Professional Documents
Culture Documents
Mike Medavoy David Kirschner Corey Sienega Arnold W. Messer David Thwaites
Anthony Powell
vol. 2, issue 4
FEATURES
Merchandising
When Costumes Become Merchandise
. . . . . . . . . . . . . . . . . 16
Technology: The Expanding Frontier We CGI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Designing With Technology . . . . . . . . . . . . . . . . . . . . . . 22 Time to Design Your Website . . . . . . . . . . . . . . . . . . . . . 24
DEPARTMENTS
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Presidents Letter From the Desk of the Executive Director Assistant Executive Directors Report Labor Report
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Thank you to the volunteers and contributors to this Fall 2006 issue.
Kimberly Adams Elena Baranova Audrey Fisher Joanna Johnston Erin Lareau Allison Leach Dana Onel Robin Richesson Jacqueline Saint Anne Karyn Wagner Michael Wilkinson The Kobal Collection
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
EDITORS NOTE
ongratulations all! Its been one year since the launch of your very own CDGproduced, all-volunteer magazine, The Costume Designer. This year has been challenging, exhausting, even frustrating, but its been hugely rewarding. We now have a platform from which to share our insights and our accomplishments, to communicate and educate each other and our industry. We are finally setting the record straight as to who we are and what we do. You may have noticed that Sharon Day and I have officially switched positions; we have been partners in this venture from the start. We will continue to collaborate with Deborah and Cheryl on growing the magazine in years to come.We are not losing Sharons vision; we are gaining an Education Committee! When I first joined the CDG in 1990 Art produces ugly things (after two years as a member of 705), I which frequently become more didnt know a single designer and beautiful with time. Fashion, couldnt imagine that I ever would. on the other hand, produces Theres only one of us on any given project. beautiful things which always And after all, were competitors. Right? How that climate has now changed. Weve become ugly with time. paved the way for designers as friends and -Jean Cocteau support team. I can now pick up the phone and call my fellow designers for crew recommendations, location sources and even the taboo deal memo questions that once kept us all in the dark.We understand that together we are stronger. Every designers breakthrough deal or precedent, honor or published interview, moves every single one of us forward. The goal of this magazine is to highlight and celebrate you and to put a face on Costume Design for our collaborative peers in the industry and the public. Behind every costume is a Costume Designer. Lets work together to make a difference.
EDITOR-IN-CHIEF Dr. Deborah N. Landis EDITOR/PHOTO EDITOR Deena Appel ASSOCIATE EDITOR Sharon Day MANAGING EDITOR Cheryl Downey PRESIDENT Dr. Deborah N. Landis
president@costumedesignersguild.com
Deena Appel
DAppel@costumedesignersguild.com
Hope Hanafin
HHanafin@costumedesignersguild.com
Carol Ramsey
CRamsey@costumedesignersguild.com BOARD ALTERNATES
Valerie Laven-Cooper
VLCooper@costumedesignersguild.com
Sharon Day
SDay@costumedesignersguild.com
Karyn Wagner
KWagner@costumedesignersguild.com
Mary Malin
MMalin@costumedesignersguild.com ASST. COSTUME DESIGNER REP
Audrey Fisher
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
Cliff Chally
CChally@costumedesignersguild.com
Marilyn Matthews
MMatthews@costumedesignersguild.com
Cheryl Downey
cdowneycdgia@earthlink.net ASST. EXECUTIVE DIRECTOR
Rachael Stanley
rmstanleycdgia@earthlink.net ADMINISTRATIVE ASSISTANT
HOLIDAY GREETINGS!
The Costume Designers Guilds 2006 holiday card illustrated by A s s i s t a n t Designer/Illustrator Lois DeArmond.
Suzanne Huntington
adminasstcdgia@earthlink.net
PUBLISHER The Ingle Group FOR ADVERTISING INQUIRIES CONTACT Dan Dodd 818.556.6300
dandodd@pacbell.net
GONG LI
ND
JOAN BERGIN
buenavistapicturesawards.com
Touchstone Pictures
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PRESIDENTS LETTER
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June new members: (l-r) Mirena Rada, Chasia, Inana Bantu, Nancy Gould, Marianne Parker, Diane Charles, Caroline Patterson, Jessica Torok, Bess Stansell. October new members: (l-r back row) Kresta Lins, Johnetta Boone, Estee Ochoa (with hat), Sarah De Sa Rego, Katja Cahill, Joel Berlin, Deborah Landis, Lynn Brannelly, Diana Tenes, Kate Crowley, Robert Cron, Liuba Belyansky, Q Quiame, Louise Ferro, kneeling: Julie Block, Moksha McPherrin. Presidents letter photo: Harrison Ford / Lucasfilm Ltd.
Dear Friends, lassically trained, I have worked in summer stock, Shakespeare Festival, and regional opera. I can make anything with a glue gun and I have the scars to prove it. But this is not Ashland, Oregon, or Branson, Missouri.The CDG resides in Hollywood, a community and an industry that must keep reinventing itself to stay relevant and solvent.Traditional costuming skills will provide designers with a solid foundation for the uncertain future ahead. Our theater colleagues may build paper mach crowns, but Costume Designers in film and television must embrace the digital age or risk becoming an anachronism. The more specialized our knowledge as designersthe more valuable and the more employable we become in a rapidly changing industry. In this issue, designer Michael Wilkinson describes the conNgila Dickson, Costume Designer for struction of his website. Deliberate no longer. Directors and producers review portfolios online at their convenience.With your The Lord of the Rings, was barraged portfolio on the Web you can be looking for work while you are by the merchandising people to give working anywhere on the globe.The whole world is one marthem acres of information, swatches ketplace linked by the Webstay competitive. Our unique role and perspective on character and dress cannot be autoof fabric, sketches and written mated or digitized. Costume Designers offer directors and prodescriptions of costumes, far from the ducers valuable insights at an unbeatable price. It is unimaginable job I was actually paid to do. to mount any production,including animated and motion-capture features, without the benefit of our expertise. The handsome face on top left is not my own. Ask a crowd to conjure Indiana Jones; a problem would arise only if you asked the name of the designer. Dozens of iconic characters, cultural touchstones, have been created by our CDG membership. Costume Designers are (by definition) invisible; this anonymity is a casualty of our profession.We dont license our names or have a brand to build. Perhaps if we were paid equitably for our contribution to the artistic and financial success of the productionthe merchandising cash cow would be more tolerable? Perhaps if Seventh Avenue designers would stop ripping us off and hogging the red carpet; since if it wasnt for our characters those actors might never have been nominated? Why are fashion designers always inspired by movies but never by a Costume Designer? Perhaps if we were credited for the costume and rewarded for its replicationwe could feel respected? Its somehow implicit that Costume Designers are satisfied earning one third less than production designers and earning fewer pension and health hours than our Costume Supervisors.That we are delighted with the stress and sacrifice this career guarantees. The currency of appreciation in our society is money. The CDG may be constrained by the collective bargaining agreement but we must never accept our low status and remuneration relative to our significant contribution to the success of every production. The battle for merchandising, equitable wages and credit must be fought in the deal memos of our membership. One close relationship may change the paradigm and revolutionize our position.Although we are entering an uncertain time in the industry, the CDG knows that as long as there is a story to tellour designers will bring the characters on the printed page to life, to the movies, and to the mall. Make your labels. In Solidarity, Deborah Landis president@costumedesignersguild.com
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SHOW DATE Saturday, February 17, 2007 NEW LOCATION The Beverly Wilshire Hotel PRESENTING SPONSOR Swarovski
Produced by The jLine Group 310.601.3200 For inquiries about tickets, tables and seating contact: Blue Room Events 310.491.1401 We look forward to seeing you on February 17th!
Penny Rose
F O R
Y O U R
C O N S I D E R AT I O N
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Disney Enterprises, Inc.
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Top Ten List of Things You Should Know receive many calls each week from members that are unsure about their rights and obligations of membership. Here are some of the most common issues I encounter:
1. If you are working on location, you must be an L.A. hire, receive per diem, housing and travel from production in order to be considered a distant hire to receive your benefits into the MPIPHP. 2. If your residence is in the jurisdiction of the location shoot (i.e.Texas,Utah,) and you are hired from that location,you would be considered a Local hire and your benefits will be sent to the plan covering the location. 3. Check your annual report from the MPIPHP to be sure all your hours are reported to the plans. You should receive 60 hours per five-day week in town, 7 hours for a sixth day workedand 8 hours for a seventh day worked. You should receive 75 hours on location, whether you work five, six, or seven days. If there is a discrepancy, call the payroll company and the CDG. 4. You must report work union and nonunion. When you report work, the CDG needs to know the name of the project, the type of project (such as film,TV series), the production company, and where you are working. 5. Address, telephone, e-mail, or name change? Please inform the CDG. 6. Dues are due on the first of each quarter. If you are late, you will be fined $15 per quarter. 7. If you are on disability and are unable to work, your dues will be forgiven for that quarter. Please call the CDG for details. 8. Personal Service Contracts (PSC) can cover items not guaranteed in the Basic Agreement.Box rental,car allowance,your screen credit, favored nations, paid hiatus,are some of the items to negotiate in your PSC. Be sure that anything agreed upon is in writing and signed. 9. If you are injured on the job, you should report the injury to production and to the CDG office. 10. Never go before Human Resources or management without a union representative present to be your advocate and witness. We are here to help you. Call with any questions.
Labor Report
My Night at the Van Nuys Detention Center I sat on the street in front of the Marriott Hotel on Century Boulevard on September 28, 2006, along with 325 other union workers and officials. I made a personal choice to be arrested and bring attention to workersrights to organize.A small, back bent, brown woman, grateful for the support around her, stood next to a younger version of herself, and next to her a still younger version. News sources captured their images and asked why we wanted union representation? We replied, To bargain with our employers for job security and protection. It was getting dark and circling us on horseback was a ring of police officers. I felt just as intimidated as the hotel workers had been; having no voice in disputes with management. An officer asked my name and told me to put my hands behind my back while he put plastic zip bracelets around my wrists. They were very uncomfortable. A photo was taken of me and my pockets were emptied. I was put on the bus to wait while other arrestees were processed.Around 10 p.m., the buses left Century Boulevard as a few hundred remaining supporters shouted,Si Se Puede! (Yes We Can!). We arrived at the Van Nuys station and were processed after removing laces from our shoes. I was given a sandwich, milk and apple with 30 other arrestees. After 2 a.m., eight of us were placed in a cell with bunk beds. After 3 a.m., we were taken into the booking rooma 4x5 glass enclosure with no room to sit. Thirsty and needing a bathroom, a female guard took us to a cell with exposed commodes. At 8 a.m., I was allowed a phone call to my very concerned husband. Nine of us shared five cots and the exposed commode. I held up one end of a blanket for the women desperate for privacy. With no way to get comfortable, I started my morning prayers. Finally, after photographing and fingerprinting, I was placed back in a cell.Within the hour I was taken out of the cell, my ID bracelet was cut as I put the laces back in my shoes. An officer wished us well and reminded us that you can only have one arrest a year for civil disobedience. At 11:45 a.m., I exited Van Nuys Detention and wondered how I would get back to my car. Volunteers cheered as we came out. The L.A. Times mentioned the 160 demonstrators arrested at the Hilton but missed the 168 of us arrested at the Marriott, beating the previous California record of 50 people arrested in a single civil disobedience. Si Se Puede! Betty Madden, CDG, Local 892, Labor Representative bmadden@costumedesignersguild.com
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A REMARKABLE MOVIE ABOUT AN INCREDIBLE DAY IN AMERICAN HISTORY WITH A SUPERB CAST.
Larry King
BEST PICTURE
Produced by MICHEL LITVAK
EDWARD BASS HOLLY WIERSMA
NOTEWORTHY EXHIBITIONS
Beauty & the Bead, December 16, 2006 May 13, 2007, Tropenmuseum Amsterdam, Netherlands. An exhibition of beaded costumes from every age and culture. The first exhibition to focus on beads as a worldwide phenomenon: a tiny object symbolizing for more than 100,000 years identity, status, origin and emotion. Among the exhibits are robes from the Congo, Eskimo outfits, dresses worn by Marilyn Monroe, and Madonnas haute couture by Versace and Galliano. Among the lenders is the Metropolitan Museum of New York, the Hermitage in St. Petersburg, and fashion houses such as Dior, Versace and Armani. Tropenmuseum - Linnaeusstraat 2 - Amsterdam - tropenmuseum@kit.nl - www.tropenmuseum.nl
Hats and Purses Now Online: The American Textile History
Fall 2006
as well.
March 4, 2007, at the Metropolitan Museum of Arts Costume Institute in New York, NY. Known for a seemingly effortless style that nonetheless displayed a meticulous attention to detail, she was a passionate client and collector of such designers as Yves Saint Laurent, Valentino, and Oscar de la Renta from the 1960s onward. http://www.metmuseum.org.
Fashionable Reading
Museum (ATHM) in Lowell, MA, is pleased to announce that its 450 hats and 150 purses are now available to the public for research online. http://www.athm.org.
Paper Dresses: Disposable Garments From the 1960s Dresses: Throw-Away
Queen of Fashion: What Marie Antoinette Wore to the Revolution by Caroline Weber, Henry Holt & Co., 2006. Pays close attention to the impact of her closet on clothes and culture. Classic Chic: Music, Fashion, and Modernism by Mary E. Davis, University of California Press, 2006. Music and fashion: there is a deep connection between these two expressive worlds. This book details the interplay between composers and designers (including Poiret) in the early 20th century. Executive Board Meetings: January 8, February 5, March 5 Next General Membership Meeting: February 26
January 24 - March 11, 2007, Design Gallery, University of Wisconsin, Madison, WI. From the Helen Louise Allen Textile Collection (HLATC), this exhibition explores the rise and fall of paper garments and the larger issues of planned obsolescence and cultural attitudes toward disposable goods. As a coda to the dresses from the 1960s, a small selection of hospital gowns and
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Pirates of the Caribbean, Walt Disney / The Kobal Collection / Greg Gorman
ou may think the advent of merchandising (dolls and costumes) from your favorite film and television characters is new. Since the start of filmed entertainment the studios worked to build audience loyalty.They needed to find a way to establish an effective promotion machine. By generating mass brandawareness, they could persuade audiences (consumers) to see a new film, or stay tuned to the tube, while generating additional revenue. The studios licensed their valuable, tradable and collectable screen brands to the consumer-goods industry and extended the life of their products. As storytellers, we create memorable characters that live long after the movie is over.We invent iconic images that generate tremendous earnings and are marketable in more ways than we can imagine. It began in 1930 when the Modern Merchandising Bureau was founded for the purpose of manufacturing and selling clothing adapted from the movies. Photoplay developed a label called Hollywood Fashion in cooperation
with Costume Designers and studios in 1932. For the customers who couldnt afford retail prices they reproduced the actual dress patterns called Screen Star Patterns and Hollywood Patterns. R.H. Macy Company was the first to install a so-called cinema shop. Macys claimed to sell 50,000 copies of the white organza Letty Lynton gown designed by Adrian for Joan Crawford in the 1932 film of the same name. Helen Rose, Adrian, Irene, Edith Head and Jean Louis all profited in some way from their film designs becoming fashionable; some had their own boutiques and others (like Head) had profit participation in the patterns. The Hollywood style machine proved to be a publicity bonanza for movie studios. Comic book characters advanced to the small and large screen with the intention of increasing the franchise dollars. Today, the merchandising market has exploded to encompass Halloween costumes, toys, and dolls by promoting memorable characters from MacDonalds Happy Meals to the Internet and everywhere in between. Superhero costumes are actually redesigned with
each sequel to quench the studios thirst for new products to sell. At this years American International Toy Fair, Disneys focus was to promote longterm growth opportunities for Pirates of the Caribbean. Disney had missed the boat with the first installment but Joe Lawandus,V.P. and general manager of Disney Toys was confident. Its going to live in the aisles for at least two years. Captain Jack Sparrows costume (Costume Designer Penny Rose) was the highest selling costume of the 2006 Halloween season. Would any of the characters on the cover of this magazine be identifiable without their costume? Theres no mistaking James Dean in a red jacket and jeans from 1955s Rebel Without a Cause (Designer Moss Mabry) or the harem costume from 1965s I Dream of Jeannie (Gwen Wakeling), Titanic (Deborah Scott), The Matrix (Kym
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Extensive selection Full service workroom Made to order, alterations, fittings Prep spaces, laundry & dye room
The Lord of the Rings, New Line Cinema / The Kobal Collection, The Matrix, Warner Bros. / The Kobal Collection
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Monster House, from left: Sony Pictures Imageworks / Frank Masi, Sony Pictures Imageworks
hings are changing. Halo 2, an X Box Microsoft video game, grossed more on its opening day, November 9, 2004, than either Titanic or The Incredibles made in their first day at the box office. Emerging platforms are competing with old media (film/TV) and the screen continues shrinking as new media (laptops/iPods/cell phones) are endowed with movie-playing capabilities. And as the screen shrinks the costumes become even more important as the actors form fills the frame. Scott Ross (Digital Domain) believes that the tiny format will influence the way shots are framed. We may see tighter shots, so that images are viewable on two-inch screens. You could have an iPod cut, a television cut, a 16:9 hi-def cut and a 2:35 scope cut. Director Stephen Soderbergh mused, To sit around and wish that everybody could see everything you do in a theater, is like saying,I wish we would all go back to vinyl. Its not going to happen.
WECGI
A democratization of filmmaking has occurred that allows anyone to pick up a digital camera and with the installation of Final Cut Pro make a professional looking movie that can be distributed internationally. Studios are desperate to offer the public entertainment beyond what they can make for themselves. Special effects have provided that hook and motion capture animation (Mo-Cap) and computer generated imagery (CGI) are seen as the panacea to the studios dilemmagetting people in the theater. The resonance of digital special effects is far beyond the sci-fi genre. CGI is being used in every film. The technique of motion capture captured the imagination of director Robert Zemeckis. As the producer of Monster House (2006), Zemeckis points out that mo-cap, created an avenue to make movies that cant be made in liveaction and shouldnt be made as animated cartoons. Motion-capture fills a void in the medium of cinematic storytelling. Monster House Costume Designer Ruth Myers thoroughly
enjoyed herself.As always,I started with the script and had talks with the director. I was given computerized models that were wearing homogenous clothes and my job was to help turn these models into charactersbut I had no budget limitations! I could get whatever fabric in whatever color. There was no shopping, no cuttings, no fittings and no staffing problems. My enthusiasm for this kind of costuming is endless. Formerly, animators served as sole character designerscostume designers were not a part of the process. As motion capture develops, realistic computerized characters have become possible and designers are increasingly confronted with computer-generated worlds and with computer-generated characters. Texture and movement no longer depend on the physicality of the fabric,but on how that physicality is created by a computer.These technological innovations expand the role of the Costume Designer in the most earthbound plots. Costume Designer Isis Mussenden recalls a modern comedy
continued on page 20
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which used the tie (of a gray suited executive) as a plot device to show the passage of time. She created a tie of green screen upon which different patterns and collars could be pasted in post production. Isis makes the point, Who decides what that tie should look like in post? The Costume Designer does. Early communication with the animators is vital to protecting the integrity of the characters throughout the process. A veteran of Shrek and Narnia,Mussenden keeps a visualeffects bible that contains ideas for the multiplication of characters; samples of textiles for color, texture, scale of pattern, weave and movement; and photographs of actual clothes. These choices seem obvious to a Costume Designer but they are not to the effects house. Visual effects pioneer Doug Trumbull (2001: A Space Odyssey) has said, We still need the drama and excitement of movies, the compelling content and stories, yet we need to develop new ideas about the form of the experience. As long as the narrative remains the focus, Costume Designers will be needed to help tell that story. Embrace the future. Deborah Landis president@costumedesignersguild.com
sony.com/Awards
hen I joined the CDG in 1992, one of my first projects was illustrating for Costume Designer Joanna Johnston on Forrest Gump. Joannas first film with director Bob Zemeckis, Who Framed Roger Rabbit (1988), pushed the effects envelope by being one of the most successful films to blend live action with traditional 2D (hand drawn) animation. Joanna designed the gown for the glamorous, animated, Jessica Rabbit. Originally, she wanted her gown to be sequined, but animating reflected light was so expensive the animators were only able to realize her vision for the performance scene. I illustrated Joannas designs for Forrest Gump, Contact, Cast Away, and The Polar Express and observed that Zemeckis trusted Joanna to develop the characters through Costume Design. On The Polar Express, we thought we might do concept drawings and build a handful of garments. Many pajamas later, the whole film had been designed and BUILT from the slippers up. In the motion-capture process the actors movements and expressions are transferred onto digital characters in the computers to animate them. This involves actors wearing suits during filming that resemble wet suits covered with sensors.What we found was that the design process really didnt change very much. Joanna: The Polar Express really was that dream of the roundtable. We were sharing ideas in early development, pooling ideas, with diversity coming from every department. Robin: Ideally, the Costume Designer should be invited into the process at that early stage, when many concrete images are being created. The most important thing is to work toward that early inclusion on films with digital components, as soon as the conceptualizing starts. JJ: Yes. Designers may be getting involved as consultants in the visualization. The Costume Designers and the digital artists can get so much from each other, concerning movement, action and how it applies digitally to the costumes.The
digital designers benefit from our understanding the technical construction of costumes, fabrics, and their textures. RR: Stuart Little had only a few digital characters and the process could be much more involved than on Polar, which had an entire digital cast. On Stuart Little, the digital designers actually made the pattern pieces in the computer and sewed them together.There were actual seams to help create more realistic tension on the digital fabric. On Polar that would have been impossible with the volume of costumes. Instead, they painted the seams on digitally and unfortunately the tension of those seams as part of the garment was missing. JJ: On our current project, The Spiderwick Chronicles, the technology has made huge advances since Polar. On Spiderwick, animation supervisor Phil Tippett was so happy
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The Polar Express, Castle Rock / Shangri-La Entertainment / The Kobal Collection. Who Framed Roger Rabbit, Touchstone / Amblin / The Kobal Collection
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to have the collaboration of a Costume Designer. Industrial Light & Magic (ILM) and Tippett wanted my input as much as I wanted theirs. They showed me a reel illustrating how far the technology had come and I found that the process had really moved forward. I find working in this territory so exciting. Its a great collaborationbreaking new ground togetherwith traditional expertisebut applying it another way. Its an adventure. RR: Have there been any struggles? JJ: There can be struggles in any collaborative process. This (digital) world exists and if you enjoy collaboration, it is exciting new territory. Ive been really lucky to work with people like Bob Zemeckis the King of Mo-Cap, Ken Ralston, Phil Tippett and the people at ILM. It is great to have a producer like Kathy Kennedy (The Spiderwick Chronicles), who understands the value of blending traditional expertise with new technology. RR: Right. The idea that as talented as the digital artist isthe expertise of the Costume Designer can help to elevate the realization of a digital character and bring it to life with a creative collaboration. JJ: Yes. I just want to say to anyone who feels that its an alien world, its really not.... Its just an expansion of what we already do. Robin Richesson robins.nest@verizon.net
COSTUME
NBC Universal
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dragged into the new template were from a few different sources; from my files of digital photos, from scans of photographic prints, and from searches on the Internet. I made sure that the files were the right sizenot so large that they would take a long time to load when the page was opened online, and not so small that the resolution was poor. The program showed me how to set up this page and when I clicked on an image from each film, it would link me to another page which had detailed information on that film. I
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dragged in trailers, photos, recorded interviews and links to the films official sites. Most of it can be found using a films page on imdb.com. Now comes the hard part posting your pages on the Internet.The least painful way is to use a Mac account and pay $99.99 each year for Mac to be your Web host.After registering a domain name with them (i.e.the name of your website), then use a command on iWeb to send (upload) the pages onto the Internet. If you have a Mac domain name (with mac) it is even easier. But to save some money, I contacted an independent Web hostiPowerweb.com. I got the domain name a lot cheaper ($3.95 per month for basic hostingincluding an e-mail account). This made uploading my pages trickier and I had to import my Web pages onto a second program (choosing Fetch from fetchsoftware.com) and then the upload command on this program to post the pages onto the Internet. After calls to customer support and the Mac geniuses (genii?!), my website was up. You can see the results at www.michaelwilkinsondesign.com Now its your turn...
obert L. Cron was born and raised in a small town in northeastern Pennsylvania and studied fine art and theater design at Carnegie Mellon. CDGs late President Al Lehman Carnegie alum steered Robert to the CDG Illustrator category, a deciding factor to pursue film and television. As an Illustrator, Robert characterizes himself as very fast. He finds the illustration on the paper quickly and knows the flow of a pose and the line. Although Robert began by using watercolor, he has recently discovered the exciting world of digital art. He uses Photoshop on the drawing tablet and finds this technique is just as versatile and useful as other more traditional media. The maxim Content dictates style is central to Robert; and he uses the medium suggested by the script and the style of the designer. Before drawing, Robert sees all the research, fabrics, and any notes the designer may have. They then discuss the pose, body type of the actor and the amount of detail needed from the bare-bones sketch to the final brush stroke. His website is a preview of his future work. rober t@costumesketch.com www.costumesketch.com
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gyptian Dress: Their few light cotton or linen garments were fabricated of material grown in the Nile Delta; the more expensive the garment, the more transparent. Although the predominant color of dress was white, all colors were worn. Draping and pleating were of primary importance and each group had their own system of draping. The primary male garment, the schenti (loin cloth), was a long oblong wrapped around the hips and tied in place by a belt or girdle. Worn by a higher ranking person, it was finished in front with a pleated apron. The pleats radiated upward from the low corner of the apron representing the sun. An exotic animal skin or shoulder wrap might be added. Women wore a kalaris (a straight anklelength narrow sheath gown), which hung from under the breasts and held up by one or two straps. Sophisticated Egyptian ladies wore greenand-black kohl on their eyes and outlined the veins of their chest with blue.They painted their lips with carmine.They completed the look with red and white for their cheeks and tipping the ends of their fingers in orange henna. Both sexes shaved their heads for reasons of
cleanliness and heat.The rich wore wigs of hair, wool or palm-leaf fiber and the poor wore skull caps of wool felt. The men were clean shaven, but pharaohs (kings and ruling queens) and high dignitaries wore false beards In early Egypt, only priests wore sandals made of leather, papyrus or wood. In later periods, the popularity of sandals grew and an oriental style with turned-up toes was introduced. Sandals for the upper classes were made of soft leather dyed purple or crimson and embellished with jewels and gold embroidery. . From 1500 B.C. to 1150 B.C. was a time of great extravagance and wealth for Egypt. Men and women wore earrings, pendants, necklaces, bracelets, signet rings, and anklets (in pairs) and jeweled girdles.Turquoise, carnelian, lapis lazuli and coral were popular and further embellished with pearls and amber. Flat bead collars were preferred, but strings of beads, with or without pendants where also worn. Karyn Wagner, karynwagner@earthlink.net Illustrations by Robin Richesson, robins.nest@verizon.net
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WHATS ON
Brothers & Sisters
Costume Designer:
LAURA GOLDSMITH
HEIDI KACZENSKI
The Nine
Costume Designer:
Ugly Betty
Costume Designer:
LINDA BASS
EDUARDO CASTRO
The Class
Costume Designer:
Shark
Costume Designer:
BONNIE NIPAR
RUTH CARTER
Justice
Costume Designer:
Heroes
Costume Designer:
KATHLEEN DETORO
DEBRA MCGUIRE
Til Death
Costume Designer:
KARYN WAGNER
Studio 60
Costume Designer:
Dexter
Costume Designer:
AMY STOFSKY
Assistant Designer:
JILL OHANNESON
Assistant Designer::
KATE CROWLEY
ZHANNA TATARYAN
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Brothers & Sisters ABC-Disney / Scott Garfield ABC, Help Me, Help You ABC / Michael Becker / ABC, The Nine / ABC / Craig Sjodin / ABC, Ugly Betty ABC-Disney / Richard Cartwright / ABC, The Class CBS-WB / Robert Voets / CBS, Shark CBS / CBS Photo, Justice FOX-WB / Andrew MacPherson / FOX, Heroes NBC / Mitch Haaseth / NBC, Friday Night Lights NBC / Michael Muller / NBC, Til Death FOX-Sony / Scott Schafer / FOX, Studio 60 NBC-WB / Art Streiber / NBC, Dexter Showtime-FX / Christopher Weber / Showtime.
Dj Vu Disney / Ron Phillips / Touchstone Pictures, Jerry Bruckheimer, Inc., Eragon 20th Century Fox / James Dittiger / 20th Century Fox, Dreamgirls Paramount / David James / DreamWorks Pictures, LLC, Flags of Our Fathers Paramount / Merie W. Wallace / DreamWorks LLC and Warner Bros. Ent. Inc., Running With Scissors TriStar Pictures / Suzanne Tenner / TriStar Pictures, Inc., Marie Antoinette Sony / Columbia / Leigh Johnson / Columbia Pictures, The Good Shepherd Universal / Andrew Schwartz / Universal Studios, The Fountain Warner Bros. / Takashi Seida / Warner Bros., The Good German Warner Bros. / Melinda Sue Gordon / Warner Bros., We Are Marshall Warner Bros. / Frank Masi / Warner Bros., Bobby Weinstein MGM / Sam Emerson, The Weinstein Co., Fur Picturehouse / Abbot Genser / Picturehouse.
Illustrator:
Dreamgirls
ANN ROTH
Bobby
SHAREN DAVIS
Assistant Designers:
Costume Designer:
Costume Designer:
Costume Designer:
Assistant Designer:
FELIPE SANCHEZ
ELLEN MIROJNICK
LOUISE FROGLEY
The Fountain
Costume Designer:
Costume Designer:
RENEE APRIL
Fur
Costume Designer:
Costume Designer:
DEBORAH HOPPER
Eragon
Costume Designer:
KYM BARRETT
Assistant Designer:
HOLLY DAVIS
WHATS OUT
DANNY GLICKER
MILENA CANONERO
LOIS DE ARMOND
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WA R D R O B E
C LOTH I N G R E NTA L S E RVI C E
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.
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4 5 1 G R E E N W I C H S T. , 7 T H F L O O R , N E W YO R K , N Y 1 0 0 1 3
W W W. WA R D R O B E - N YC . C O M I N F O @ WA R D R O B E - N YC . C O M
IN FOCUS
IN FOCUS
(505) 989-8886 Modern and collectible vintage. Cowboy and Indian clothing and beautiful jewelry.
Buffalo Exchange
500 Montezuma Ave., Santa Fe (505) 982-3880 Hippest in town: Joie, Seven, DVF
Robert Bailey (Mens traditional)
4250 Cerrillos Road, Santa Fe (505) 473-4253 Dillards, JC Penney, Mervyns, Sears
Villa Linda Mall Bobbi Langhofer Best trooper in New
150 Washington St., Santa Fe (505) 983-8803 6640 Indian School Rd., Albuquerque (505) 881-2750
FLEA MARKET
Tesuque Pueblo Flea Market
4250 Cerrillos Road, Santa Fe (505) 438-3431 Dillards, JC Penney, Mervyns, Sears
DeVargas Mall
Mexico. A workhorse. Although she doesnt have much experience in film, she has been working on touring stage shows for the last 25 years. Great on set. Great personality.
Lyn Bernay Longtime member of 705 locat-
564 N. Guadalupe St., Santa Fe (505) 982-2655 Ross, Office Depot, United Artists Theatres
Coronado Center
ed in Santa Fe. A seasoned professional and true artist who cant be thrown for a loop.
6 miles north of Santa Fe on U.S. 84/285 (505) 995-8626 Fri., Sat. & Sun. 8 a.m.5 p.m. Mar.Nov.
FABRIC
Common Thread/Uncommon Fabrics 120 Bent St. #A, Taos
R&R
Ten Thousand Waves
(505) 758-8987 An hour drive from Santa Feworth the investment.Exotic fabrics & modern basics. Open to memo-ing with credit card.
Jo-Ann Fabrics
3451 Hyde Park Rd., Santa Fe (505) 982-9304 www.tenthousandwaves.com Buy a book of spa entrances to and save.
La Posada De Santa Fe Resort & Spa
CREW
SEAMSTRESS
Pilar Agoyo Barbara Brice Great seamstress & asset to
330 East Palace Ave. (505) 986-0000 www.laposada.rockresorts.com Reflexology by Kea,who studied in Japan.
La Bella Spa & Salon
any Designer.
COSTUMER
Daniela Moore John Deering Works extremely well with
117 Gold Ave. SW, Albuquerque (505) 243-6777 They serve wine while you wait!
YMCA Santa Fe
the actors and director, communicative with design & on-set staff.Twenty years of experience in New York theater and film, before moving to Albuquerque.
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GOOD EATS
BREAKFAST
Cafe Pasquals
Mu Du Noodles (Asian fusion) 1494 Cerrillos Rd., Santa Fe (505) 983-1411 La Casa Sena (Southwestern)
MISC.
SHORT-TERM HOUSING SPECIALIST
Pilar West of Luna Luz Properties
125 E Palace Ave., Santa Fe (505) 988-9232 Mostly Italian with a bit of chili mixed in.
Geronimo (Global fusion) 724 Canyon Rd., Santa Fe (505) 982-1500 Expensive, but worth it. Crazy Fish (Sushi)
653 Don Gaspar Ave. Santa Fe (505) 820-6977 Pilar helps with housing and knows everyonegreat advice for whatever you need.
ADVICE
New Mexico is overworked and its resources are strained. Beware of inexperienced crews. Take everyone you can, especially your supervisor and ager/dyer. Bring an L.A.Assistant Designer, Costume Supervisor, tailor shop head and key. Bring woolens or interesting fabric, the fabric is either polyester or quilting cottons.
CONTRIBUTORS:
376 Garcia St., Santa Fe (505) 983-3085 Best coffee, caf and great intl newspapers & magazines.
DINNER
The Cowgirl (BBQ & Western Grill)
319 S. Guadalupe St. (505) 982-2565 A Santa Fe institution, great nachos and photos of cowgirls from all eras adorn the walls.Fun research while having a cocktail.
The Compound
Jordanna Fineberg, Arianne Phillips, Dan Lester, Michael Boyd, Mary Malin, Denise Wingate, Allison Leach and Sharon Day
653 Canyon Rd., Santa Fe (505) 982-4353 Best Chef of the Southwest 2005
P ROFILES
IN
H ISTORY
Original Walter Plunkett costume sketch for Vivien Leigh in Gone With The Wind. Worn during the sensational bedroom scene when she spurs Rhett and tells him that she hopes to have no more children! (MGM, 1939)
W W W . P RO F I L E S I N H I S T O RY . C O M
OR CALL
310-859-7701
IN FOCUS
BOLDFACE NAMES
BOLDFACE HONORS
Congratulations to Penny Rose, awarded Costume Designer of the Year by the Hollywood Film Festival for her design for the Pirates of the Caribbean. Penny was honored at a star-studded gala at The Beverly Hilton Hotel on October 23. Debra McGuire has been nominated for a 2006 Ovation Award for her theatrical costumes for Boston Marriage at the Geffen Playhouse. Sharen Davis received a Hamilton Behind the Camera Award for Dreamgirls on November 12 at the Hamilton Watch and Hollywood Life fete! Sharens costumes will also be on display with a very special road show preview of the film in New York, Los Angeles, and San Francisco the week of December 15. The awards season is starting off with a bang and the HOT TICKET will be our own Costume Designers Guild Awards to be held on Saturday, February 17, 2007, at the Four Seasons Regent Beverly Wilshire. Purchase your tickets earlymake it a huge success!
BOLDFACE ENTREPRENEURS
Cate Adair recently launched her own small leather goods line
Cate Adair Los Angeles.Wallets with contrasting leather & embossing and handbags & totes with tassels are available at Kitson, Fred Segal Melrose, and Bloomingdales NY and SF. www.cateadair.com Congratulations Cate! In addition to designing the sixth season of Scrubs and the third season of The Office, Carey Bennett has launched her companyBest Ever Scrubs. After youve tried recutting and tailoring those polyester potato sacks; her, stretch-poplin, tailored, figure-flattering beauties will be a godsend! Best Ever Scrubs are the scrubs that Hollywood wears. They were featured in TV Guide magazine. www.besteverscrubs.com Sharon Days company, RAGDOG, is donating its entire stock of canine Halloween and Christmas Costumes to the PAWS LA in honor of her beloved Boston Terrier, Charlie Girl.After retiring as editor of this magazine, Sharon is launching the CDG Education Committee focusing on outreach to the DGA, SAG,ADG and WIF as well as providing member support seminars and DVDs for life in these changing times.
BOLDFACE PRESS
The Hollywood Reporter, Next Generation Issue Oct. 17, profiled Casey Storm, Adaptation and Being John Malkovich, and B., best known for her extensive commercial work. Emmy winner Randall Christensen and his team were featured in a behind-the-scenes segment of the hit series Dancing With the Stars (10-18-06) highlighting the insane pace of designing and building a live show every week. People magazine also profiled the costumes for the show. Milena Canoneros luscious costumes for Marie Antoinette made the cover of Vogue with a two-page spread inside (October), and have since been touring the country with film openings in Los Angeles, New York and Boston. Member Elena Baranova was involved with the 16-part Russian documentary about life in the U.S.A. Elena persuaded the filmmakers to include Sal Perez one of only three people interviewed in Los Angeles for Russias Channel One series. Kym Barrett, designer of The Matrix trilogy, is featured in a companion book to her new film Eragon. Diana Edens designs for Passions and her fashion tips can be found at www.seenon.com/blog/Diana%20Eden.php. Hollywoodland and Bobby designer Julie Weiss was interviewed at length for the L.A. Times new section The Envelope. Julie was referred to as a psychoanalyst, a psychic, an interpreter of dreams, a soothsayer, historian and a wardrobe memoirist. The Envelope online, http://theenvelope.latimes.com also features a photo gallery of Best Costume Designshowcasing 11 Costume Design Oscar winners from 1982 to 2005. 38 The Costume Designer Fall 2006
BOLDFACE AT WORK
Mary Malin is in Albuquerque, N.M., on West Texas Childrens
Story, a period film set in 1962 starring Val Kilmer, Matthew Modine and Lara Flynn Boyle. Susan Nininger completed work on a Nissan commercial for the college football season. Emmy winner Erin Lareau designed three spots for the new VW Cars & Guitars Campaign starring Slash, John Mayer, and Christopher Guest and music videos for Mario Winans and Italian superstar Piero Esteriore and Anna Netrebko/Rolando Villazon for L.A. Operas Manon. Jacqueline Saint Anne is designing the opera Powder Her Face at USC with Anna Bae illustrating. USC will display the design sketches in the lobby of the Bing Theatre for the previews and the performances. Michael Boyd, Emmy nominated for the miniseries Into the West, is designing The Company, a six-hour miniseries for Ridley Scott and TNT. Michael started mid-June filming the first segment in Toronto, traveled to Budapest, Hungary, and then will head to Puerto Rico to film the Bay of Pigs sequence. Louise Frogley has begun her fourth collaboration with George Clooney on
Leatherheads, a romantic comedy set in the world of 1920s football. Alexandra Welker is back from location in South Carolina,where she was shooting Asylum with David R. Ellis directing written up in USA Today (9/6/06). Kristin Burke was also in South Carolina designing Death Sentence. Shay Cunliffe is home in England designing The Bourne Ultimatum.The production will be filming in Morocco and London before setting off for Russia, Spain, France and the U.S.A. Costume Designer Amy Westcott and Assistant Costume Designer Roemehl Hawkins will be on location in Pittsburgh in November and December filming Smart People with Dennis Quaid, Rachel Weitz and Thomas Hayden Church, produced by Michael London, Sideways.
Valerie Laven-Cooper
is back in Las Vegas, where she worked on The Grand a mockumentary of the World Championship of Poker. Currently, she is designing a modern version of The Merchant of Ve n i c e d i r e c t e d b y Micheal Almereyda with Patrick Stewart and Sir Ian Mckellan. Inanna Bantu is in Northern California working on the new Ed Harris film, Winston, an autobiography about two brothers love of baseball and their relationship with their alcoholic father. CDG Illustrator Derek B. Sullivan is thrilled to be designing an independent comedy, Disconnected, in Staunton,Virginia. Principal photography began on October 26. Costume Designer Carol Ramsey and Assistant CD Ellen Falguire are off to Argentina to begin work on The City of Your Final Destination, sadly, the first film from Merchant Ivory Productions without Ismail Merchant. Hope Hanafin is just wrapping up Honeydripper with director John Sayles. The indie film, shot on location in Alabama, captures The Blues in the south during the 1950s. Michael Kaplan is on location in New York filming I Am Legend. The sci-fi drama stars Will Smith as the last man alive. continued on page 40
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IN FOCUS
BOLDFACE NAMES
BOLDFACE FESTIVALS
After producing a successful series of panels at Comic-Con 2006 in San Diego, CDG Film Festival Co-chairs Mary Malin and Susan Nininger are gearing up for a CDG spotlight at The Palms Springs International Film Festival. The committee is also spearheading a stand-alone panel at the Santa Barbara International Film Festival (January 25 through February 4). Winterthur Gardens hosted an inside look at the world of feature film Costume Design this November with a panel that included Sophie de Rakoff Carbonell, Juliet Polcsa, and Nancy Steiner.The committee recently helped the Scottsdale International Film Festival (October 18, 2006) organize a panel with Ruth Myers, Infamous, and Michael Wilkinson, Babel, after the films were screened. Ruth Myers was in London prepping The Golden Compass, so our CDG President Deborah Landis interviewed Myers by phone and then moderated the festival discussion with Michael Wilkinson who just finished the Nanny Diaries and is on his way to Morocco to shoot Rendition.
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SCRAPBOOK
Faye Dunaway and Theadora Van Runkle, Bonnie and Clyde (1967) 42 The Costume Designer Fall 2006
Courtesy Photofest
A compassionate, cautionary tale speaks eloquently about a time when America needed heroes, and does so when we are no longer sure what they look like.
Richard Corliss, TIME
Deborah Hopper
Costume Designers Guild Local 892I.A.T.S.E. 4730 Woodman Avenue, Suite 430 Sherman Oaks, CA 91423-2400
Prsrt Std U.S. Postage Paid Santa Ana, CA Permit No. 450