respect in NY,
says Sarah Edwards,they are allowed to grow toward being a designer.
That training holds some weight, as many of the Designers, myself
included, were once hard-working Assistant Costume Designers.
There is no better design inspiration than the citizens of NYC
itself; the multicultural and multi-economic environment continues to
awe and inspire. It filters into ones designs. By the time Ive taken the
subway into work, Ive already heard five different languages inspira-
tion is everywhere, says Ellen Lutter. The streets are my laboratory,
says John Dunn.We know the hard work of a Costume Designer never
stops. For all the hard work, and for the innovation and talent we pos-
sess, we deserve to congratulate ourselves.
Juliet Polcsa
julietpolcsa@earthlink.net
Designer Ellen Lutter and her Assistant Designer Barbara Presar
THE COSTUME DEPARTMENT
Calash: Large articulated hood made
on padded and ruched silk covered
hoops, worn outdoors to protect high
coiffures and especially popular from
17731783. This could be pulled up or
pushed down as weather and environ-
ment required in the manner of an
old-fashioned baby carriage or pram.
It is named after a Slavic carriage
with the same kind of hood.
Calcei: Strapped, cut out
and laced sandals worn by
ancient Romans on the street.
Cassock (or Soutine): Starting in the
16th and 17th century, the cassock was
worn by soldiers and horsemen and
was originally a long coat or cloak. It
is now primarily ecclesiastical dress.
Usually full length with long sleeves and a stand-up collar, it buttons
down the front worn with or without a belt or sash.
Cavalier dress: The term cavalier was applied to the follow-
ers of the royalist cause of Charles I of
England in the 1630s1640s. The
dress worn by the cavalier was the
same as that of the aristocrat or
well-to-do man in western
Europe. It included a matching
jacket and breeches in brightly
colored silk, satin or velvet.The
jacket had full, long, slashed
sleeves and both garments
were heavily decorated with
braid; wide-lace collars, cuffs
and a boot hose tops where
extravagant and the look
was completed with a cloak;
a plumed swashbuckling hat;
gloves; cane; and soft-leather buck-
et-top boots with heels and butterfly bows.The
shirt was of fine white silk or linen and vis-
ible only if the jacket was open.
Chadar, chadri, carsaf,
burka, izar: Various names from
different languages to denote the all
enveloping covering worn by
Moslem women on
top of their other
garments to
appear in public.
The Koran provides
guidelines on the subject
of womens behavior and attire, rather than
rigid, dogmatic rules. According to that
guidance, women are taught to preserve
their chastity but they are not instructed
to veil their faces so that they may not be
seen. Each Moslem society has interpreted
the Koran according to its traditions.
Chaparajos: Worn by cowboys as protection
against brush and thorns.The nickname is Chaps.
Chopine: Originally a Turkish invention to
increase the appearance of height, the chopine
became an overshoe slipped on over elegant
slippered footwear for use in the mud or dirt of the
street. A 16th- and 17th-century version became especially fashion-
able in Venice, Italy. They were usually
made of cork or wood and decorated;
covered in leather, velvet, silk or bro-
cade and ornamented with lace and
embroidery. At their most popular, they
reached ridiculous heights of as much as 2
1
2
feet.This made walking so difficult that it was
almost impossible to progress without assis-
tance and courtesans and wealthy ladies
required a servant to lean upon.
Cuirass: Piece of close-fitting defensive
armor covering the upper body. It usually consists of a matching
breast and back plate, but may be a breastplate alone.
Is there some arcane costume accessory youve always
wondered about? Write us and well include it in a future
article.
Karyn Wagner
karynwagner@earthlink.net
Illustrations by Robin Richesson
robins.nest@verizon.net
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24 The Costume Designer Spring 2006
HISTORY
OF
DRESS
A-Z
26 The Costume Designer Spring 2006
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Hannah Montana
Costume Designer:
ANN SOMERS
MAJOR
What About Brian
Costume Designer:
DEBRA MCGUIRE
The Loop
Costume Designer:
ANITA CABADA
Sons and Daughters
Costume Designer:
MARY-KATE KILLILEA
Pepper Dennis
Costume Designer:
EDUARDO CASTRO
The Unit
Costume Designer:
DARRYL LEVINE
The Sopranos
Costume Designer:
JULIET POLCSA
The New Adventures
of Old Christine
Costume Designer:
ROBERTA HAZE
Modern Men
Costume Designer:
ALLYSON FANGER
Courting Alex
Costume Designer:
LINDA BASS for
Jenna Elfman
Teachers
Costume Designer:
FLORENCE
KEMPER-BUNZEL
WHATS OUT
Spring 2006 The Costume Designer 27
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Charlottes Web
Costume Designer:
RITA RYACK
Assistant Designers:
MARIA TORTU &
KATRINA PICKERING
The Devil Wears Prada
Costume Designer:
PATRICIA FIELD
Associate Designer:
MOLLY ROGERS
Assistant Designers:
WENDY STEFANELLI
& TRACEY COX
Poseidon
Costume Designer:
ERICA E. PHILLIPS
Just My Luck
Costume Designer:
GARY JONES
Assistant Designer:
SUE GANDY
Illustrator:
PABLO BORGES
Little Miss Sunshine
Costume Designer:
NANCY STEINER
Assistant Designer:
JENNIFER STARZYK
My Super
Ex-Girlfriend
Costume Designer:
LAURA JEAN
SHANNON
Associate Designer:
LIZ SHELTON
The Da Vinci Code
Costume Designer:
DANIEL ORLANDI
Assistant Designer:
ANDREA CRIPPS
Lady in the Water
Costume Designer:
BETSY HEIMANN
Assistant Designer:
AUTUMN SAVILLE
The Lake House
Costume Designer:
DEENA APPEL
Poseidon
Costume Designer:
ERICA E. PHILLIPS
X-Men:
The Last Stand
Costume Designer:
JUDIANNA MAKOVSKY
Co-Customer Designer:
LISA TOMCZESZYN
Superman Returns
Costume Designer:
LOUISE MINGENBACH
Assistant Designer:
CARIN RICHARDSON
Illustrator:
E.J. KRISOR
Congratulations to everyone! It was an
exciting awards season again this year. In
eight short years, the Costume
Designers Guild Awards has grown
from a humble beginning to an inspiring
established event. Its so rewarding to
feel all the recognition and support in
that room for all of our members fine
work.
Our fabulous CDG Awards sponsor,
Swarovski, held four seminars, hosted
by CEO Nadja Swarovski, that were
booked solid, and attended by both
Costume and Production Designers.
Swarovski continues to inspire our cre-
ativity with crystal in costume design.
Sharen Davis just completed principal
photography on Dreamgirls utilizing
Swarovski crystals in her sexy gowns for
Beyonc and lavish production num-
bers. Some of Sharens crystal embel-
lished couture will be on display at the Cannes Film Festival this month,
when director Bill Condon screens clips from the film.We hope Sharens
name shares the marquee!
Congratulations to Eduardo Castro for that incredible profile in the
Los Angeles Times Calendar Sunday section Working Hollywood (April
16). This terrific piece covered his current design on Pepper Dennis and
highlighted many of his impressive credits.Were thrilled it gave some back-
ground on Eduardos role on a film, his design process and how he
approaches his craft. Handsome picture too. Chicagos Daily Southtown
(April 21) featured Jim Lapidus, Costume Designer, on Foxs hit series 24.
The article reveals the vast preparation and creativity needed for a show
that sounds easy to costumebecause it takes place in a 24-hour period.
Last year has seen huge growth in websites for hit television shows,
and the Internet has been good to Costume Designers. Many websites are
featuring a behind-the-scenes look with the Costume Designer. The
Sopranos includes Dressing the Sopranos, featur-
ing our member Juliet Polcsa, and each image
includes creative notes from Juliet. Joseph Porro
has been designing the haunting new show Ghost
Whisperer. The Ghost website has been such a suc-
cess that theyre launching a costume page called
Melindas Closet; spurred by the fan response for
Melindas costumes. CBS is creating an interactive
page where fans can go through her closet, which
will include notes from Joseph. TV executives may
have finally realized that their young tech-savvy audi-
ence is watching their TV and PC screens concur-
rently while text messaging their friends.
Seen on TV is another Internet phenomenon.
ABC and NBC have added an interactive feature to
their websites, which enables viewers to buy the
items worn on their most popular shows like Greys
Anatomy designed by Mimi Melgard, Las Vegas
designed by Jennifer Bryan,Desperate Housewives
designed by Cate Adair, All My Children designed
by David Zyla, One Life to Live designed by Susan
Gammie, and Passions designed by Diana Eden,all
have online Costume-Design-inspired stores. When
the public connects with the characters, they want
to look like them. Its psychological transference on
the most profound level. Its just too bad we dont
share in the profits from those characters that we
help create.
It is amazing how far things have progressed in
every area of our field over the last year. With our
Webmaster member Dana Onels help, the CDG
website will continue to expand and launch us into
the 21st century.
Kimberly Adams
boldfacenames@yahoo.com
28 The Costume Designer Spring 2006
IN FOCUS
BOLDFACE NAMES
T
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C
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S
You are invited to
June 2 & 3
Raleigh Studios
Hollywood, CA
FREE BTL Expo Pass
when you register by May 22nd
lf you're |n product|on, workow natters.
Below the Line Expo 2006 brings together
professionals at the leading edge of their craft to show
you the latest tools, equipment and products. In addition,
Below the Line will host discussions on the issues
?NA=PA@>UJASPA?DJKHKCU=J@?D=JCEJCSKNGKS
BTL Conference schedule now at www.btlexpo.con.
Attendees must meet requirements as working
freelancers, vendors, crafts persons, production
companies, agents and technicians.
Dressing The Sopranos Web page.
Dreamgirls costume department surrounding Swarovski crystal-
beaded costume from left: Carol Buele, Elaine Ramires, Costume
Designer Sharen Davis, Felipe Sanchez, Jodie Stern & Mary Still.
Melindas Closet Web page for Ghost Whisperer.
SCRAPBOOK
30 The Costume Designer Spring 2006
Klute (1971), fashion models with Costume Designer Ann Roth
A
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R
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K
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1
.

C
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PROFILES IN HISTORY 110 N. DOHENY DRIVE BEVERLY HILLS CALIFORNIA 90211 USA
PROFILES IN HISTORY
VISIT OUR WEBSITE @ WWW. PROFI LESI NHI STORY. COM
OR CALL 310-859-7701
TO ORDER A COLOR CATALOG WITH HUNDREDS OF ITEMS!
Live Hollywood Memorabilia Auction
Live Hollywood Memorabilia Auction
Feat uri ng an ori gi nal Wal t er Pl unket t cos t ume s ket ch f or Vi vi en Lei gh i n Gone Wi t h t he Wi nd
JULY 28, 2006
Worn during the sensational
bedroom scene when she
spurs Rhett and tells him
that she hopes to have
no more children!
(MGM, 1939)
Prsrt Std
U.S. Postage
Paid
Santa Ana, CA
Permit No. 450
Costume Designers Guild
Local 892I.A.T.S.E.
4730 Woodman Avenue, Suite 430
Sherman Oaks, CA 91423-2400