The Costume Designer Summer 10

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Costume Designers Guild
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The Official Magazine of the Costume Designers Guild
COSTUME
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Summer 2010 The Costume Designer 3
COSTUME DESIGNERS GUILD
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phone: 818.752.2400 fax: 818.752.2402
GENERAL CDG CORRESPONDENCE
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COVER
Shirley MacLaine in Sweet Charity, 1969
Costume Design by Edith Head
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Presidents Letter
Executive Director
Assistant Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 20
Meet the Assistants
Meet the Illustrators
History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Location: Vancouver
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
DEPARTMENTS
FEATURES
What a Way to Go! . . . . . . . . . . . . . . . . . . . . . 12
A conversation with Shirley MacLaine
Emmy Nominees . . . . . . . . . . . . . . . . . . . . . . 18
Thoughts from the 2010 nominees

18 23 12
vol. 6, issue 3
4 The Costume Designer Summer 2010
here are two topics on my mind this summer.
One is the changing of the guard here at the magazine.
We are so sorry to be losing a very dedicated partner in crime.
Costume Designer Audrey Fisher is stepping down as associate editor
and contributor of A Look Back and Boldface Names. Audreys
very successful HBO series, True Blood, leaves her with very little, if
any, free time; so shes deeply in need of a break. I will certainly miss
her unique perspective and writing style. Also taking some time off
is contributor JR Hawbaker, whos been writing Meet the Assistants
since the start. JR has been working as Audreys Assistant Designer
on True Bloodneed I say more? Thank you JR for your swan song in this issue.
Im happy to announce that Bonnie Nipar will be taking over as associate editor!
Bonnie has become more and more involved with the magazine, taking on the research
for Whats On & Whats In, Location, Location, Location, and our Emmy/CDG
Award Q&A that seems a perfect fit. Her hard work and enthusiasm are so welcome
and appreciated. That said, we are still left needing more from YOU. If you are inter-
ested in developing a new regular column, have a singular story to tell or would like to
help tackle some of the many research projects we encounter, please contact us.
On that note: thank you to CD Rob Saduski for sharing your conversation with
Shirley MacLaine. Its been some time since you first proposed the idea. Im so glad
we could finally treat our readers to another sort of Look Back with such a legendary
actress.
On another front TV COSTUME DESIGNERS MY HATS OFF TO YOU!!!
Launching a new episodic TV series may just be the hardest job a designer can
take on. Is it just shopping? YOUVE GOT TO BE KIDDING?! Of course, I have very
little perspective at this point, since I start shooting episode ONE tomorrow on my first
series. After hearing the trials and tribulations from other designers over the years, I
thought I knew what to expect, but I had no idea. Television works at the speed of
light. Trying to create a complete closet for your lead characters one week before
shooting is daunting at the least. A single episode alone can take you from sports attire
to tuxedos and everywhere in between. Are your actors off-the-rack sizes? Maybe not.
Is it last-call sale time, off-season, or are the colors just wrong? Its likely. Theres late-
night casting, later night fittings and mad rush alterations. Meetings on top of meetings!
Wow, who knew? Imperative of course, but every eight days or so theres the concept
meeting, the director meeting, the production meeting, added to 15 story days, new
day players and set pieces, uniforms, stunts and what about the traffic?! I dont know
how you do it, week after week, year after year (though they tell me it gets easier).
Im amazed with a newfound sense of wonder at the miracles, large and small,
that TV designers pull out of their hats on a regular basis. They are every bit as focused
on designing real and yet, original characters, while helping to tell the story through
costumes as any film designer would be. The difference is that they have to explore
new ideas, make choices and delegate, delegate, delegate in the blink of an eye WHILE
prepping, shooting and wrapping various episodes at the same time. Evidence that
more shows should employ and fairly compensate our Assistant Designers as well!
Im very lucky to have the loveliest show runners, a very hard-working crew and
an extremely appreciative cast. Fingers crossed to all who are starting up new shows
this season. Heres to a long run and to getting in the groove. Congratulations to the
talented Emmy-nominated CDsread how they did it on page 18.
Deena Appel.
dappel@costumedesignersguild.com
EDITORS NOTE
EDITOR/PHOTO EDITOR
Deena Appel
ASSOCIATE EDITOR
Bonnie Nipar
MANAGING EDITOR
Cheryl Downey
PRESIDENT
Mary Rose
mrose@costumedesignersguild.com
VICE PRESIDENT
Hope Hanafin
hhanafin@costumedesignersguild.com
SECRETARY
Ann Somers Major
asomersmajor@costumedesignersguild.com
TREASURER
Marilyn Matthews
mmatthews@costumedesignersguild.com
EXECUTIVE BOARD
Sharon Day
sday@costumedesignersguild.com
Salvador Perez
sperez@costumedesignersguild.com
Deena Appel
dappel@costumedesignersguild.com
April Ferry
aferry@costumedesignersguild.com
Lois DeArmond (Asst. Costume Designers)
ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators)
fsanchez@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com
Susan Nininger
snininger@costumedesignersguild.com
Robert Blackman
rblackman@costumedesignersguild.com
Julie Weiss
jweiss@costumedesignersguild.com
BOARD OF TRUSTEES
Marcy Froehlich, Chair
mfroehlich@costumedesignersguild.com
Peter Flaherty
pflaherty@costumedesignersguild.com
Jacqueline Saint Anne
jsaintanne@costumedesignersguild.com
EXECUTIVE DIRECTOR
Cheryl Downey
cdowney@costumedesignersguild.com
ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@costumedesignersguild.com
ADMINISTRATIVE ASSISTANT
Suzanne Huntington
shuntington@costumedesignersguild.com
RECEPTIONIST/SECRETARY
Cheryl Marshall
cmarshall@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
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Dear Members,
Would most of us object to being thinner? Mind losing weight? I would say no! But when my Sunday-morning
Times, W magazine and The New Yorker, are all growing skinny, I cant help but feel sad, seeing that these pub-
lications are now stapled rather than bound. So its actually a relief, when our CDG magazine editor Deena Appel
sent the warning, Its that time again, the summer deadline is here. I suppose its a great possibility, that in the
not-so-distant future, this magazine too will be incorporated into our website, and we will all be reading it online.
But then this speculation took me back to 2003, when I was your CDG Treasurer. The Executive Board
discussions at that time were centered on discontinuing the CDG directory. The concern was that in the age of
the Internet, our directory had lost its usefulness, and that producers and directors were focused on their comput-
ers and not interested in a printed directory. And so the CDG directory met its death.
In 2007, a newly elected CDG EBoard heard the call of many members asking for the directory to be resur-
rected. That combined with the fact that our fabulous magazine publishers, IngleDodd, agreed to completely finance
the directory (as they do our magazine), made it a win-win proposition. The EBoard subsequently voted to bring
back the coveted directory. Now, while it didnt cost us any money, we had to find a hard-working volunteer editor
to take on the thankless job. Happily, that brave volunteer, Salvador Perez (who had edited the 2002 and 2003 ver-
sions), agreed to come back on board and has since edited both 2009 and 2010. He must have been a masochist or out of his mind or Id like to
think a really good man, because the job is a big one. However, at this time, since Salvador is a constantly working Costume Designer who also
oversees our website, he simply cant continue with the directory. So we are looking for someone to take the reins as editor and assemble a
team to help. Im really hoping that there is a member reading this, who would like to step into Sals shoes to keep the directory afloat for all those
members who look forward to it every year. Without a leader, it will once again cease to exist. Any volunteers should contact the office ASAP.
Our magazine editor, Deena Appel, will be busy keeping the magazine going while she is designing a new fall series, and she too is look-
ing for any bright-eyed volunteers interested in contributing to our magazine. Please step up and join the magazine staff!
By the time this reaches you, the FIDM/ATAS joint The Art of Television Costume Design Exhibition will have already opened
so if you missed it, please stop by to see the work of your talented peers. The exhibit will be open through September 4, 2010. Have
a wonderful summer.
With love, Mary Rose
mrose@costumedesignersguild.com
PRESIDENTS LETTER
UNION LABEL
September
6 CDG Office closed for Labor Day (Mon.)
13 Executive Board Meeting 7 PM
CDG Ofces (Mon.)
15 Final Election Ballots due back (Wed.)
16 Ballot counting (Thu.)
October
4 Eboard Meeting, New Eboard installed 7 PM
CDG Ofces (Mon.)
November
8 Eboard Meeting 7 PM CDG Ofces (Mon.)
2010 CALENDAR
CORRECTION
The Costume Designer of The Runaways
Carol Beadles name was misspelled in the
previous issue. Our apologies.
Summer 2010 The Costume Designer 9 8 The Costume Designer Summer 2010
Knowing that there are finally more jobs out there for you is welcome news. Although many of those jobs are
out of California, low, lower, and lowest budget productions, or even eight-minute webisodes, the good news is
that most seem to be signing IA Agreements out front. At least, no matter what the pay scale may be, you will
earn contributed hours into our Health and Pension Plans which are so in need of funding. DVD sales are down,
Internet free downloading sites proliferating and medical costs continue to rise. Remember to report your jobs
to the office so the IA can organize any non-union companies still trying to dodge paying benefits you all deserve.
Even before the recent downturn in our business, one of your requests was to have more social occasions for
members to catch up and network with Guild friends. In response, the Guild began what is already a much-antici-
pated annual tradition: the CDG Holiday Party. Now weve started a midsummer soiree for CDG members and our
Local 705 sisters and brothers. We hope it too will develop an enthusiastic, annual following. In the meanwhile,
weve streamlined our General Membership Meetings to accommodate before-and- after social time. So, come and
enjoy being part of the fun and creativity in this Guild!
Another way to make use of the many benefits of CDG membership is to get involved on a committee with
your fellow Designer, Assistant Designer and Illustrator members. Committee opportunities come in all varieties:
Short-lived: such as the current Election Committee, chaired by Nanrose Buchman and Helen Butler. They make
sure rules are followed precisely as we elect new leadership to start October 1.
Annual: such as the Comic-Con Committee, chaired by veteran Susan Nininger. This year, in addition to offering three CDG panels, for
the first time we co-sponsored an exhibition of CDG Illustrators artwork alongside those of our sisters and brothers in Local 800, the Art
Directors Guild. This committee grew exponentially this year and even pioneered a CDG Twitter following!
Long term: such as education, wonderfully helmed by Ann Major and Helen Butler, who launched our Tuesday Tea and Technology drop-
in sessions at the Guild. Alycia Belle is the new Co-chair who envisions having each session focus on whatever new challenge might help
you be more easily productive in your creative work.
Empowering you in the workplace is a primary goal of this Guilds leadership. Let us know your needs and get involved. Make sure you
vote in the CDG Electionballots in the mail shortly. This Guild needs YOU!

In Solidarity, Cheryl
cdowney@costumedesignersguild.com
Hello, Friends,
EXECUTIVE DIRECTOR
UNION LABEL
MOTION PICTURE COSTUME CO.
3811 VALHALLA DR.
BURBANK CA 91505
P. 818-557-1247 / F. 818-557-1695
WWW.MPCCWARDROBE.COM
MOTION PICTURE COSTUME CO.
ASSISTANT EXECUTIVE DIRECTOR
UNION LABEL
Dear Members,
Summer: lazy days, hot temperatures, vacations? NOT if you work in the world of television. This is the time
of year when our television designers are gearing up for another season of long days, hard work, and creative
brainstorming. This new season has more television shooting out of the L.A. area than ever before. The chal-
lenges of episodic TV are hard enough but when you are trying to get a show up and going in a city youre
not familiar with, it can add new obstacles you dont have time to deal with. The Costumer Designer has
been covering many of these cities in Location, Location, Location, and you can refer to them online at
our website. The CDG office can also refer you to other members who have worked in the same areas and
can guide you to all the best resources. It is also important that you call the IA Local union in the area to let
them know that you will be working in their jurisdiction under an 892 contract. Be sure that the production
company has traveled you, housed you, and is paying you per diem, as well as idle day pay and benefits for
those idle days. We can help you find local crew and craftspeople, as well as great resources for your shopping needs in the area.
Call the office to let us know where you will be working and we will give you the contact for the Local union office. Here are just a
few of the most-often-needed numbers:
Georgia Local 479, Michael Akins (770) 483-0400 Chicago Local 476, Mark Hogan (773) 775-5300
Louisiana Local 478, Michael McHugh (504) 486-2192 Michigan Local 812, Timothy Magee (313) 368-0825
New Mexico Local 480, Jon Hendry (505) 986-9512 New York Local USA 829, Beverly Miller (212) 581-0300
N. and S. Carolina Local 491, Jason Rosin (910) 343-9408
Travel and work safely and let us know where you are by either calling us or reporting your work online. Good luck on another
great year.

In Solidarity, Rachael Stanley
rstanley@costumedesignersguild.com
hirley MacLaines career is marked by collab-
orations with legendary directors, actors and
Costume Designers. I had the opportunity to talk
with Shirley about certain choices and inspira-
tions that helped build the characters she por-
trayed. What I find so impressive is not only the
caliber of her performances or the remarkable
people shes worked with, but her enthusiasm
and clarity in recalling her extraordinary career,
and her humility in describing her partnerships
with so many talented Costume Designers.
What do you remember about working with Orry-Kelly on
Irma la Douce? A particular shade of green was so effec-
tively used in your entire wardrobe. Where did the idea
originate?
I met Orry-Kelly on the movie The Apartment so we already had a
working relationship. Orry and head cutter/fitter Lilly Fonda would
bring the costumes to my trailer. Elizabeth Courtney was also work-
ing at Western Costume then, and she helped make some of my
costumes. The green tights were actually the idea of Audrey Wilder
(director Billy Wilders wife). The color was to symbolize money and
since I was playing a prostitute, it made sense. There was a lot of
discussion around the color of my wedding dress at the end of the
film. Since I was playing a prostitute, the choice to use white was
controversial at the time. The other street girls wore baby blue and
pink to be the bridesmaids. Orry loved sashaying around with the
girls. He was a master at accentuating the bust. He taught me how
to raise my bust for effect and to put a 7 millimeter pearl into my
bra to enhance my nipples. Orry said he could make Jimmy Stewart
look like he had boobs!
I would like to talk about an early collaboration, Some
Came Running, with director Vincente Minnelli (a former
Costume Designer himself) and Oscar-winning Costume
Designer Walter Plunkett. Were the costumes built or
were they pulled from costume houses and purchased
from stores? No matter how often I watch your perfor-
mance, I find it emotional and wrenching when your char-
acter and Frank Sinatras are murdered.
I was so sure of who my character was that I used some pieces of
my personal wardrobe in the film. I dont know why I had sandals
like that, but I did and used them. Vincente Minnelli trusted Walter
Plunkett and me with the character so we shopped for Ginnie
Mooreheads clothes at stores in the Valley. Walter then took those
clothes and trashed them up a bit more, which was the right thing
to do.
S
Irma la Douce
Some Came Running
WHAT A
WAY TO GO!
A C o n v e r s a t i o n W i t h S h i r l e y M a c L a i n e
I understand that the producer of Around the World in
Eighty Days, Mike Todd, flew you from your Las Vegas
performance to Western Costume in Los Angeles to pre-
pare you for your screen test for the film. What was that
experience like?
Mike Todd asked me to come to his office while he was casting the
role of Princess Aouda. Mike thought the highest caste of Hindu
was pale skin and red hair, so he gave me the job on the spot. He
sent me directly over to Western Costume to be wrapped in saris
by Costume Designer Miles White and Lilly Fonda. Next, I was sent
to have my hair dyed and then, I was put directly on a plane. I had
to call my husband from the airport to tell him what was happen-
ing. During the filming, there was a pending strike, so in a scene
where I was being carried around a lake by extras, I thought they
might toss me in the lake as a show of protest. All I could think
about was how the water would ruin my costume and how I would
explain that to Miles.
There are so many great actors working together on that
film, did you have any scenes or time on the set with
Marlene Dietrich?
I was able to sit in on Marlene Dietrichs fittings with Miles and
Lilly at Western Costume and watched as they decided where
each bead was placed on her costume for the best effect.
Marlene and cameraman Cooley taught me how to light myself
on that film and I have used that advice ever since.
Can-Can was such a brilliant collaboration of talent behind
the scenes, with Irene Sharaff designing the costumes,
Tony Duquette consulting on the sets and Tom Keogh
designing the titles. What was your experience with Irene
Sharaff? Did she use genuine, period clothes to reference
your costumes?
One of the first things that comes to mind is the weight of the cos-
tume about 75 lbs! Irene Sharaff had quite an imposing presence,
so making suggestions about the costumes was not something I
wanted to do. The costumes were all based on genuine garments of
the period, including the undergarments. All of the costumes were
made of cotton and silks, no synthetics. Di Fabrizio made the dance
shoes for the movie (the start of another professional relationship
that lasted for many years). Russian Premier Kruschev came to visit
the set on the Fox lot and we were asked to perform one of the musi-
cal numbers from the movie. Now, when we shot the dance scenes
for the movie, we did it in cuts, but for Kruschev (and the head of
Fox at the time), we had to do it all the way through in those
75-lb costumes! That wasnt easy. Thank God, Juliet Prowse was
there with me to see the number through in front of all those people.
Another funny memory was when we shot the scene where Frank
Sinatra sings, Live and Let Live. It was just after Id eaten lunch
(which was showing). Luckily, Irene had a dressing gown for me to
put over my costume. In the courtroom scenes, I was wearing a very
tight corset to cinch my waist to probably 19-20. Irene insisted I
wear it, and her adherence to the silhouette of the period paid off.
Some Came Running
Around the World
in Eighty Days Sweet Charity
Can-Can
The Apartment
ter, Martha, in The Childrens Hour, doesnt know shes gay, and her
clothes say as much. There is one scene in the movie where Martha is
ironing Karens clothes and we see Marthas love for her in the act of
ironing her clothes. Audrey Hepburn (Karen) played a schoolteacher
and was dressed as a teacher would dress. Most of our clothes were
bought but Dorothy made some things too. [Dorothy Jeakins was
nominated for an Academy Award for her costumes.]
May Routh and I really had a great time working on Eves costumes for
Being There. We filmed it in North Carolina. The director, Hal Ashby,
really trusted Mays choices for this wealthy woman.
The costumes you wear in Terms of Endearment are soft
and romanticthe antithesis of the character.
In Terms of Endearment, James Brooks was very involved with
my character Auroras costumes. I was on a plane going through
a fashion magazine and found a picture I thought really captured
the character. Costume Designer Kristi Zea and I used that picture
as the inspiration for Auroras clothes. The wardrobe had a feeling
of femininity with the use of pastel colors. I wore a dress with a
peasant neckline under the gazebo to make an impression on my
astronaut neighbor (Jack Nicholson). Another important costume
was the dress I wore with Jack driving a convertible Corvette on
the beach. It really flew in the wind and was quite effective.
Thank you, Shirley, for sharing your experiences and giving
us a peek inside your process.
Thank you for helping me to remember all of the wonderful and
talented people I knew and worked with during my career.
Rob Saduski
MRMS31@aol.com
One of your most memorable characters for me is Charity
in the film Sweet Charity. What an important collabora-
tion with director Bob Fosse, Costume Designer Edith
Head, and screenwriter Federico Fellini (having written
and directed the original film, Nights of Cabiria). The
costumes were simple in shape and primary in color. Did
that have to do with the current styles of the time or the
adaptation from the stage or perhaps even the original
Fellini film?
I had worked with Edith before so we got along very well. She
designed the diamond dress in What a Way to Go that cost
$30,000 (at that time). On Sweet Charity, I really only had one
basic dress, the rest of my clothes revolved around it. Edith and I
worked together on what that dress should be. Bob Fosse trusted
us with our wardrobe choices. He knew that the clothes had to
work a certain way because there was so much dancing, so he let
Chita Rivera, Paula Kelly and me work very closely with Edith. I
remember her as a very black-and-white sort of person, not a lot of
emotion even on her time off. I used to go to her house sometimes
(which now belongs to Carrie Fisher) and she always said I should
lose two more pounds. Edith also had a right-hand woman
named Pat Barto, who she kept locked in a room somewhere. Pat
was very talented, a real character with long fingernails and differ-
ent hairstyles all the time.
During that time, I got to sit in on another Marlene Dietrich fitting
with Jean Louis and Lilly Fonda at Western, this time for a beaded
gown for her concert performances. I was once at a party at Jean
Louis in Malibu and went upstairs to put my coat on the bed.
Under all the other coats on the bed lay Margot Fonteyn! I looked
over and into the room walked Rudolph Nureyev, in head-to-toe
black leather!
Can you reminisce some about working with Dorothy
Jeakins? May Routh?
Dorothy Jeakins was a big woman but very understated. My charac-
The Apartment
Sweet Charity
What a Way to Go
Bewitched
Terms of Endearment
EMMA
Costume Designer: ROSALIND EBBUTT
Costume Supervisor: AMANDA KEABLE
While studying English at University, I became very involved in costuming student dramas and had the
opportunity to travel to America with a production of Julius Caesar, directed by Jonathan Miller. It was then
that I realized I HAD to be a Costume Designer!
I wanted Emma to look like a robust Georgian painting, with bold colors and interesting textures. Luminous,
but with restrained elegance Like the end of a summers day when all the flowers in the garden glow with
more intensity. The look was successful because all of the creative departments worked together to fulfill
one vision. It was a truly happy experience!
YOU DONT KNOW JACK
Costume Designer: RITA RYACK
Assistant Costume Designer: MARIA TORTU
I was very happy to work with Barry Levinson again after Wag the Dog, and Dr. Kevorkian is a personal
hero, so I really wanted to help tell his story. The filmmakers intention was to present Jacks relatively
provincial 90s Michigan world in gritty, desaturated color. I dressed the characters in a hyper-real, ironic
way, inspired by Jacks own videotapes. Our choices enabled Al Pacino to interpret Jack as he felt him.
As Al said: Im not DOING himIm PAINTING him. We had an exciting collaboration. I admire Susan
Sarandon for embracing her characters practical style. The casts complete visual transformations earned
me the nomination and Im thrilled that the picture has received positive recognition!
RETURN TO CRANFORD
Costume Designer: JENNY BEAVAN
Costume Supervisor: ALISON BEARD
I started in theater, and grew to include TV and film. Ive found its the same job for all disciplines story-
telling. I met producer Sue Birtwistle 15 years ago when she asked me to design Emma for which I won an
Emmy. We kept in touch, doing other small projects where there was no money, but there were wonder-
ful people involved. Sue had it in mind for years to produce the Cranford stories based on the works of
Elizabeth Gaskell. I cant think of anything better than to work on such fantastic stories with such talented,
extraordinary women. All departments did a terrific job I feel Im blessed to be a part of the whole.
THE PACIFIC
Costume Designer: PENNY ROSE
Costume Supervisor: KEN CROUCH
Out of theater design school, I worked six years on commercials with a very innovative, engaging, and
exciting group of guys, Ridley Scott, Alan Parker, Adrian Lynne and Hugh Hudson. Thanks to their loyalty,
encouragement and support I took on the challenge of the feature world under their talented wings.
The Pacific was my first TV job. For the civilian episode, I realized that 1942 Australia looked like England in
1930, so I used a bit of license to give it a far more backwoods suburban flavor. Its arduous work to do a
TV show, and my admiration for those who do has shot way up. I could not have done it without my guys
doing the military uniforms.
GLEE
Costume Designer: LOU A. EYRICH
Costume Supervisor: MARISA ABOITIZ
In the late 80s, I toured with bands doing the wardrobe, until I submitted my resume for a movie with
Costume Designer Carol Ramsey. Luckily, Carol mentored me for eight years, until the day she left
Popular to design a film, and I was bumped up to Costume Designer for the series. Subsequently, the
creator, Ryan Murphy, brought me on to four more projects before creating Glee.
On Glee, the characters are just so delicious and juicy that its so much fun to design. I believe the reason
Glee was nominated is the theatricality of the show. The writing and the talented cast allow the charac-
ters to be fun, colorful & creative and theres such a diversity of character a little something for
everyone to relate to.
THE GOOD WIFE
Costume Designer: DANIEL LAWSON
Assistant Costume Designers: JENNIFER ROGIEN FALETTI,
DANIELE HOLLYWOOD
With an MFA in costume design, I started my career in theater, entered television as an ACD, then ulti-
mately, got my first costume design job on John Wells Third Watch. It was there that I met EP Brooke
Kennedy, who recommended me for The Good Wife.
In meetings with creators Michelle and Robert King, we agreed I should create a sophisticated and chic look
that reflected both superb fit as well as clear and specific character delineation. My assistants and I use team-
work and painstaking attention to detail as our greatest tool. I look to the producers for guidance in tone, story,
and character development and they in turn allow me the freedom to create within the realm of the show.
MAD MEN
Costume Designer: JANIE BRYANT
Costume Supervisor: LE DAWSON
As an assistant fashion designer in NYC, I had no plans to go into film until I met Alexandra Welker. She
told me about her job and I thought, Thats what I want to do. First job, I worked for free as an ACD
on a low-budget feature, then went on from there. I was designing Deadwood when friends from the pilot
of Mad Men told Matt Weiner about me. We met and immediately hit it off.
This seasons Souvenir is a beautiful episode. It was interesting to create the world of Rome through
costumes, see Betty transform stylistically, and show different aspects to our characters lives.
GEORGIA OKEEFFE
Costume Designer: MICHAEL DENNISON
Costume Supervisor: FRANCES VEGA
My career began in NYC at Brooks-Van Horn Costumes in 1973 in the Art Department. Afterward, I
worked with Julliards The Acting Company and Twyla Tharp in the Wardrobe Department, on Broadway
and eventually, feature films as a Costume Supervisor.
My degree is in painting and I live in New Mexico, so the visuals and the setting in Georgia OKeeffe were
of great importance to me. The minimalist approach of the project made the costumes even more striking
against the magnificent locations. The movie spans five decades of interesting and colorful characters who
inhabited OKeeffes life, and I was thrilled to be able to bring them to life.
THE TUDORS
Costume Designer: JOAN BERGIN
Wardrobe Supervisor: SUSAN CAVE
A late starter to film, I came from classic theater, worked as a set and costume designer, sometimes actor,
and then, running an interior architectural practice. My first big movie, My Left Foot, was nominated for
seven Oscars! Director Jim Sheridan always pushed his creatives hard to serve the story first. An invaluable
lesson! I refreshed this blueprint with Christopher Nolan on The Prestige, and then brought it to the table
myself for The Tudors.
However beautiful the costumes, you have to ask yourself what do they add to the characters emotional
journey? Exhilaratingly addictive, exhausting as a mixim, by the end of season four on The Tudors, Im quietly
proud to have honored it.
30 ROCK
Costume Designer: TOM BROECKER
Assistant Costume Designers: REMY PEARCE, JOANNA BRETT
While I was designing Saturday Night Live, Tina Fey approached me about 30 Rock, a realistic backstage look
at an SNLtype show with a female head writer. Tina is so smart, funny, and talented, I said, YES, sign me up.
Four seasons later, this comic universe has become so much more. This episode has Liz Lemon juggling
three weddings on the same day. Each wedding was designed with a distinctive look: a traditional church
wedding, a New York City fashion-society wedding, and a black-cast-member wedding in the TV studio.
The most challenging design aspect was to achieve three distinctive looks using wedding and bridesmaids
dresses, and the contemporary clothing designed for each cast member.
Emmy Nominees: Outstanding Costumes
for a Miniseries, Movie or a Special
Emmy Nominees: Outstanding
Costumes for a Series
THE COSTUME DEPARTMENT
JR Hawbaker
jhawbaker@costumedesignersguild.com
MEET THE ASSISTANTS
C
H
R
I
S
T
I
N
E

B
E
A
N
C
A
R
R
I
E

G
R
A
C
E
Carrie Grace received her BFA in fash-
ion design from the Fashion Institute of
Technology in NYC and had tenure in the
NYC fashion scene. However, feeling cre-
atively stunted, Grace needed a change. So
in the summer of 1999, she packed up and
headed west to join the circus that is show
business! She now calls L.A. home and has
run the costume gamut by working indie
movies, passing out resumes at Western
Costume, and designing performance cos-
tumes for musicians and dancers. Today,
you can find Grace mainly working in
television and film where she explains, A
good ACD is instrumental in expanding the
scope of the Costume Designers influence
and intentions.
Carrie loves the research and educa-
tion process of each new project. Whether
it is researching 1920s period clothing,
understanding the dynamics of creating a
walkabout costume, discovering the details
of traditional Japanese dress, or re-creat-
ing authentic juvenile detention uniforms,
Grace enjoys how each job nurtures her
growing range of expertise. Grace has a
sagacity that emulates her namesake. She
explains how to survive the circus with
a graceful calm and quiet understanding.
Its so important to keep a sense of humor
about the capricious nature of this busi-
ness. We must remember to take care of
ourselves and keep a balance so we can be
the best at our job.
carriegrace@gmail.com
This Santa Cruzian ACD with the can-do
attitude spent many 18-hour days work-
ing for pennies learning the ropes by
designing for indies and student films.
Christine Bean knew her ultimate goal
was to join the Guild, but she also knew
she needed to meet Costume Designers.
After graduating from FIDM, she worked
her way up through Local 705. Her foot
was in the door when Eddie Marks hired
her at Western Costume. An ACD who
knows the inner workings of the rental
houses and retains those connections can
be a tremendous asset. Now working as an
ACD, Bean explains, I am so happy Ive
had the experience of working at Western,
especially under Donna Roberts. She intro-
duced me to clothing from the 1890s to
1980s and patiently taught me the defining
details of each period. The time spent at
Western was invaluable.
Christines advise to newbies: Even
if you are working in contemporary TV/
film, you need an understanding of period
silhouettes because when your designer
references a 40s shoulder or Gibson Girl,
you should know these images. Bean
spent the past several years assisting CD
Melina Root and loving her costume family
on Brothers & Sisters. Recently, she has
relocated to NYC and, with her Google
app and iPhone by her side, she is scouring
the NYC shopping scene and available for
work in the Big Apple!
christinebean@sbcglobal.net
cant live without
cell phone camera,
le Sportsac belt bag,
small notebook & pencil
cant live without
iPhone, GPS, Google app,
camera phone
MEET THE
ILLUSTRATORS
ussell Dauterman,
one of our new illustrator mem-
bers, works within the worlds
of costume illustration, comics
and childrens books. Ever since
he could pick up a crayon, Russell has been
drawing. While mermaids and Masters of the
Universe may sometimes remain the focus of
Russells art, he has grown from those early
days to find inspiration in art nouveau, J.C. Leyendecker, comic art
and film. He has trained in traditional drawing, painting, marker ren-
dering and digital methods.
A graduate of Boston College, Russell also has a master of fine arts
degree from the University of California, Los Angeles (UCLA), where
he majored in costume illustration. At Boston College, Russell wrote
and illustrated his first childrens book, Terry, the Awkward Turtle.
During school, his diverse internships have included a stint at Marvel
Entertainment and researching costume history for Raiders of the Lost
Ark Costume Designer Deborah Nadoolman.
Russells recent work includes the film Captain America: The
First Avenger, where he worked as a Costume Illustrator for Designer
Jeffrey Kurland. He has also completed the childrens/educational
books The Rescueteers Christmas Mission
by Annette OLeary-Coggins and Shape Up
or Bite Me! by Judy Eberhardt. In addition,
Russell is creating a complete illustrated
history
of cos-
tume as a
t e x t b o o k
for schools,
which covers
dress from ancient
times to modern-day
clothes. The working
version of the book, ten-
tatively titled The Evolving
Line: An Illustrated History of
Western Dress, is currently
being used as a text for UCLAs
School of Theater, Film and
Television costume history
course.
Russell lives and
works in Los Angeles,
California. For more on
Russell, please visit www
.russelldauterman.com.
e i - L i n g
H u b b a r d ,
who joined the CDG
Illustrators in April, dis-
covered theatrical cos-
tume through her grandfathers love of
opera and ballet. Both of her grandpar-
ents were involved in the stage and their
influence generated in her an interest in
theatrical costumes; the more opulent, the better. Her early fas-
cination with stage costumes developed into a passion for cos-
tume design that has guided her throughout her life. Mei-Ling
grew up in Los Angeles and began illustrating professionally
for a stylist while still in high school.
After graduating from Cooper Union for the
Advancement of Science and Art in New York with a
major in fine art, she moved back to Los Angeles and
began working as a graphic designer and art director,
occasionally illustrating for commercials. From princess-
es and superheroes to walkabout broccoli and rock stars,
Mei-Ling loves illustrating costumes because it never gets bor-
ing. Each job is different and requires a specific mood which
allows her to use various techniques and media to express a
character or depict a garment.
Mei-Ling values being a part of the CDG and the vibrant
and collaborative environment that sustains this industry.
You can see a portion of her portfolio on the CDG website
at www.costumedesignersguild.com.
R
M The Rescueteers Christmas Mission
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Jacqueline Saint Anne
jsaintanne@costumedesignersguild.com C
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THE COSTUME DEPARTMENT
MBRELLA: (From the Latin word umbra or shade.)
Dates as far back as Babylon. Reliefs and paintings
show the ancient Egyptians using them to keep off
the sun and rain. Chinese history dates them to the
11th-century BCE, when they were commonly made
of oiled leather. They fell out of popularity in Europe during the
Middle Ages in favor of hooded cloaks but were reintroduced by
China mid-17th century by way of Portugal and Italy. They have
remained in common usage since, the umbrella usually being
referred to for rainy circumstances and the parasol coming into
fashion as a sunshade.
UNION SUIT: The one-piece knitted
undergarment originated during the Womens
Emancipation Dress Reform Movement as an
alternative to corsets and other restrictive
wear, but soon became popular with
men as well. Initially, the one-piece gar-
ment was made of red flannel long
sleeves and leg and buttoned up
the front. The button flap in
back was known as a drop
seat or firemans flap.
It was patented in 1868 and
remained common in the United
States well into the 20th century,
gradually losing popularity due to
its association with comical old fash-
ioned characters.
URAEUS: The ancient Egyptian form
of the upright spitting cobra or
asp, which formed the cen-
terpiece of the crown of
the pharaohs of the Lower
Nile. Considered a goddess,
the asp was the protector of
the kingdom. Later, when
the two kingdoms joined,
the cobra and
the vulture
were both
represented
on the
crown.
UPARNA: Similar to the dopatta, it is an Indian
scarf made of silk or muslin and woven or embroi-
dered with metallic thread. It is worn by both sexes
of both the Hindu and Muslim populations.
ALENCE: Originally, a linen cover for the helmet
of a medieval suit of armor, it now may refer to a hat
brim with a flap of leather or metal.
VEIL: Head and face coverings ranging in every
possible size, fabric and usage. The first historical account of
the veil comes from Assyria in the 13th-century BCE, where it is
referred to as a symbol of status, indicating a woman of high social
standing and forbidden for common women and prostitutes. A
biblical reference also cites Hebrew women wearing it as a sign of
social standing, but since then, it has come to represent propriety
in women of the Jewish, Christian and Islamic faith.
The most time-honored and meaningful of
feminine accessories, it has stood for
humility, modesty, holiness, marriage,
mourning, mystery or b e a u t y ,
depending on the culture and con-
text.
VIRAGO SLEEVE:
A womens item of
clothing fashionable
the 1620s1630s. It
is a full-paneled
sleeve that is
made of strips
of fabric gathers
into two poufs by a
ribbon or fabric band
above the elbow.
U V
Illustrations by Robin Richesson
rrichesson@costumedesignersguild.com
Text by Karyn Wagner
kwagner@costumedesignersguild.com
HISTORY OF DRESS U-V
IN FOCUS
MALLS
Pacific Centre Mall
701 W. Georgia St., Vancouver, BC
V7Y 1G5, Canada
www.pacificcentre.ca
Premier mall adjoining Holt Renfrew with
upscale stores and Four Seasons Hotel.
Oakridge Centre
41 Ave. West, Vancouver, BC
V5Z 2M9, Canada
Located on the west side. Includes
department stores Zellers and The Bay,
and over 150 stores.
Metropolis at Metrotown
4700-4820 Kingsway, Burnaby, BC
V5H 4J8, Canada
(604) 438-4715
Park Royal Shopping Centre
2002 Park Royal South, W. Vancouver, BC
V7I 2W4, Canada
www.shopparkroyal.com
Located in Northern Vancouver.
The Bay Department Store
674 Granville St., Vancouver, BC
V5C 1Z6, Canada
(604) 681-6211
Oldest department store in Vancouver
(built in 1912).
SHOPPING AREAS
4th Avenue and Burrard Street
Large concentration of sporting goods
stores, small eclectic boutiques, mainstream
retailers, home goods shops and tons of
restaurants.
Commercial Drive
Vancouvers Little Italy is now a hipster
neighborhood with lots of funky, unique
stores, coffee shops, organic grocery stores,
and colorful individuals!
Gastown
Oldest part of Vancouver with many
historical buildings, local designer shops.
Granville Island
An escape! Unique artisan community
with handmade jewelry and accessories.
Huge farmers market held daily.
www.granvilleisland.com
Granville Street
Downtown caters to younger shoppers
with stores like Urban Outfitters, John
Fluevog Shoes, Vancouver Rock Shop, and
American Apparel. Late-night club area.
South Granville Street
Separated by bridge with an eclectic mix of
stores, boutiques, and art galleries.
Kitsilano
Vancouvers beach area. A destination must!
Main Street
Lots of vintage stores and young
entrepreneurs.
Robson Street
A treat! In the heart of downtown, its one
of the most famous shopping areas with
high-end chain stores like Gucci, Hermes,
Louis Vittton, and a few specialty stores.

Yaletown
Younger professionals shop high-end stores
with the latest in fashion. Lots of great
restaurants. Somewhat like SoHo, NYC.

BOUTIQUES
(Note: Many of the following boutiques
also carry menswear.)
212
454 W. Cordova St., Vancouver, BC
V6B 4K2, Canada
(604) 685-2426
www.twoonetwo.net
Local designer.
Atomic Model
1036 Mainland St., Vancouver, BC
V6B 2T4, Canada
(604) 688-9989
www.atomicmodel.com
Hip clothing and accessories by young
contemporary designers.
Bacci and Baccis Home
V6H 3J3, Canada
(604) 733-4933
www.buccis.ca
Hip clothing, home dcor and gifts all in
one store!
location, location, location:
24 The Costume Designer Summer 2010 Summer 2010 The Costume Designer 25
Basquiat
1189 Hamilton St., Vancouver, BC
V6B 5P6, Canada
(604) 688-0828
www.basquiat.ca
Great option to Holt Renfrew. Owner does
a line of jewelry thats very good.
Boboli
V6H 3J3, Canada
(604) 257-2300
Three adjoining stores, mostly Italian
designers, some Issey Miyake. Everything
from blue jeans to tuxedos.
Dream Apparel
V6B 1E5, Canada
(604) 683-7326
One of the few stores that exclusively sells
collections from local designers.
Dutil Denim Inc.
V6B 1E5, Canada
(604) 688-8892
www.dutildenim.com
All-denim store.
Eugene Choo
3683 Main St., Vancouver, BC
V5V 3N6, Canada
(604) 873-8874
www.eugenechoo.com
Gravity Pope Tailored Goods
2203 West 4 Ave., Vancouver, BC
V6K 1N9, Canada
(604) 731-7647
www.gravitypope.com/gravity-pope
-tailored-goods-vancouver
New clothing boutique from owners of a
favorite shoe store.
Holt Renfrew
737 Dunsmuir St., Vancouver, BC
V7Y 1E4, Canada
(604) 681-3121
Luxury shopping. Ask for Emile in the
personal shopping dept.
Leone
757 W. Hastings St., Vancouver, BC
V6C 1A1, Canada
(604) 685-9833
Very exclusive. Contact: Kevin White,
Studio Services.
Mandula
214 Abbott St., Vancouver, BC
V6B 2K8, Canada
(604) 568-9211
www.mandula.com
Local designer.
Rubi & Kino
486 West Cordova St., Vancouver, BC
V6B 4K2, Canada
(604) 689-5288
Girlie, soft clothing with a natural feel.
The Block
V6B 1E8, Canada
(604) 685-8885
www.theblock.ca
MENSWEAR
Brooklyn Clothing Co.
418 Davie St., Vancouver, BC
V6B 1C5, Canada
(604) 683-2929
Hip, urban wear, including over 50 styles of
jeans. Studio services.
Harry Rosen at Pacific Centre
700 W. Georgia St., Vancouver, BC
V7Y 1E8, Canada
(604) 683-6861
Canadas leading retailer of quality
menswear.
Haven Select
7 Gaolers Mews, Blood Alley,
Vancouver, BC
V6B 4K7, Canada
(604) 488-9398
www.havenshop.ca
Slick streetwear, hard-to-find Japanese
labels, unique accessories.
VINTAGE AND
THRIFT STORES
Deluxe Junk Company
V6B 1E8, Canada
(604) 685-4871
Fantastic jewelry!
Mintage
1714 Commercial Drive, Vancouver, BC
V5N 4A3, Canada
(604) 871-0022
Vintage, new and reworked clothing. Great
selection of vintage cowboy boots and Levis.
Retro Rock Vintage Clothing
590 Davie St., Vancouver, BC
V6B 2G4, Canada
(604) 872-7665
Great selection, including rock T-shirts and
vintage leather. Contact: Vito, owner.
True Value Vintage
710 Robson St., Vancouver, BC
6VZ 1A1, Canada
(604) 685-5403
One of the best vintage haunts in
Vancouver. Film-friendly.
Woo Vintage Clothing
V5V 3S2, Canada
(604) 687-8200
All clothing cleaned and repaired: 40s-60s.
Some reworked.
IN FOCUS
SHOE STORES
Gravity Pope Shoes
2205 W. 4th Ave., Vancouver, BC
V6K 1N9, Canada
Possibly the best shoe store in Vancouver!
Holt Renfrew
V7Y 1E4, Canada
(604) 681-3121
Rivals Saks shoe dept.
John Fluevog Shoes and Boots
V6Z 1K3, Canada
(604) 688-2828
www.fluevog.com
Funky shoes. Different and very character-
based.
SPECIALTY
STORES
Blue Ruby Jewelry
1089 Robson St., Vancouver, BC
V6E 1A9, Canada
(604) 266-9177
Also at Oakridge Mall.
Board Room
1745 W. 4 Ave., Vancouver, BC
V6J 1M2, Canada
(604) 734-7669
All things snowboards, skiing, etc. Cool,
trendy streetwear & good customer service.
Camouflage Intl Military Surplus & Supplies
V6Z 1K3, Canada
(604) 669-0506
www.camouflage.com
Dare to Wear
V6Z 1L5, Canada
www.dare-to-wear.com
Fetish, PVC clothing, club wear, lingerie.
Dianes Lingerie
V6H 3J7, Canada
(604) 738-5121
www.dianeslingerie.com
Good option to Holt Renfrews lingerie dept.
Front & Company
V5V 3N7, Canada
(604) 879-8431
www.frontandcompany.ca
Great deals! Vintage, consignment, new.
Good place to buy stock for background.
Lace Embrace Atelier
219 E. 16th St., Vancouver, BC
V5T 2T5, Canada
(604) 737-1119
www.laceembrace.com
Sensational corsetry and undergarments.
Contact: Melanie Talkington.
Maiwa Handprints
#6-1666 Johnston St., Vancouver, BC
V6H 3S2, Canada
(604) 669-3939
www.maiwa.com
Amazing store with books on textiles.
Clothing made with artisan textiles.
Marimekko Vancouver
V6B 6K3, Canada
(604) 609-2881
www.marimekko.com
Finnish textiles and clothing design with
bright graphic prints.
Obakki
44 Water St., Vancouver, BC
V6B 1A4, Canada
(604) 669-9727
www.obakki.com
Local designer.
Ocean Drive Leather
1560 16 Ave. West, Vancouver, BC
V6B 2T4, Canada
(604) 647-2244
www.oceandriveleather.com
Beautiful leather & cool designs.
Rock Shop
V6B 1E8, Canada
(604) 685-9228
Teenage metal heads dream store: full of
T-shirts, posters, stickers, etc.
Underworld Skate Shop
V6B 2S8, Canada
(604) 899-8949
www.underworld-shop.com
Skate clothes.
FABRIC AND
TRIM STORES

Dressew
337 W. Hastings St., Vancouver, BC
V6B 1H6, Canada
(604) 682-6196
Fabricana
4591 Garden City Rd., Richmond, BC
V6X 2K4, Canada
(604) 273-5316
Huge fabric store for clothing and home
dcor.
Fabricland
1678 Southeast Marine Dr., Vancouver, BC
V5P 2R6, Canada
(604) 321-1848
Fabrictime
1325 E. Pender St., Vancouver, BC
V5L 1V7, Canada
(604) 630-0822
www.fabrictime.com
Good for cottons, linen, lightweight canvas.
Outdoor Innovations
V5V 3M6, Canada
(604) 873-6992
Water-resistant outdoor fabrics, all weights of
polartec, foam, shade cloths and notions.

location, location, location:
IN FOCUS
West
V6H 3J4, Canada
(604) 738-8938
Fine dining with local ingredients.
SPAS
Miraj Hammam Spa
1495 W. 6th, Vancouver, BC
V6H 4G1, Canada
(604) 733-5151.
www.mirajhammam.com
Middle Eastern treatments, including an
exotic steam & exfoliation, followed by a
30-min massage ($125 CDN).
Spa at Holt Renfrew
V7Y 1E4, Canada
(604) 681-3121
Book an appointment, then finish shopping.
Vida Spa at Vancouver Sutton Place Hotel
845 Burrard St., Vancouver, BC
V6Z 2K6, Canada
(604) 682-5511
MISC.
Choices Food Markets
Various locations
Vancouvers version of Whole Foods.
Meinhardts Fine Foods
V6H 3J8, Canada
(604) 732-4405
One of the original organic and specialty
markets in South Vancouver.
Dr. Rubina Kurji
Urban Chiropractic
#101-1226 Hamilton St., Vancouver, BC
V6B 2S8, Canada
(604) 714-1141
Amazing chiro: young with super-current
method. Will come to set.
Local 891
Film and television local.
(604) 664-8910
Contact Dusty Kelly or Paul Klassen,
business agent.
COMPILED BY
Bonnie Nipar
bnipar@costumedesignersguild.com
SPECIAL THANKS TO OUR
CONTRIBUTORS
Cynthia Summers, Antoinette Messam,
Michael Wilkinson and Eduardo Castro
RESTAURANTS
AND BARS
Blue Water Caf and Raw Bar
V6B 5T4, Canada
(604) 688-8078
Yaletowns seafood hot spot.
Chill Winston
3 Alexander St., Vancouver, BC
V6A 1B2, Canada
(604) 288-9575
www.chillwinston.ca
Great brunch. Good after-work bar for
drinks and appetizers.
Cioppinos
V6B 5P6, Canada
(604) 688-7466
Outstanding Italian.
Goldfish Pacific Kitchen
1118 Mainland St., Vancouver, BC
V6B 2T9, Canada
(604) 689-8318
www.goldfishkitchen.com
Good for a fun evening with crew.
Music/DJ.
Gotham
615 Seymour St., Vancouver, BC
V6B 3K3, Canada
(604) 605-8282
Elegan, hip. Tender steaks and stiff drinks.
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IN FOCUS
Local news from around town this summer has CD Kathryn
Langston Orindgreff designing the new ABC Family show
Huge, starring Nikki Blonsky (Hairspray). The dramady is based on
the book by Sasha Paley, about the ups & downs of both teenagers
and staff at a weight-loss camp. After working together on DWTS,
CD Steven Lee and CD Daniela Gschwendtner have teamed
up to co-design the fth season of Americas Got Talent, wrapping
in September. Lee says its quite a circus dressing the top 48 acts
some of which are a stuntman performing with re, a woman paint-
ing underwater, a pair of 3-year-old hip-hop funk dancers, magicians,
25+ Bollywood dancers, and kung fu ghters. CD Olivia Miles
and ACD Brigitta Romanov have just wrapped an exhilarating
10 episodes of Entourage, currently airing its seventh season. CD
Erin Lareau made a splash with a retro look for the ladies of the
National Synchronized Swim Team and created a neoprene chefs
coat for TLCs (The Learning Channel) cable summer promo spot.
Lareau also sparkled with Swarovski for pop star Katy Perrys MTV
Movie Awards appearance, crystallizing Perrys mic & stand, and her
corseted top down to her Daisy Dukes. CD Shawnelle Cherry in
town from S.C., recently nished 10,000 Days, an MGM webisode
series about survival on Earth after a comet knocks Earth into the Ice
Age. Cherry says although they werent the prettiest of costumes,
they were great fun to create! CD Terry Gordon and her team
wrapped four back-to-back CMT pilot presentations this past July.
Simultaneous shooting and prepping, they are hoping for at least
one pickup! CD Dina Cerchione is having a hot summer having
just wrapped the ABC prime-time game show Downfall, staged atop
a skyscraper for producer Ken Warwick, NBC pilot Whos Blufng
Who, with host D.L. Hughley, and currently designing both Dont
Forget the Lyrics, hosted by Mark McGrath, and the ABC game show
Six Minds. CD Luke Reichle has taken over the reins for the ABC
drama Castle, here in town now in its third season. CD Shoshana
Rubin is also in town this summer working on the Disney feature
Prom, done in the tone of the John Hughes 80s classics Sixteen
Candles & Pretty in Pink. CD Albert Wolsky and ACD Susan
Kowarsh Hall have just wrapped the Tom Hanksdirected ro-
mantic comedy Larry Crowne, starring Tom Hanks and Julia Rob-
erts, all shot in Los Angeles. Hanks plays a middle-aged man who,
after losing his job, enrolls in college and catches the eye of a female
professor (Roberts). Wolsky was glad to report the lm was eight
days ahead of schedule, even with reasonable hours and an overall
fantastic crew. CD Carol Ramsey is designing the comedy fea-
ture Horrible Bosses, lming here in Los Angeles with ACD Lois
DeArmond illustrating and CD Ellen Falguiere assisting. Jenni-
fer Aniston, Colin Farrell, Jason Bateman, Kevin Spacey, Jamie Foxx,
and Donald Sutherland star in the story of three friends who plot to
murder their loathsome bosses. CD Christine Bieselin Clark
was thrilled to be lming here in town, having just completed co-
designing Disneys Tron: Legacy with CD Michael Wilkinson.
News from Nevada: CD Bonnie Stauch has begun designing the
feature Guns, Girls and Gambling, starring Christian Slater, Chris
Kattan and Dane Cook, to name a few. The wicked black com-
edy features Elvis impersonators, hot-blonde assassins, cowboys
& Indians and Native American casino gambling, and is shooting
in Salt Lake City, Moab and Nevada. Monique Long recently
completed her ninth year designing for The Academy of Coun-
try Music Awards, The Brooks & Dunn Last Rodeo, as well as
the Daytime Emmys, all shot in Vegas where Long residesand
is looking for the next big project. CD Melissa Bruning just
nished two period lms (70s & 80s respectively): Love Ranch,
directed by Taylor Hackford, starring Helen Mirren and Joe Pesci as
the rst married couple to open a legal brothel in Nevada. The lm
based on real events was shot in New Mexico and Nevada. Brun-
ings second feature shot in New Mexico, titled Let Me In, directed
by Matt Reeves (Clovereld), stars Richard Jenkins.
CD Caroline B. Marx and ACD Andrea Sweet have been livin
it up in the Big Easy shooting George Clooneys Smokehouse Pro-
ductions hot new dramady series Memphis Beat, starring Jason
BOLDFACE AT WORK
BOLDFACE NAMES
Lee as a quirky detec-
tive with a demand-
ing boss played by
Alfre Woodard. After
wrapping up a great
time in New Orleans,
Sweet can focus on
her October wed-
ding there, and Marx
has a chance to nish
up repairs on her Ka-
trina ooded home.
CD Antoinette
Messam has just
nished the Dermot
Mulroneydirected
comedy feature Love,
Wedding, Marriage,
with CD Conan
Castro Jr. as supervisor. Shot in New Orleans, the story centers
on a happy newlywed marriage counselors views on wedded
bliss and how she deals with news of her parents divorce. Mes-
sam is interviewed about working with the lms cast of Mandy
Moore, Kellan Lutz, Jane Seymour, and James Brolin in an online
interview for Glamour Girl http://bit.ly/cIGgxt. CD Kathleen
Felix-Hager is down south and happy to be designing her sec-
ond ABC Family movie Ex-mas Carol, currently shooting in Geor-
gia, directed by Gil Junger.
On location in the Detroit area are ACD Ann Foley (Real Steel),
CD Mary Claire Hannan (A Very Harold and Kumar Christ-
mas), Hope Hanan (LOL), Aggie Rodgers (The Double),
Debra McGuire (Scream 4) and Marlene Stewart (Real
Steel) who met up for a lunch and a chat and are pictured above.
CD Roberta Haze has the helm designing the new series Body of
Evidence, bringing in new member ACD Marcel Chevalier along
to assist in Providence, R.I. In June, CD Mary Vogt started prep
in Los Angeles for Men in Black 3, starring Will Smith, Tommy
Lee Jones, and Josh Brolin, and is off for a September shoot in
NYC with CD Valerie Laven-Cooper assisting and Christian
Cordella illustrating. More news from the Big Apple: CD John
Dunn is working in the city on the HBO pilot The Miraculous
Helen Mirren & Melissa Bruning; Love Ranch poster
Memphis Beat
Lareaus swim team design
CDG members on location in Michigan
612.375.8722 or e-mail costumes@costumerentals.org
855 EAST HENNEPIN MINNEAPOLIS, MN 55414 COSTUMERENTALS.ORG
CostumeRentals offers year-round access to the
Guthrie and The Childrens Theatre Companys
combined inventory of extraordinary costume pieces.
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
Over 30,000 costumes
Designs by leading theatrical designers
Storybook and fantasy characters
Shoes, hats, masks and accessories
IN FOCUS
CD Danny Glicker is on the road designing On the Road through-
out Montreal, New Orleans, Mexico, and other international locals
for director Walter Salles (The Motorcycle Diaries). The feature is
a faithful adaptation of the groundbreaking autobiography by Jack
Kerouac, and stars Kristen Stewart, Kirsten Dunst, Garrett Hedlund,
and Sam Riley. Globetrotting alongside Glicker is ACD Michele K.
Short. New to the second season of Eastbound and Down are CD
Jill Newell and CD Ernesto Martinez as Costume Supervisor
in fabulous San Juan, Puerto Rico. Martinez has been having a good
run and a good time with his second project there since last year.
CD April Ferry checked in to say hello and updated us with the
latest from her design project in Mumbai, reporting how beautiful
it is, with wonderful fabric and the sweetest people on earth! Ferry
has her Roman armor maker in a factory in Dera/Dhun making pro-
totypes and ACD Sparka Lee Hall there to assist. Ferry will see
the entire country as shooting begins in the Himalayas and Jaipur,
and says the locals are equally experienced with and confused by
the ways of the West.
BOLDFACE PRESS
CD Sally Rice is realizing a new creative dreamshe went back to
school for a degree in visual journalism and will be graduating next
spring. Rice also has a book due to be released this month, titled
Making Sense of Monsters, the real-life story of her daughter Sarahs
struggle as a victim of sexual abuse and the support she found in the
battle of justice against her abuser. Together, Rice and her daughter
Year, the story of a New York family as seen through the lens of a
charismatic, self-destructive Broadway composer. The drama is writ-
ten by John Logan and directed by Kathryn Bigelow. CD Renee
Ehrlich Kalfus recently started the Screen Gems feature Friends
With Benets (one of three separate projects all with same title),
starring Justin Timberlake and Mila Kunis, and will wrap in Septem-
ber. CD Juliet Polcsa will keep busy until September with the
remake of 80s lm Arthur, starring Russell Brand in Dudley Moores
madcap role, along with Helen Mirren as his faithful nanny.
Up north, CD Jori Woodman will revisit the world of horror on
Final Destination 5 for New Line Cinema. The 3D thriller starts
shooting in September, with James Camerons protg, Steven
Quale, directing in Vancouver, British Columbia, with a local crew.
CD Michael Boyd now knows and can concur why Halifax, Nova
Scotia, is perfect in the summertimegood weather, beautiful place
to work, and cooler than his home in Texas! Boyd has begun de-
signing the Hallmark holiday movie November Christmas, a moving
story of a family dealing with their daughters cancer by providing
her with an early-holiday experience.
BOLDFACE NAMES
BOLDFACE AT WORK
are working toward public awareness to educate and inspire, as am-
bassadors for the nonprot group P.A.V.E. (Promoting Awareness,
Victim Empowerment), headquartered in Washington, D.C. On the
subject of Washington, D.C., at the White House, First Lady Michelle
Obama entertained disabled veterans for the Wounded Warrior Sol-
dier ride wearing a silk tapestry dress designed by none other than
our Local 892 CD member, Barbara Tfank. http://bit.ly/91lw5g
BOLDFACE FESTIVALS & EVENTS
Chrisi Karvonides-Dushenkos paintings were featured in the
Hermosa Beach Art Walk and the group show titled In Motion
The Human Body in Movement through last month, presented by
the Beach Cities Health District and Friends of Redondo Beach Arts.
Congratulations to CD Nancy Butts Martin, who was nominated
for a Daytime Emmy Award for Outstanding Costume Design/Styling
for The Bonnie Hunt Show held June 25 at the Bonaventura Hotel.
CDG Costume De-
signers and Illus-
trators once again
converged on San
Diego in July for three
panels at Comic-Con
2010 Costume De-
signers: Designing
for Television Pro-
duction. Moderator
CD Kristin Burke
(Frocktalk.com) hosted de-
signers Audrey Fisher
(True Blood), CD Ane
Crabtree (Justified), CD
Shawna Trpcic (Firey),
CD Shawnelle Cherry
(10,000 Days). CDs Pamela
Shaw and Jennifer Eve
also talked about their work
as Assistant Designers to Jen-
nifer Bryan (The Vampire
Diaries) and Lou Eyrich
(Glee), respectively.
Production Ready,
rain...shine...any time!
COSTUME DESIGN CENTER
Custom Manufacturing
Costume Rentals Prep Spaces
and 2010 Warner Bros. Entertainment Inc. All rights reserved
818.954.1297 www.wbsf.com
wbsfcostumedesk@warnerbros.com
Tfanks design for Michelle Obama
CDGs Comic-Con panel
Costume inspired by Tron:
Legacy CD Michael Wilkinson
Costume Designers & Costume Illustrators: Designing for Feature
Films with moderator CD Susan Nininger (Bodyguard) hosted
featured CD Michael Wilkinson, Designer and Illustrator Phil-
lip Boutte Jr. (Jonah Hex), CD Christine Bieselin Clark (Co-
designer, Tron: Legacy), CD Ha Nguyen (Priest), and CD Laura
Jean Shannon (Scott Pilgrim vs. the World). CD Judianna
Makovsky and CD Colleen Atwood had hoped to make it to
Comic-Con this year but schedules did not permit.
The Design Process for Film and Television was moderated by Har-
rison Ellenshaw (Star Wars V: The Empire Strikes Back) and hosted
Costume Illustrators Christian Cordella (The Last Airbender),
Robin Richesson (The Last Airbender), and Brian Valenzuela
(Star Trek 2009), as well as our neighbors and collaborators of the
ADG, Local 800, Benton Jew (Pirates of the Caribbean: On Stranger
Tides), and Phil Saunders (Iron Man 2).
New this year to Comic-Con was a Film Illustration Exhibition, in
conjunction with the ADG. CD Susan Nininger, ILL Phillip
Boutte, and CD Ha Nguyen curated along with education coor-
dinator Casey Bernay of the ADG. We owe a great big thank-you to
our Comic-Con Committee Co-chairs CD Susan Nininger, ACD
Liuba Randolph, and ILL Phillip Boutte, Committee mem-
bers ACD Cynthia Obsenares, CD Valerie Laven-Cooper,
CD Michele Michel, CD Kristin Burke, ACD Sica Schmitz,
ACD Johnna Lynn, and CD Jennifer Dios.
BOLDFACE HONORS
Costume Designers May Routh and Albert Wolsky each do-
nated a collection of their costume illustrations to the Academy of
Motion Picture Arts and Sciences Margaret Herrick Library. The
AMPAS celebrated the acquisition of their unique and outstanding
collections on May 19.
Compiled by:
Suzanne Huntington
shuntington@costumedesignersguild.com

Spring 2010 The Costume Designer 33
BOLDFACE NAMES
BOLDFACE FESTIVALS & EVENTS
C
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CDs May Routh and Albert Wolsky share their illustrations
Costume Rentals
Manufacturing
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Designer Edith Head and Shirley MacLaine, Sweet Charity, 1969.

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