the costume designer winter 09

8/2/2019 The Costume Designer Winter 09

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We have been seen on:

Simon Baker at the 2009 Golden Globes * Commander in Chief

* Dirty, Sexy, Money * Eli St one * George Lopez Show * The Great Debaters

* Medium * The Mentalist * Monk * Moonlight * Without a Trace

Prsrt Std

U.S. Postage

Paid

Santa Ana, CA

Permit No. 450Costume Designers GuildLocal 892–I.A.T.S.E.11969 Ventura Blvd., First FloorStudio City, CA 91604

The Official Magazine of the Costume Designers Guild



Winter 2009 The Costum

vo

COSTUME DESIGNERS GUILD

11969 Ventura Blvd., First Floor

Studio City, CA 91604

phone: 818.752.2400 fax: 818.752.2402

costumedesignersguild.com

COVER

CDG Award statuettesdesigned by David Le Vey

Photo courtesyof Getty Images

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . .

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . .President’s Letter

From the Desk of the Executive Director

Assistant Executive Director’s Report

Labor Report

The Costume Department . . . . . . . . . . . . . . .Meet the Assistants

History of Dress

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Process: Sketch to Screen

A Look Back: Marilyn Vance’s ’80s

Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DEPARTMENTS

32

FEATURESHoliday Party . . . . . . . . . . . . . . . . . . . . . . . . .

CDG Awards . . . . . . . . . . . . . . . . . . . . . . . . . .

Award Nominees . . . . . . . . . . . . . . . . . . . . . .Q&A with this year’s nominees

Swarovski Sparkles . . . . . . . . . . . . . . . . . . . .A preview of The Young Victoria

18

BESTCOSTUME DESIGNDanny Glicker

“‘Milk’ is a marvel.Everything is happening here – votes are tall ied, hearts broken, lives risked and saved, tactical

decisions made, emotions expressed and suppressed – but only one thing is happening. What makesall of this cohere is art, and history. This is how change happens. This is what it looks like.”

★ A.O. SCOTT, THE NEW YORK TIMES ★

“‘Milk’ is a marvel.Everything is happening here – votes are tallied, hearts broken, lives risked and saved, tactical

decisions made, emotions expressed and suppressed – but only one thing is happening. What makesall of this cohere is art, and history. This is how change happens. This is what it looks like.”

★ A.O. SCOTT, THE NEW YORK TIMES ★

Focus Features thanks the Costume DesignersGuild and proudly congratulates Danny Glicker

for his Costume Designers Guild awardnomination for Excellence in Period Film

ARTWORK ©2009 FOCUS FEATURES, LLC.

ALL RIGHTS RESERVED.

For up-to-the-minute screening information, go to:

www.FilmInFocus.com/awards08



4 The Costume Designer Winter 2009

009. Where did the year go? It’s impossible to believe that the

11th Annual Costume Designers Guild Awards is just around

the corner (February 17). Our black-tie gala proves to be a

very exciting and star-filled evening with the most balanced

slate of honorees to date. The Swarovski President’s Award will be

given to producer and actor Michael Douglas who is notorious for

his loyalty to Costume Designer Ellen Mirojnick. Legendary television

director James Burrows of Cheers, Fraiser, and Will & Grace fame

will accept our Distinguished Collaborator Award, and our host this

year is none other than the glamorous film and television star, Debra Messing. We

will honor our own Marilyn Vance for her extremely eclectic and character-revealing

designs for more than 50 feature films and Emmy-winning designer Van Broughton

Ramsey for his tremendously detailed

work on countless made- for-television

movies. The list of 2008 nominees (page

18) includes the many talented design-

ers of Local 892 as well as some of our

East Coast counterparts from 829 and

several new European designers as well.

We take pride in spreading the wealth to

designers and their collaborators on both

the large and small screen. It’s no secret

that the Costume Designers Guild stands

by our motto: “Behind every costume is

a Costume Designer. Film or television, period, fantasy AND contemporary, every costume tells a story.”

Our greatest supporter, Swarovski, returns for the fourth year in a row as our

Presenting Sponsor. We literally couldn’t do it without them. Lacoste returns to

sponsor the Career Achievement in Film Award and The Kobal Collection continues

to provide us with the images that grace not only this magazine but the keepsake of

the evening, our tribute book.

We understand that many of you were hit hard by the economic mess known as

2008. With the spirit of hope and change in the air, we do hope you can find a way

to join us for a glorious evening to toast and celebrate your peers and colleagues.

See you there,

Deena Appel

[email protected]

EDITOR’S NOTE

2EDITOR/PHOTO EDITOR

Deena Appel

ASSOCIATE EDITOR Audrey Fisher

MANAGING EDITORCheryl Downey

PRESIDENTMary Rose

[email protected]

VICE PRESIDENTHope Hanafin

[email protected]

SECRETARY Ann Somers Major

[email protected]

TREASURERMarilyn Matthews

[email protected]

EXECUTIVE BOARDSharon Day

[email protected] Perez

[email protected] Appel

[email protected] Chally

[email protected] De Armond (Asst. Costume Designers)

[email protected] Sanchez (Illustrators)

[email protected] Gill (Commercial Costume Designers)

[email protected]

BOARD ALTERNATES Valerie Laven-Cooper

[email protected]

Susan [email protected] Van Broughton Ramsey

[email protected] Butler

[email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Froehlich

[email protected] Saint Anne

[email protected]

LABOR DELEGATE Betty Madden

[email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected]

ASSISTANT EXECUTIVE DIRECTORRachael M. Stanley

[email protected]

ADMINISTRATIVE ASSISTANTSuzanne Huntington

[email protected]/SECRETARY

Cheryl [email protected]

GENERAL CDG [email protected]

PUBLISHERIngleDodd Publishing

ADVERTISING DIRECTORDan Dodd 310.207.4410 x236

[email protected]

“I don’t deserve

this award, but Ihave arthritis andI don’t deserve

that either.— JACK BENNY”

High School Musical 3: Senior Year

Caroline Marx, Costume DesignerKaren Yan, Costume Illustrator

CORRECTION




or those who attended the CDG Holiday Party, there is no debate that our second annual was a blast. The

attendance was so great that at one point I worried that a local fire marshal might drive by on Ventura

Boulevard. Clearly, this event will live on for years to come, as with other special ACD meetings and

Illustrator gatherings. Realizing that our members are thirsty to rub shoulders with their colleagues, I am

very grateful to our Board for supporting the expense. Many thanks go to this year’s Holiday Party Chair,

Bonnie Niper, and her gang. Well done!The holiday season and new year brings out all sorts of special emotions between us. A surprising number

of members asked me about my daughter. “Is she OK? Is she back from Iraq?” ( For those who don’t know, my

daughter, Joan Aus, was deployed to Iraq for almost 2 years, 2004–2006, and some of her letters from Iraq

were printed in the CDG newsletters ).

For those compassionate and concerned members, I wanted to share a report of Joan’s post—Iraq Life. My husband Gordon

and I were in Grand Forks, N.D., for the holidays where the snow was 24 inches deep and the temperature was minus 14. We

went to the University of North Dakota (NDSU) to watch Joan Aus receive her long-awaited PhD in Education, along with our

now 17- and 11-year-old grandsons, and her very devoted husband, Jon, standing by. After deployment in Iraq, Joan returned to

her career as adjunct professor at NDSU. As a wife and mother and teaching full time, she continued to work on her interrupted

doctorate dissertation while under tremendous pressure from the newly enacted “Stop-Loss” policy hanging over all those good

men and women who had already served. Now, she is an associate professor in the Education Department. But as I speak of

happiness in our family, we met a young woman while we were in North Dakota, who was leaving for Kosovo. She was with

Joan in Iraq and shared horrid experiences along with a few good memories. In the midst of the world recession, we had almost

forgotten that this is still going on. Please remember these soldiers, brave young men and women like her, if not in Iraq, are now

in Kosovo, by the thousands! My Joan Aus update ends here with warm thanks to those caring members who supported Joan

(and me) during her tour in Iraq.

A special thanks to our magazine editor Deena Appel, who works tirelessly for not just the magazine but also for our PR and

many other things as well, and all those who volunteer whenever we request help. Thank you all.

In the coming year, despite the world economic situation, we can still be satisfied and happy if we try. Obama is finally in

the White House! Now, if only SAG would just get off…

In solidarity, Mary Rose

[email protected]

FDear Members,

PRESIDENT’S LETTER

UNION LABEL

TUESDAY February 17 11th Annual CDG AwardsSATURDAY February 21 The Masters Mentoring Panel with CDG honorees Van

Broughton Ramsey, Marilyn Vance, and 2008 Awardnominees & winners

MONDAY March 2 General Membership Meeting—final nominations andacceptances for CDG Executive Board due from floor;

Constitution changes voted.MONDAY March 9 Eboard Meeting at the Guild officesMONDAY April 6 Eboard Meeting at the Guild officesMONDAY May 4 Eboard Meeting at the Guild officesMONDAY June 1 Eboard Meeting at the Guild offices

IMPORTANT DATES


http://slidepdf.com/reader/full/the-costume-designer-winter-09 5/248 The Costume Designer Winter 2009

Happy, Healthy New Year, CDG Members!

ur biggest and best news is that the IATSE concluded

very successful negotiations with the producers in

November for the next three-year Basic Agreement.

Leadership of all of the Hollywood Locals is unanimous

in recommending approval of the contract, which will bring 3%

increases on August 1 of 2009, 2010, and 2011. Just as in theDirectors Guild agreement, jurisdiction over any new media that

might develop in the next three years has been secured. Respect

and gratitude goes to IATSE President Matt Loeb and Vice President, Director of

Motion Picture, Michael Miller, who led the negotiations and preserved our health

plan against serious odds. We will hold a special Saturday meeting to answer mem-

ber questions regarding the contract.

I am proud to say that 2008 saw CDG member services mushroom:

• For the first time, the Guild subscribed to the West Coast Production

Weekly for all CDG members to access 24/7 on the CDG website.

• For the first time in many years, computer classes were offered to CDG mem-

bers at no cost through Contract Services. CDG member participation was

four times greater than expected!

• Beginning computer classes were made available through the IDEAS grant at

Valley College and will continue in 2009.

• Multiple new classes were offered here at the Guild such as “Negotiating Your

Deal,” “Costume Plot Pro,” and “Using Photoshop to Improve Fitting Photos.”

• Our online Availability List has greatly increased participation and accuracy.

• The CDG Directory has returned after nearly six years and members were ableto upload illustrations and list recent credits. This was published and mailed

at no cost to the Guild, thanks to our faithful advertisers—patronize them!

• E-mail communication to members has increased dramatically and alerted

everyone to timely information while cutting down on mailing labor and

costs. Be sure the Guild has your correct e-mail address and contact info!

• The 2nd Annual CDG Holiday Party was the town’s hot ticket with standing

room only.

• The 10th Annual CDG Awards dinner attracted more publicity for our art and

artists than ever before.

• The Guild presented not one, but three panels at Comic-Con, which included

television and film Designers and a joint panel of CDG Illustrators and Local

790 Illustrators/Story Board Artists. For the second year, the Guild awarded a

“best costume” prize at the masquerade ball.

• Member use of the CDG Library and Committee Room has grown dramatically.

While these economic times are daunting, your Guild is here to support you.

Come by, let us hear how we can help, and may there be more good work for all

very soon!

In Solidarity,

Cheryl

[email protected]

From the Desk of theExecutive Director

UNION LABEL

O

B E S T C O S T U M E D E S I G N | J A C Q U E L I N E W E S T S T C O S T U M E D E S I G N | J A C Q U E L I N E W E S T

PARAMOUNTGUILDS.COM

“When I had left she w

an d a woman had taken

She was the most beawoman I’

© 2009 Paramount Pictures. All Rights Reserve

“Every scene is crammed with

detail, from the nooks and

crannies of the settings and

the century-bridging costumes

by Jacqueline West to the faces of

the main cast and countless extras.”

– Todd McCarthy, Variety



cos

desig

aw

2

february 17beverly wilshir

blue room

310.49

Winter 2009 The Costume

Are YouHealthcare Savvy?

id you know that we have one

of the few healthcare plans left

in the United States that is still

fully paid for by the employer?

We have one of the best health plans

in this country and yet most of our

members are not utilizing it to their full

benefit. When members stay within the health plan network,

they not only support the system by keeping costs to the plan

down but they also keep their out-of-pocket costs down. In an

economy where spending less can help all our budgets, smart

healthcare choices are more important than ever. Here are a

few helpful hints.

• Live a healthy lifestyle by eating right and not smoking

• If you need healthcare, please utilize one of the six MPTF

clinics in the Los Angeles area

• If you live outside of Los Angeles, use a Blue Shield preferred

provider

• If you need hospitalization, be sure the facility is a Blue

Shield hospital

• Order prescriptions through the Medco mail plan

• Ask your doctors up front if they are willing to accept whatthe plan pays as payment in full.

Below are a few examples from 2008 medical bills that

show how using the Network can help you cut costs.

Mammogram billed at $500:

In-Network cost to patient = $9

Out-of-Network cost to patient = $286

Colonoscopy billed at $1,700:


Out-of-Network cost to patient $510

Maternity billed at $14,282:


Out-of-Network cost to patient = $4,285

Heart Surgery billed at $93,100:


Out-of-Network cost to patient= $76,545

These are just a few of the costs that bog down our pock-

etbooks and deplete the Plan’s assets. Use the MPTF clinics and

become a smart consumer. Ask questions and become moreproactive about your health and your health plan coverage.

In Solidarity,

Rachael Stanley

[email protected]

D

Assistant ExecutiveDirector’s Report

UNION LABEL



009 is the year of “Yes We Can” and

“Change!” Start by reading Thomas

Friedman’s Hot, Flat and Crowded . Let

me paraphrase some of Friedman’s points

that got my attention: For hundreds of thousands

of years, the average CO2 level has been 280ppm

(parts per million) but we are on the fast track to580ppm. We, ourselves, have declared war on the

human race.We are the frogs in the pot of water

on the stove. The heat is being turned up slowly so we don’t

notice it is getting hotter a nd our natural watersheds are evap-

orating at an accelerating rate. Mother Nature and Father Profit

can both exist in a clean energy world. Neither will survive in

a dirty energy world.

Activism from the ground up requires international,

national, local, private sector and primary & secondary educa-

tion policies on clean energy. CDG members can be a part of

the “CO2 & Electron Reduction Revolution.” Replace incan-

descent light bulbs in your home and office with energy-effi-

cient, Earthmate bulbs and install light sensors that shut off

when no one’s in the room. Buy a hybrid or electric car. You

know what we all need to do, Sisters and Brothers! Si Se

Pueda!

Labor Delegate,

Betty Madden

[email protected]

UNION LABEL

2Labor Report

HOLIDAY PARTY

COMMITTEE

Chair Bonnie Nipar

Co-chair Tanya Gill

Roemehl Hawkins

Brigitta Romanov

NOMINEE Q&A

Tanya GillChristine Jordan

Carol Ramsey

Ann Somers Major

LIBRARY

Nadine Haders

Marcelle McKay Chamlee

BOLDFACE NAMES

Sharon Day

Audrey Fisher

Cheryl Marshall

BALLOTING

Richard Bloore

Nickolaus Brown Tami Eldridge

Terry Gordon

Suzanne Huntington

Kresta Lins

Bonnie Nipar

Brigitta Romanov

Andrea Weaver

THANK YOU




14 The Costume Designer Winter 2009 Winter 2009 The Costume

CDGHoliday Party

A fun time had by all!




MarilynVance

Van Broughton Ramsey, Costume Designer, was born on

Thanksgiving Day in the small Texas town of Wharton. He

graduated from Baylor University with a BA in botany andchemistry and later received a MA in restoration architecture

from the University of Texas. After working on restoration

projects, Ramsey moved to New York City in 1978 to pursue

a career in costume design, taking theater costume design

classes at night while working as an architect during the day.

It would be a year before a friend introduced him to the-

ater director Gene Frankel who gave Ramsey his first break

designing an off-off Broadway production of War Play.

Three years later, Ramsey was introduced to playwright

Horton Foote who hired Ramsey to design a film based on his

play 1918 . The story, about the flu epidemic in WWII, was

based on his family in the small town of Harriso

Wharton, Texas). There couldn’t be a more per

Lonesome Dovewas Ramsey’s first televand the one that would change his career. Scr

Wittliff flew Ramsey to Austin for an interview a

on the spot. The producers would not let him r

York. Instead, he was put in a ho tel room to sta

Van Ramsey has six Emmy nominations and

Lonesome Dove and The Oldest Living Confed

Tells All . He received the CDG Award for telev

Tempest and was nominated for Sarah, Pla

Winter’s End . He has served as a Governor for t

Academy of Arts and Sciences and is curr

Executive Board of the CDG.

Marilyn Vance is a native of Brooklyn, New York. She gradu-

ated from the Brooklyn Academy of Music High School and

went on to the Fashion Institute of Technology. She married

and had two sons while designing clothing for 7th Avenue.

Vance moved to Los Angeles in 1981 thinking she was

ready to design a feature film but had no clue about the inter-

nal workings of the costume department. She learned that

creating the fashion of a character can help move the story

and the importance of participation with the entire crew to

bring about the director’s vision.

Lawrence Gordon was the first to hire Marilyn Vance to

design the comedy Jekyll and Hyde… Together Again. She

found her niche with an innate talent fo r communicating her

broad creative vision to directors and actors while serving

the integrity of the film.

Vance set the trends of the time with

ter-designed portrayals for such films as F

Ridgemont High, The Breakfast Club, Ferris

Off , Some Kind of Wonderful , Pretty in Pink

the Stone and Uncle Buck. She was also the

to costume design for the action genre in s

48 Hours, Die Hard 1 & 2, Predator 1 & 2 an

Vance achieves an authenticity no matter wh

from the gripping period drama Sommersby t

world of Mystery Men, all with the vision to

tently believable characters.

Vance has earned an Academy Award no

The Untouchables, as well as BAFTA nominati

Woman and The Untouchables. In addition, V

Saturn Award for The Rocketeer .

cdg career achievement in televisi

cdg lacoste career achievement in

Van BroughtonRamsey

DebraMessing

Mistress of Ceremonies

MichaelDouglas

SwarovskiPresident’s Award

JamesBurrows

DistinguishedCollaborator Award

costumedesigners

guildawards2009




MAMMA MIA!Costume Designer: ANN ROTHAssistant Designer: MICHELLE MATLAND

Any surprises? My contract … and I don’t believe I’ve ever had more fun—truly. Hardest? Colin Firthin pinkish paisley trousers—and men in stretchy satin. I should have known they’d resist. That mentality thatdrives actors to become other characters loses its conviction when faced with a costume that they perceive isunflattering. Career challenge? This was not the biggest, but the dangers of stepping into an existing creativerecipe could be hellish. Does my vision find itself welcome in this picture? Preconceived pictures are hard toerase but the creative team was always available, creative and secure in this work. Can’t live without? Music: Mozart, Beethoven, Schubert, Fats Domino, Elvis, George Lewis.

SEX AND THE CITYCostume Designer: PATRICIA FIELD

“No surprises, no difficulties, no unexpected situations.”

SLUMDOG MILLIONAIRECostume Designer: SUTTIRAT LARLARB

Any surprises? Making a movie, rooted in realism in a film industry geared toward fantasy and escapism— “Bollywood.” Extras would show up in over-the-top or bejeweled ‘Sunday finest’ for scenes that took placein the slums. There was a knee-jerk inclination toward presentability and theatricality over anything ‘ugly’ orreal. Hardest? The kids’ slum clothing. I knew we’d build Latika’s yellow dress but wasn’t expecting to haveto build T-shirts, under-vests, shorts. The stores that stock multiples have heavy branding like Nike logos. Weneeded 6–8 multiples to accommodate various stages of distress, multiple units, and stunt doubles. Secondhandclothing for the principal three children was out of the question.

THE WRESTLERCostume Designer: AMY WESTCOTTAssistant Designer: LENORE PEMBERTON

Any surprises? The warmth, nobility and gentle humanity of the wrestlers themselves. Starting out on thisproject, my research required me to attend a number of wrestling events, the brutality of which made medread the prospect of working in such a macho, violent world. I could not have been more wrong. Hardest?Marisa Tomei’s costumes were tough—it’s hard to balance that amount of sex and desperation, wanting her tolook both beautiful, but real and hard. Biggest career challenge? I feel constantly challenged to make boldchoices and follow my instincts, especially when it is the less obvious path.

THE CURIOUS CASEOF BENJAMIN BUTTONCostume Designer: JACQUELINE WESTAssistant Designer: MARJORIE McCOWNIllustrator: ROBIN RICHESSON

Any surprises? Having to dress people over the span of 100 years … and the mere fact that such a filmcould even be made. Hardest to accomplish? The red dress, because David Fincher doesn’t like red.Easiest? Brad Pitt’s late ’40s suit. It was so familiar because of pictures of my father. What couldn’t youlive without? My curiosity. Biggest career challenge to date? To never become complacent and tokeep learning. To create the perfect costume for the most complicated character, and to ensure that everycharacter and background person is important and individual.

THE DUCHESSCostume Designer: MICHAEL O’CONNORAssistant Designers: ANNA KOT & LUAN PLACKS

Any surprises? The deeper I got into the period, the more complicated and nuanced it became, with its dif-ferent styles of dress. Hardest to accomplish? The red/orange “drunk” dress because of the color choice

and because we needed triplicates. Easiest? The “Fox” military-style campaigning dress because it was basedon the contemporary military design. What couldn’t you live without? Wouldn’t like to live withoutspeech radio. Biggest career challenge to date? Miss Pettigrew Lives for a Day .

MILKCostume Designer: DANNY GLICKERAssistant Designer: AUDREY FISHER (L.A. PREP)

Any surprises? How few people remembered Harvey Milk or his accomplishments. Hardest toaccomplish? Re-creating the suit that Harvey was murdered in. Handling his actual suit with dried bloodand bullet holes was a humbling reminder of what my job was—to accurately re-create the life of a vital man,not some icon. Easiest? Re-creating the outfits of Cleve Jones, Anne Kronenberg, and Danny Nicoletta.They were always on set to answer my endless questions! What couldn’t you live without? The term“mishegas.” It takes the edge off any stressful situation. Biggest career challenge to date? Staying calmand focused while knee-deep in Mishegas.

IRON MANCostume Designers: LAURA JEAN SHANNON &REBECCA BENTJENIllustrator: ROBIN RICHESSON

Any surprises? LJS: Stellar cast—especially Robert Downey Jr. as Tony Stark. A brilliant and unexpectedchoice. Hardest? LJS: Gwyneth’s blue gown was moved to first up so I had much less time to fit her in thegown I designed. Also, retrofitting the under armor for the original grey Iron Man suit which had to make sensein the context of the story.Career challenge? RB: I was hired as the ACD on Iron Man, by my friend, Laura

Jean Shannon, when she found out she was pregnant. She was put on bed rest so I had to execute her work with constant rewrites and new scenes. I felt bad knowing how hard it was for her to walk away. In the end,you see both of our hands at work.

REVOLUTIONARY ROADCostume Designer: ALBERT WOLSKYAssistant Designers: SUSAN HALL (L.A.) & DAN LAWSON (N.Y.)

Any surprises? I’m very familiar with the period, so not much surprised me. The film is mid-’50s, but I didgo back to the very early ’50s and even late ’40s, to achieve a realistic look. Hardest to accomplish?Finding proper period fabric … modern substitutes are always tricky. Today’s rayon does not fall like ’40’srayon. Easiest? Convincing Leonardo Di Caprio to wear his pants at his true waist. After a moment of shock,he understood it was a major component of the period. Can’t live without? Truth, ethics, and kindness.Career challenge? Lenny with Bob Fosse and Dustin Hoffman. It prepared me for future work and I felt I

CHANGELINGCostume Designer: DEBORAH HOPPERAssistant Designer & Illustrator: TERRY ANDERSON

Any surprises? The fact that this is a true story. It is so unbelievable. Hardest to accomplish? Modifying the look of Christine Collins to fit Angelina. Angelina is one of the most beautiful and recognizablewomen in the world, but she had to be authentic to make the story credible. Easiest? The murderer’scostumes—I thought his flamboyancy would be difficult to interpret, but he came together with flare andsubtlety. What couldn’t you live without? Comfortable shoes. Biggest career challenge todate? Keeping up with the pace of a prolific director whom I am incredibly fortunate to work with.

Excellence in Contemporary Film Excellence in Period Film



P

h o t o s c o u r t e s y o f D e b o r a h L a n d i s

A e o n F l u x P a r a m o u n t / J a s

i n B o l a n d B r o k e M o u n t a i n F o c u s F e a t u r e s / K i m b e r l y F r e n c h C h r o n i c l e s o f N a r n i a D i s n e y / T h e F a m i l y S t o n e 2 0 t h C e n t u r y F o x / Z a d e R o s e n t h a l F u n W i t h D i c k & J a n e C o l u m b i a P i c t u r e s / R a l p h

N e l s o n M e m i o r s o f a G e i s h a

S o n y P i c t u r e s / D a v i d J a m e s J a r h e a d U n i v e r s a l S t u d i o s / R e n t S o n y P

i c t u r e s / P h i l B r a y R u m o r H a s I t W a r n e r B r o s . P i c t u r e s / M e l i s s a M o s e

l e y W a l k T h e L i n e 2 0 t h C e n t u r y F o x / S u z a n n e T e n n e r T h e

N e w

W o r l d N e w L i n e / M e r l e W . W a l l a c e

DANCING WITH THE STARSCostume Designer: RANDALL CHRISTENSENAssistant Designer: DANIELA GSCHWENDTNER & STEVEN LEE

Any surprises? What NEVER ceases to amaze me is that we actually pull this off. It’s an insanely tightschedule with no room for error! Hardest? Toni Braxton wanted to wear a Marie Antoinette–inspiredgown. THAT had to be done within the same four-day schedule. Cage, draping, corset and all! Easiest? Uh,there is nothing easy on this show, due to the incredibly tight timeline each week. Can’t live without? Mydatabase of costume pics helps the department and the celebrity understand what we are going for in the 15minutes we have to nail it.

ENTOURAGECostume Designer: AMY WESTCOTTAssistant Designer: OLIVIA MILES

Any surprises? Everyone’s creative ambition and drive to do it better, even in the fifth season. Hardest? Ascripted “fashion trunk show” with no clothes until about two days before. Dolce & Gabbana agreed to work

with us, but we had to fit and coordinate an entire fashion show in no time.Easier?

Stellan Skarsgard. I hadsome crazy ideas for his wardrobe as a German director. He was a dream—we were on the same page, nomatter how silly. I just love fearless actors. Biggest challenge? Keeping the guys fashionable and interesting,but not too trendy, regular guys within a cohesive palette. And keeping myself from running out too far ontothat limb.

GOSSIP GIRLCostume Designer: ERIC DAMANAssistant Designer: MATTHEW SIMONELLI

Any surprises? The impact the wardrobe has had on the way girls dress amazes me. I originally basedour schoolgirls on upper eastside prep school girls and now those same girls are dressing like our characters.Hardest? Designing Jenny Humphrey’s clothing collection. Designed and fabricated as we got scripts. It wasa crazy process. Challenge? Staying in front of the trends on a weekly basis while running from set to storesall over Manhattan. We set the bar high, striving to keep the level of originality high. Can’t live without?My Cartier trilogy ring.

UGLY BETTYCostume Designers: EDUARDO CASTRO & PATRICIA FIELD

Any surprises? EC: We learned to live with “surprises” every day … constantly creating photo shoots,magazine layouts, runway collections, weddings, funerals. Hardest? EC: The fashion baseball uniforms wecreated for Mode vs. ELLE made of fabrics not meant for sport, with designer belts, high-heeled sneakers andfashion tights. Combining practicality with high fashion panache.Easiest? EC: Victoria Beckham walked into theVera Wang Maid of Honor dress and she adored our made-to-order “frumpy” version. Career challenge? EC: Flying to India on a couple days’ notice to take over two films. Mira Nair’s Kama Sutra, two weeks beforeshooting and Gurinder Chadaha’s Bollywood musical Bride & Prejudice, two weeks into shooting!

30 ROCKCostume Designer: TOM BROECKERAssistant Designer: CHRIS ANN PAPPAS

Any surprises? The thing that surprised me most about the project is how serious comedy is. Harderto accomplish? Lately, turning Tracy Morgan into a human cash machine. Easiest? Kenneth, the page’scostume. Because it’s a uniform there’s no question as to what it should be. Your biggest career chal-lenge to date? My biggest challenge so far was figuring out how to design shows on opposite coasts at thesame time, while designing Saturday Night Live and The Comeback on HBO. Can’t live without? Coffee andthe subway.

Outstanding Contemporary TV Series

COCO CHANELCostume Designers: PIERRE-YVES GAYRAUD (Chanel costumes) & STEFANO DE NARDIS

Any surprises? PYG: Seeing Coco discover her vocation. Hardest? PYG: Adapting models of Chanel clas-sic icons to suit the actresses. We didn’t use any authentic Chanel, we created an impression. SdN: The Dior-like dress worn in the 1950’s segment needed to look sufficiently “Dior” and become a believable “Chanel”little black dress. Easier than expected? SdN: The two 1905 dresses for Balsan’s mother. I loved someauthentic pieces from Tirelli’s that were VERY tiny. The actress arrived the day before shooting, and she wasso thin, the dresses simply looked like her own.

CRANFORDCostume Designer: JENNY BEAVANAssistant Designer: CHARLOTTE LAW

Any surprises? I was amazed by the humanity in the characters and the frightening speed of sickness anddeath without antibiotics, and the fragility of life in those times. Hard to accomplish? The character of Lady Ludlow was the hardest to ‘find,’ but I was hugely helped by Francesca Annis, who played her. Easier?The red dress for Miss Caroline Tompkinson. I found this wonderful ‘rhubarb silk’ and the dress just followed!Biggest career challenge? Alexander— 20,000 costumes, all of which had to be made in 16 weeks. Howdid I do it? A remarkable crew! Couldn’t live without? My computer, which makes sharing informationso much easier.

JOHN ADAMSCostume Designer: DONNA ZAKOWSKA Assistant Designer: MICHAEL SHARPE

Any surprises? How involved and moved I became with the story and details of American independence.The story felt very relevant to our present situation. Hardest? Trying to create period clothes that felt cred-ible and captured individual character traits. Anything easier? Costuming the many children turned out tobe much more accessible than expected. Small is fun. Career challenge? Without question, John Adams.Time and money were very tight for the scope, time span and location work here and in Europe. Can’t livewithout? Buttons—not enough interesting buttons in the entirety of the world. Without buttons, there isno 18th century!

SENSE AND SENSIBILITYCostume Designer: MICHELE CLAPTON

Any surprises? The wonderful casting. Every character was just as I imagined; it made designing it a joy.Hardest? Not a particular costume, it was just getting the palette as I wanted. Color and texture are para-mount; we dyed and dipped and stitched endlessly. Can’t live without? My notebook, of research notes andpictures, color swatches, and sketches—its my plan for the show. And my crew. Career challenge? Designingcostumes for The Devil’s Whore. We had to set up a workroom from in South Africa on a minimal budget andmake approximately 600 period costumes. Long days!

BERNARD AND DORISCostume Designer: JOSEPH AULISIAssistant Designer: AUTUMN SAVILLE

(Joseph Aulisi was not available at press time)

OutstandingTV MOW,Miniseries or Special

E ll i F t Fil O t t di P i d/F t TV S i



THE CHRONICLES OF NARNIA: PRINCE CASPIANCostume Designer: ISIS MUSSENDENAssistant Designer: KIMBERLY ADAMS GALLIGANIllustrator: OKSANA NEDAVNIAYA

Any surprises? The wonder of being in the center of Europe and having so many amazing sources from so manycountries.Hardest to accomplish? Miraz’ coat proved to be quite the puzzle. Getting just the right scale, move-ment, and gradation of the printed velvet swirl trim was tricky. Easiest thing? They all seem easy now that they arelong done. What I couldn’t live without? Light. Biggest career challenge to date? Balancing work andhealth, mental and physical. Oh, and manufacturing for 300 soldiers all made by people who only speak Czech.

THE MUMMY: TOMB OF THE DRAGON EMPERORCostume Designer: SANJA M. HAYSAssistant Designer: IRENA STEPIC-RENDULICIllustrators: PHILLIP BOUTTE JR. & CHRISTIAN CORDELLA

Any surprises? The combined talent of the artists and craftsmen in Los Angeles, Montreal, and China. Hardestthing to accomplish? Making Michelle Yeoh’s pleated skirt open in a full circle like a fan for the final fight with Jet.Easiest thing? The jade armor for Jet Li. Once we committed to constructing it in L.A., Russ Shinkle created a mas-terpiece, light and with a full range of movement that looked like regal armor. Can’t live without? MacBook Pro.Biggest career challenge? The Mummy because of the number of the costumes, action sequences and volume of extras. The workshops and sets were in the three different countries and with actors from all over the world.

THE DARK KNIGHTCostume Designer: LINDY HEMMINGAssistant Designers: GRAHAM CHURCHYARD, ANDREA CRIPPS & GUY SPERANZAIllustrator: JAMIE RAMA

Any surprises? How my concept for the Joker leapt from the drawing board due to the brilliance of Heath Ledger… so exciting a moment! Hardest thing to accomplish? The new batsuit. We made it just in time, due to thegreat team led by Graham Churchyard. Can’t live without? Italy. Biggest career challenge to date? Ourwork in general—it keeps us mentally active, young, and for the most part, happy.

Excellence in Fantasy Film

PUSHING DAISIESCostume Designer: ROBERT BLACKMAN

Any surprises? I didn’t really have a total comprehension of how complicated and difficult this little series was.Hardest? Our six principal players, sometimes have six or eight changes per episode. It is highly conceptual soa lot of the stuff has to be made. Career challenge? For all of us … to find enough projects to keep working.You feel terrible when your series is cancelled and is replaced with a reality show—which puts us all out of work.Can’t live without? I don’t know how I did without it but at this point, the Internet.

THE TUDORSCostume Designer: JOAN BERGINSupervisor: SUSAN O’CONNOR CAVEAssistant Designer: GABRIEL O’BRIENIllustrators: KELVIN FEENEY & NATALIE CONATY

Hardest thing to accomplish? You start to feel like you know the principals, so the hardest part would bethe secondary characters in mere scale alone. They don’t appear in every episode but they are very historicallysignificant.Career challenge? An Irish movie called Reign of Fire. All of the dragons had eaten and destroyedeverything. So all of the costumes were made of found objects, half a pair of pants, part of a jacket, buttons weremade of spoons. Can’t live without? My lunch hour when I read the society papers of the day and biographies,searching for those unusual details that set each character of The Tudors apart.

MAD MENCostume Designer: KATHERINE JANE BRYANTAssistant Designer: ALLISON LEACH

Any surprises? The fashion craze of Mad Men! Hardest? Peggy’s fat suits for season one. The padding hap-pened in small increments and had to seem natural and real. I was very stressed every time Elisabeth Moss worea new costume with a new pad! Stressful! Career challenge? When I moved to L.A. after designing in NYC,I couldn’t get a job! It was two years before I was hired on a feature in L.A. The challenge was keeping the faiththat something would come along that I loved designing. David Milch hired me to design Deadwood , and I decidedto stay in the film business.

Outstanding Period/Fantasy TV Series

O di C i l



LEVI’S, “HIS”Costume Designer: KYM BARRETTAssistant Designer: SPARKA LEE HALL

Any surprises? I was surprised how many retailers were willing to do a deal for our small budget.Hardest? Shooting each shot forward and then backward.....many times! Easiest?The easiest decisionwas my costume, as my ACD Sparka and I did not expect to have to work in the dressing scene. Can’t

live without? My other life at home.

NIKE, “FATE”Costume Designer: TRISH SUMMERVILLE

Any surprises? How much David Fincher knows about football! We matched each player’s individuality tothe actor. Wearing a uniform, you find ways to make it your own, even in football. The way they taped theirhands, what color, how they wore their wristbands, which pads under their uniforms, to what style of socks,etc. Hardest to accomplish? Distressing 150 NFL uniforms to look like they were in the fourth quarter.Easiest? It was fun researching Troy Polamalu and LaDainian Tomlinson’s style from toddlers to college. LikeTroy wearing a “Can’t Touch This” T-shirt when he was 9. Couldn’t live without? For this, a Hudsonsprayer and glycerin!

MILK, “WHITE GOLD”Costume Designer: CASEY STORM

Any surprises? Freedom. The ad agency had a rough idea of the character, but let us create the details,outfits, and personality. We were pretty much left alone to create 15–20 outfits for this rock-and-roll per-former. Hardest? We were working with creative materials like feathers and stiff leathers. The clothes hadto be flexible so the character could perform, but also be creative and well structured. Can’t live without?

Japanese food. Career challenge to date? Zodiac . The script and director made this a lovable but difficultproject. As the first major period film I designed, so much was new to me.

Outstanding Commercials

THANKS THE COSTUME DESIGNERS GUILD

AND PROUDLY CONGRATULATES OUR NOMINEE

Isis MussendenEXCELLENCE IN FANTASY FILM

©DISNEY/WALDEN.THECHRONICLESOF NARNIA,NARNIA,and allbook titles,charactersand localesoriginalthereto aretrademarks andare usedwithpermission.

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26 The Costume Designer Winter 2009 Winter 2009 The Costume

Academy Award winners Martin Scorsese and Graham King join

forces with director Jean-Marc Vallee to bring The Young Victoria

to the screen. The film chronicles Queen Victoria’s rise to power,

the turbulent years of her early reign and her legendary romance

and marriage to Prince Albert. Remarkably, Queen Victoria was

Daniel Swarovski’s first client, so it was only fitting that two-

time Oscar-winning Costume Designer Sandy Powell called upon

Swarovski to ensure Victoria (Emily Blunt) sparkled throughout the

film as she did in life.

Victoria wore clothes made by a number of French dressmakers

including George Frederick Worth, a pioneer of haute-couture

and loyal customer to Swarovski. Today, the film’s authentic cos-

tumes were created by legendary Costume Designer Sandy Powell.

Swarovski provided access to the Swarovski Corporate Archive in

Milan, home to more than 14,000 pieces of costume and antique

jewelry for Powell’s meticulous research into the diamonds and

pearls which captivated Victoria. “The stones and jewelry are

copies of actual pieces,” says Powell, “replicas made by a jeweler

in Swarovski crystals.” From the dazzling diadem made by Martin Adams, to the scepters and royal regalia held by the newly crowned

queen at her coronation in 1838, Swarovski crystal plays an integral

part in the resplendent glory of the film.

When Queen Victoria died in 1901, she had spent 40 years dressed

almost entirely in black, mourning the death of her husband Albert.

As a new widow in 1861, her prevailing passion for glittering gems

shone through her sobriety. For Victoria, dress and jewelry was

not only personal; it was intrinsic to the public perception of her

as queen and empress.

From the early days of Hollywood, Swarovski has worked hand

in hand with costume and set designers to create show-stopping

jewels, costumes and stage sets which capture the spotlight. The

company’s reputation for the highest quality and variety of finely

cut crystal is illuminated on and off the silver screen.

As Hollywood’s premier crystal purveyor, Swarovski has had the

privilege to adorn stars such as Marilyn Monroe in Gentlemen

Prefer Blondes , Grace Kelly in High Society, and Audrey Hepburn

in Sabrina. Nicole Kidman shone with Swarovski in Moulin Rouge ,

James Bond sparkled with Swarovski in Die Another Day and The

Phantom of the Opera featured crystal-embellished costumes

of operatic proportions and the awe-inspiring chandelier with

more than 20,000 crystals, worth more than 1m. More recently,

Cascade and Blossom chandeliers from the Swarovski CrystalPalace Collection dazzled in Oceans Thirteen, whilst Oscar winner

Jennifer Hudson and Beyonce Knowles sashayed past a crystal cur-

tain wearing Swarovski detailed gowns as the Dreamgirls.

Judith Watt


Swarovski Sparkling in The Young Victoria

THE COSTUME DEPARTMENT



MEET THE ASSISTANTS



C H R I S T I N E J O R D A N

can’t live without

iPhone, black notebook,emergency chocolate

JR Hawbaker

[email protected]

The bailiwick of stagecraft

afforded this Assistant her rise

through the ranks from stitcher,

first hand, Assistant Designer, to

Costume Director at Opera Pacific.

Management of shop operations

instilled Christine with a deep appre-

ciation of the crew’s talents and

needs. Speaking and understanding

“the same technical language of the

workroom is invaluable to form, fit,

construction, and shopping.”

With a subtle touch and a

“finger on the pulse,” Christine

relies on her deft grasp of con-

struction and good eye as artisti-

cally essential. Also, her computer

savvy and photo edits are relied

upon to “give the design the pro-

fessional presentation it deserves.”

As the industry grows and stu-

dios demand more for less, mis-

takes can be costly. Navigation

(be it traffic, Internet, budget, or

people) is key. A good ACD is “a

cost-effective driver in making the

vision happen.” Although the biz

is “driven and hanging on the edge

of chaos,” Christine says, “when it

all comes together, it’s a thing of

beauty.”

[email protected]

www.thecostumegirl.com

A N D R E A S W E E T


my crackberry,comfortable shoes

This Southern girl from Louisiana

has run the gamut in the costume

department: from commercials,

music videos and indie films in New

Orleans (aka Hollywood South) to

set costumer, supervisor and ACD

positions in Los Angeles. Although

leaving Louisiana seemed scary at

the time, working with Designer

Janie Bryant on a pilot opened the

door for Andrea to make the move.

Sweet joined the Guild as Miss

Bryant’s Assistant on Deadwood .

Delving into research, historical

behaviors, and cultural habits make

period projects challenging as well

as unique both in design and detail.

Andrea freely maneuvers within

genres, also working in contempo-

rary episodic with Designer Audrey

Fisher ( True Blood ) and sketch com-

edies with Designer Alison Freer

( Mind of Mencia, The Factory ). She

works with an eye for contemporary

design where clothing choices are

diverse. Breaking into the industry

requires “tenacity, determination,

and a bit of luck.” This diversified

problem solver’s advice: “Stay on

your toes, exercise creativity and

don’t be fooled! This is not easy!”

[email protected]

S P A R K A L E E H A L L


light and spaceto create

Sparka Lee Hall’s commute

between Berlin and Los Angeles

rivals that of rush hour on the 405!

After growing up in Berkeley and

San Diego and studying art film

& costume history, she traveled

the world discovering her second

home in Germany. Having a love

for many walks of life and work-

ing in stage, commercials, jew-

elry, historical fairs, and millinery

led Sparka to work as an ACD. A

self-proclaimed lifer, she’s worked

with Designers Kym Barrett, Alison

Freer, and Ann Roth.

As a liaison to production,

Sparka is concise and friendly with

“lots of e-mails, calendars, and

updates on progress.” As a beacon

of information to the workroom,

she secures the best from their

craft, and as a sponge for the crew,

she soaks up “the situation, financ-

es, timeline, taste, and objectives

of my colleagues … absorbing it

all and spreading it around!” It also

helps to study old movies, work on

your own aesthetic values, don’t

freak out, and learn how to make

anything in five minutes!

[email protected]

© 2009 Warner Bros.Entertainment Inc.All Rights Reserved.

Warner Bros. Pictures

would like to thank the Costume Designers Guild

and congratulate our nominees

Lindy Hemming

The Dark KnightExcellence in Fantasy Film

Patricia Field

Sex and the CityExcellence in Contemporary Film






acre: The whitish substance that mollusks

secrete around a foreign object that gets into

their shells. This substance is what forms

pearls.

Nadragi: Men’s folk costume pants from Rumania. They

are made from four widths of fabric. One and a half widthsare used for each leg, and one width for the seat. The pants

have no fly. They are typically made in black, brown and

dark blue and decorated with blue or red braid around the

pockets.

Nankeen: Fabric and clothing made of cheaply manufac-

tured cotton. Originating in China more than 3,000 years

ago; it starts out pale yellow and

then is often dyed with indigo

or stenciled with a paste of

soya bean and slaked lime,

which is applied and then

scraped off after the fabric has

been dyed.

Nehru Jacket: A hip-length tailored

jacket for men and women with a standup

or “mandarin collar.” Made popular

by Jawaharlal Nehru’s achkan in

the ’40s, ’50s and ’60s and later

by the Beatles in the ’60s (think

Sgt. Pepper’s album). The Nehru

jacket has become a countercul-

ture fashion statement.

New Look: The end of

WWII left women in

the United States

and Europe tired

of war and doing

without, tired of rationing and black-

outs, tired of their old worn clothes.

The young French fashion designer,Christian Dior, created a fresh silhou-

ette, soft, billowing and wasp waisted,

that was a complete departure from

the more austere lines of wartime. With

the promise of selling all that fabric, he

convinced fabric manufacturer Marcel

Boussac to take the chance on backing his fashion house

in Paris. The “flower women” in Dior’s 1947 “Carolle” col-

lection were a huge success, prompting Carmel Snow, the

editor of U.S. Harper’s Bazaar to proclaim: “It’s quite a rev-

elation dear Christian; your dresses have such a new look!”

Niello: The process of inlaying engraved metal with ablack alloy of sulfer, copper, silver and lead to form designs.

Indications are that the process was

developed by the Egyptians and spread

to Europe during the Middle Ages.

Nightshirt: A version of sleep-

wear that was particularly popu-

lar in the 19th century. A lon-

ger, looser version of the day

shirt, it usually came to mid-

thigh or knee length. This

version, however, was evolved

from the earlier garment that was

worn 24 hours a day, the outer gar-

ments being taken off at night and

donned again upon rising.

Norfolk Jacket: Made

its first appearance

in England around

1860 and was

often associated

with sporting

activities such

as shooting

and fishing. They are gen-

erally made of plaid and “tweedy”-type fabrics

and have patch pockets and a built in belt.

Typically the back has anywhere from one to

three box pleats.

Nupura: Are ringing anklets (adorned with

bells) used in describing Hindu gods and god-desses as accompanied by pleasing sounds

wherever they go.

N

HISTORY OF DRESS A-Z

Illustrations by Robin Richesson

[email protected]

Text by Karyn Wagner

[email protected]

would like to Congratulateall the nominees for the 11th Annua

Costume Designers Guild Awards

Joseph Aulisi

Kym Barrett

Jenny Beavan

Rebecca Bentjen

Joan Bergin

Robert Blackman

Katherine Jane BryantTom Broecker

Eduardo Castro

Randall Christensen

Michele Clapton

Eric Daman

Stefano De Nardis

Patricia Field

Pierre-Yves Gayraud

Danny Glicker

Sanja M. Hays

Lindy Hemming

Deborah Hopper

Suttirat Larlarb

Isis Mussenden

Michael O’Connor Ann Roth

Laura Jean Shannon

Casey Storm

Trish Summerville

Jacqueline West

Amy Westcott

Albert Wolsky

Donna Zakowska

Lacoste Career Achievement in Film

Marilyn VanceCareer Achievement in Te

Van Broughton Ramse

IN FOCUS



Winter 2009 The Costume32 The Costume Designer Winter 2009

IN FOCUS

Materials: Watercolor paper, colored pens and watercolors by Faber

Castell and Faber Castell.

Maria Schicker started illustrating the costumes for Dark Streets on her

script pages, adding images to words. She sketched countless options for

the musical number (pictured) “When Twilight Falls,” condensed those to

15 and then narrowed that down to the ones she further realized in color.

Set in a visually dazzling fantasy of the early 1930s, Dark Streets tells the

story of Chaz Davenport (Gabriel Mann), a dashing but naive playboy

who owns the hottest new nightclub in town, The Tower. Surrounded

by blues music and two gorgeous singers played by Bijou Phillips and

Izabella Miko, Dark Streets is a neo-noir blues musical that richly stimu-

lates the senses.

MS: “Creating the pleasure dome costumes for this noir tale is truly a Cos-

tume Designer’s dream! I designed the dancers using art deco patterns

and unusual fabrics, embellished with Swarovski crystals. Referencing

surreal elements from the Futurism and Russian Avant-garde movements

combined with painters Magritte and Dali, and research from the Cotton

Club, Pigalle Place and the Lido, helped embody the costumes with illu-

sions and secrets. We wander in the ’30s but utilize some familiar and

modern pieces to achieve a unique look for the Tower Club.”

DARK STREETS 2008

Designer and Illustrator: Maria Schicker

THE PROCESS: SKETCH TO SCREEN

Final P

Early design development

D a r k S t r e e t s S a m u e l G o l d

w y n F i l m s

IN FOCUS

http://gladsonltd.com/



IN FOCUS


B r e a k f a s t C l u b U n i v e r s a l , P r e t t y i n P i n k P a r a m o u n t , F e r r i s B u e l l e r ’ s D a y O f f P a r a m o u n t , a l l c o u r t e s t y o f T h e K o b a l C o l l e c t i o n

n a trio of mid-’80s classics—The Breakfast Club (1984),

Pretty in Pink and Ferris Bueller’s Day Off (both

1986)—Marilyn Vance defined a decade with her playfully

insightful costume design for John Hughes’ vision of 1980’s

teen society. Hitting the high notes with boldly original

costumes set against the backdrop of a flawlessly cos-

tumed crowd, Marilyn captured and refined classic 1980’s

looks for the silver screen. In reality, her film costumes defined a

moment and set trends in retail markets across the United States.

Her designs also embraced the charm and moxie of Hughes’ irre-

pressible supporting characters, helping to formalize the beloved

role of the quirky best friend.

In The Breakfast Club, Marilyn simply and strongly designed

the costumes for five iconic high schoolers: the prom queen, the

jock, the brain, the freak and the rebel. Each character’s details are

wonderfully descriptive of time, place and status, from princessy

Claire’s chestnut leather jacket, to athlete Andrew’s Nike tank, to

bad boy Carl’s bandana-wrapped motorcycle boot. These costumes

serve as individualized uniforms, telling the audience volumes

about each character before the teens finally break the social

barriers to bond with each other during their endless eight-hour

Saturday detention.

Pretty in Pink stays in familiar teenage angst territory, focus-

ing this time on star-crossed lovers Andie and Blane and their

gaggle of friends. Smart, spunky, working-class Andie is a budding

fashion designer who loves pink. This conceit allowed Marilyn tocreate an ’80s-vintage bombshell: Andie sports bowlers wrapped

with floral scarves, lace collars, jeweled brooches on buttoned-up

dress shirts, brocade vests, slouchy socks with granny boots and

mismatched dangly earrings. Duckie, her Teddy Boy male counter-

part, is never without his porkpie, bolo tie, suspenders and those

famous scuffed white creepers. Andie’s crush, Blane, and his well-

heeled crowd are preppy Miami Vice wannabes, and their pastel

blandness showcases Andie’s sartorial flare. BFF Iona vamps it up

in a series of breathtaking ’80s outfits: Madonna Goth, ’40s redux,

new geisha, retro prom, and jaunty cruise.

Ferris Bueller’s Day Off is a warm-hearted caper which sends

Ferris, girlfriend Sloane and wingman Cameron on a ridiculously

lucky, grown-up day of playing hooky in big-city Chicago. Silver-

tongued Ferris and Sloane want to cheer up depressed Cameron,

so the trio ditches school and takes off in Cameron’s Dad’s prized

1961 Ferrari. Ferris is Duckie Version X, breezily confident in his

fashionable letterman-style jacket, sweater vest, white spectators,

and beret. Sexy Sloane is the perfect 1986 It Girl in a white-fringed

leather jacket; Cameron plays the goofy sidekick wearing his beloved

Gordie Howe red-and-white-striped Detroit Redwings jersey. Ferris’

conniving sister Jeanie is a scene-stealing frizzy-haired mall-brat in

wide-shouldered jackets and high-waisted pants.

John Hughes’ box-office hits were deeply enhanced by

Marilyn Vance’s definition of social trends and style through cos-

tume design. Each character’s signature “look”—from Claire to

Andie to Ferris—tells the characters’ backstory while hinting at

their future. Looking back at Marilyn’s designs, each costume rep-

resents a 1980’s time capsule, rich in detail, full of meaning, offer-

ing us a glimpse of that incredibly creative and unique time in

fashion: the beloved ’80s.

Audrey Fisher

[email protected]

Marilyn Vance and the ’80s: Classic Costumes for Hughes’ Hits

A LOOK BACK

I

Fine men’s and women’s fabrics for stage and screen from Ermenegil

West Coast

Scott Anders

323-650-887

East Coast

201-708-160

Toll Free

800-227-172

sales@gladso

IN F

WORK
















Christine Bieselin Clark joined CD Michael Wilkinson on

TR2N as Associate Costume Designer. The duo will prep in

Los Angeles before filming begins in Vancouver, B.C. Marvel

Comics is counting on CD Mary Zophres and ACD Jenny

Eagan to mesmerize the audience with the costumes for

Rasputin, which will be shot mostly in Los Angeles. CD Tri-

cia Gray recently wrapped comedy troupe Broken Lizard’s

The Slammin’ Salmon and is designing her third feature for

the Lizards, entitled Freeloaders. The flick revolves around

five guys and a girl living in a rock star’s mansion whose

sweet situation is threatened when the star decides to sell.

CD Christopher Lawrence recently collaborated again with

HS classmate, director Phil Joanou, on an AT&T commer-

cial. ACD Stacy Caballero teamed with CD Kym Barrett to

design a fun Audi commercial, scheduled to air during the

Super Bowl, which spans the 1970s to present day. Alexan-

dra Welker is busy this season: she will be designing a new

pilot called Flash Forward for ABC, the film Alvin and the

Chipmunks starting in mid-February, and Spinal Tap’s 2009

tour—which marks the 25th anniversary of the classic “roc-

kumentary.” CD Caroline B. Marx is headed to Sundance with The Killing Room, which follows four people who sign

up for a governmental research study only to discover that

they are the subjects of a brutal, secret program.

CD Isis Mussenden has just started work on her third ani-

mated film for DreamWorks, Puss ’N Boots, where she is

using her animation and CGI skills more than ever! Illustra-

tor Derek B. Sullivan was pleased to assist CD Susan Lyall

on HBO’s new pilot The Washingtonienne, which wrapped

mid-November. CD Molly Maginnis signed on to design TV

show Bones with ACD Nanrose Buchman and recently de-

signed the comedy Role Models. Web Therapy, a webisode

about an Internet therapist (Lisa Kudrow) who does three-

minute sessions, features costumes by CD Ariyela Wald-

Cohain . Watch at www.Lstudio.com. CD Jenni Gullet is

designing both a miniseries for CBS and Paramount Picturesentitled Harper’s Island , and she is happy to see series tele-

vision back in production. Susan Kaufmann just wrapped

her first season of the A&E series The Beast , starring Patrick

Swayze and Travis Fimmel. CD Denise Wingate is currently

designing the costumes for Fox pilot Eva Adams.

In NYC, CD Melissa Meister is busy assisting

ven on WB’s Sherlock Holmes, with Guy Ritc

and Robert Downey Jr. starring as the belove

tective. CD Amy Westcott is also in New Yor

13, the American remake of the award-winnin

13 Tzameti , a dark tale of high-stakes Russian

ring Mickey Rourke and Ray Winstone. CD Da

reports having a challenging and joyful experi with Lasse Hallström on Dear John, which fi

tiful Charleston, S.C. On location in Michiga

France wraps stoner comedy High School st

Brody and directed by John Stalberg in Januar

ACD Brie Harris and supervisor Brenda M

France’s team. Deena Appel is heading to P

gon, to design the drama Untitled Crowley Pr

Brendan Fraiser and Harrison Ford. Ford wil

with longtime collaborator Bernie Pollack .

BOLDFACE PRESSCD Michele Michel graces the cover of the F

ment Credit Union magazine, the Show. Wi

distribution of 60,000, this issue of the Show

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Michele Michel on the cover of the Sho

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BOLDFACE PRESS

focus on the work of CDG members. Check out Michele’s website and shop

for unique products designed by your fellow costume designers at www.de-

signedbyhollywood.com. L.A. Times/The Envelopewriter Elizabeth Snead

interviewed our two Dannys: Danny Glicker , who talked about his once-in-

a-lifetime experience working on Gus Van Sant’s film Milk (Dec. 3) and CD

Daniel Orlandi on his designs for Frost/Nixon (Jan. 7). Orlandi explained

his approach to ’70’s style which is as modern today as it was then. Starz

documentary Fashion in Film (http://www.starz.com/titles/fashioninfilm)

featured mini-interviews with Guild members Sharen Davis, Michael Ka-

plan, Deborah Landis, Debra McGuire and Arianne Phillips … Boothe

Moore, fashion critic for the L.A. Times wrote: Fashioning a Character. “Cos-

tumes aren’t just eye candy in this season’s Oscar-bait films. Style telegraphs

the inner journey.” She goes on to say … “save for a few product placements… fashion companies have stayed out of the picture, leaving the work to the

real costume designers.” Dec. 7, 2008, Image section. Variety’s V Plus, Eye

on the Oscars singled out two heavily researched, artfully crafted period dra-

mas: Milk by CD Danny Glicker and The Curious Case of Benjamin Button

( Jacqueline West ) for “Creating the look, grounded in reality.”

BOLDFACE NAMES

Starz documentary Fashion in Film

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http://www.woodbury.edu/




BOLDFACE HONORS

Albert Wolsky received the Hollywood

Life/Hamilton Watches, Behind the Cam-

era Award presented by Evan Rachel

Wood, November 9.

Congratulations to our fellow CDG design-

ers on their 2008 nominations: Danny

Glicker / Milk (Oscar), Deborah Hopper /

Changeling (BAFTA), Jacqueline West /

The Curious Case of Benjamin Button

(Oscar & BAFTA), Albert Wolsky / Revo-

lutionary Road (Oscar & BAFTA).

BOLDFACE

ENTREPRENEURSIn January, designers Jim Lapidus and

Michael Travis were in Las Vegas to col-

laborate with The Liberace Museum on a

coffee table book which will include Lapi-

dus’ sketches and Travis’ designs for the

world-famous entertainer. CD Cyntha

Bergstrom of Private Practice, alongside

ACD Kathryn Battistone, will travel to

Las Vegas to show their handmade flower

accessory line, Ryn Rina, at the Pool Trade-show, a division of Magic geared toward

innovations in fashion (February 17–19).

Check out www.Rynrina.com. CD Diah

Wymont has partnered with an Italian

men’s wholesale company to produce

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Evan Rachel Wood presenting

Albert Wolsky with his award.

E v a n R a c h e l W o o d & A l b e r t W o l s k y / C o u r t e s y

o f H o l l y w o o d N e t w o r k , I n c . / G e t t y I m a g e s

THE

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ready-to-wear suits in

the style of Prada and

Dolce & Gabbana. This

custom, union-approved

line is manufactured

in Italy. Contact Diah

(310 -980 -8821 or

[email protected]) to

view the collection at her

downtown L.A. studio.

During her hiatus from

Lincoln Heights, CD

Tashiba Jones-Wilson

has launched zmjdenim,designer denim in wom-

en’s sizes. Check out

Tashiba’s fashionable

and fabulous designs at

zmjdenim.com. CD Kris-

tin Burke announces

the launch of frocktalk.

com, which spotlights the

artistry of Costume Design in film and features a Costume Design

Review with contributing editors who are working CDs. In addi-

tion to frocktalk.com, this past October, Kristin was featured in an

article about Scandinavian women in Hollywood for Swedish Elle.

Compiled by:

Sharon Day [email protected]

Audrey Fisher [email protected]

Cheryl Marshall [email protected]

Deena Appel [email protected]


Theda Bara’sCleopatra Necklaces andPearl Halter Top

Sold For:

$6,572HA.com/696-100001

Theda Bara’s Cleopatra Head Piece

Sold For: $19,120HA.com/696-100003

Theda Bara’s Cleopatra Falcon Coronation Crown

Sold For: $10,755HA.com/696-100004

ThedDuB

SoldHA.c

11

Theda Bara’s CleopatraLong PearlBra and Jewel Tassel, and Salome Gold Pantaloons with Pearls

Sold For: $8,962HA.com/696-100002

a

ThT eraol

olA.c.cA c

rr w

7550004

’

MUSIC & ENTERTAINMENT MEMORABILIA

Annual Sales Ex

425,000+ Online Regi

Receive a free copy of this catalog, or one from anotherHeritage category. Register online at HA.com/CDG16543or call 866-835-3243 and mention reference CDG16543.The entire auction will go online approximately May 17

at HA.com/Entertainment.

TXAuctioneerlicenses:SamuelFoose11727;RobertKorver13754;MikeSadler16129;

AndreaVoss16406.

CONSIGN NOW!Doug Norwine800-872-6467, ext. 1452([email protected])

3500 Maple Avenue, 17th FloorDallas, Texas 75219800-872-6467HA.com/Entertainment

WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES:

W e P a y F i n d e r s ’ F e e s

Consign to our upcoming Music & Entertain

June 6-7, 2009 – Dallas, Texas

REALIZING TOP PRICES FOR:Screen-Worn Costumes

Scripts and Props

Autographed Material

Awards

Memorabilia

SPOTLIGHT

IS ON HERITAGE FOR

STAR-STUDDED RESULT

CD Wymont’s ready-to-wear suits.

COSTUME DESIGN CENTER

Congratulates

the nominees & honorees of the 11th annual Costume Designers

Guild Awards

Timeless...

© and ™ 2009 Warner Bros. Entertainment Inc. All rights reserved

BOLDFACE NAMES

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Costume Designer Marilyn Vance and Kevin Costner, The Untouchables, 1987.








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