High Quality
Open the downloaded document, and select print from the file menu (PDF reader required).
May 1, 2010 is the launch date for CAFTCAD’s Studio Services Program. This initiative embodies a standardized shopping/returnsystem agreed upon between CAFTCAD and the many retail stores involved. The waters are being tested with small to mediumsized boutiques and once it is up and running successfully, the program will expand to include the majors.
BeSpoke interviewed the Co-Chairs of the Studio Services Committee, Anita Bacic and Shelley Mansell, to nd out about this unprecedented arrangement.
H
ow
will
participating
caFtcaD
members
beneFit
by
joining
tHis
program
?
AB
Stores that we could never patronize before due to a lack of return policyhave now become accessible shopping destinations.
SM
There is a greater variety of unique and interesting places to shop for yourcharacters with a unied pre-arranged pull system
H
ow
will
tHe
stores
beneFit
by
being
part
oF
tHe
s
tuDio
s
ervices
p
rogram
?
SM
They are automatically receiving free advertising and exposure to a groupof lm buyers that may not have shopped there before. And word of mouth isa powerful marketing tool.
AB
Not to mention increased revenue for their business.
SM
They also feel more secure knowing that there is a larger organizationbehind the individual buyer, somewhere to turn if problems arise.
i
s
tHere
tHat
mucH
potential
revenue
From
tHe
Film
inDustry
?
SM
According to statistics, the total of lm wardrobe purchases in our cityduring 2008 was $34 million!
AB
And right now the greater percentage is being spent at major chain stores.
w
Hy
?
AB
Because you can shop “under the radar” and then return what you don’tneed without a hassle.
H
ow
many
stores
are
involveD
anD
wHere
are
tHey
?
AB
We started with the Queen West / Ossington / West Queen West areas andalready have 50 stores on board in a very short time frame.
SM
Lileo in the distillery district has also signed up, but we have yet to hit otherareas of the city due to a shortage of manpower. Eventually we want to havea list of stores in every shopping area including Bloor & Yonge, Yorkville, BloorWest, Eglinton/Bayview, the Danforth, etc.
w
Hat
Has
tHe
reaction
oF
tHe
stores
been
?
SM
Extremely favourable. They can’t wait for the program to beimplemented!
w
Hat
is
tHe
biggest
misconception
about
tHis
program
?
SM
That it is going to run interference with the relationships betweenbuyers and boutique owners already in place.We are not here to change that – as a matter of fact, we have been tellingeach store to maintain whatever arrangements they may already have withspecic buyers.
AB
Our aim is to give participating CAFTCAD members the opportunityto shop at a large variety of boutiques in a fast and expedient way with auniversal pull system.
w
Hat
were
tHe
biggest
obstacles
in
tHe
process
oF
setting
up
?
SM
From the retailers, none at all.
AB
To be perfectly honest, there’s only been a handful of us going fromstore to store so it is taking longer than we anticipated. Studio servicesworks well in L.A. and New York – why wouldn’t we want to follow theirlead? In a bigger picture, it would be in our best interest to be set up thesame way and make it even more appealing for productions to come here.
i
t
actually
appears
to
be
a
grounDbreaking
program
For
our
inDustry
.
AB
Individual stores, small and large, have had all dierent policies for lmor none at all. Now there can be a universal system across the board.
SM
It feels great to be part of developing a new way of doing business.Studio Services Committee: Anita Bacic, Shelley Mansell, Rosemary DellaSerra, Debra Berman, Wayne Godfrey, Luis Sequeira.For more information, please visit www.caftcad.com/studioservices
SPRING 2010 ISSUE 1
LOCAL SHOPS OPEN THEIR DOORS TO CAFTCAD
STUDIOSERVICES
INTERVIEW BY TAMIYO TOMIHIRO
SHEEY MANSE, ANITA BAcIc, WAYNE GOfREY, ROSEMARY EA SERRA
SPOTLIGHT ON
Newly arrived in Toronto, Costume Designer JuulHaalmayer read an ad in the classieds: shipper/receiver, no university, no experience required- the place: Malabar’s Costume House and a ser-endipitous event, the person interviewing was afellow Dutchman. First day of work: 30 minutesinto the day, he oered Juul a costumer appren-tice position. A great opportunity as Malabar’swas dressing 90% of the operas produced in NorthAmerica with many costume designers comingthrough their doors. From them Juul would beginto learn what it took to put a show together.Soon, a lucky break: The Sonny and Cher pilotwas being prepped and shot in Toronto at CFTOStudios, designed by Bob Mackie and Ret Turner.Juul was hired as fabric buyer and he asked if hecould come by the studios evenings and weekendsto observe and learn.He applied for a job as a Costume Designer atCFTO Studios with a fabricated resume. He wasbrought in for an interview and then called outon his “invented” design credits. Impressed byhis chutzpah, he was hired to sweep oors andpromised a chance when the time came. Heassisted on commercials, series, television specials,variety shows and eventually was given a show of his own: Norman Corwin Presents - challengingeven for a seasoned designer. A dramatic series,B.C. to present day, 2 episodes per week and anew cast every episode which they saw the nightbefore camera.And so began his long and multi-faceted career asa costume designer. Within a few years (1973) hereceived an Emmy nomination for “ The Borrowers”and “ was suddenly legit to everyone in the industryexcept himself”. No formal training, Juul was readingsewing machine manuals and costume history booksbehind locked doors.“It grew from there”, with a natural inclination, airand “using commonsense to just gure it out”. Hislist of credits is vast and covers the gamut – rock stars(Alice Cooper and Jethro Tull), concert performances(Anne Murray, Dolly Parton), stage productions,stand-up comics (Phyllis Diller, Martin Short, AndreaMartin, Christopher Guest), variety shows (Jack Lemmon, Shari Lewis), M.O.W.’s, television specials,cable features, feature lms, television series,Olympic skaters (Brian Boitano and Katrina DeWitt,Brian Orser), but is best known and loved for sketchcomedy, in particular his work on SCTV. Not only apart of the creative team, Juul was also a cast memberand led the legendary “Juul Haalmayer Dancers”, stillso famous that there is a “Juul Haalmayer Dancers”Facebook fan page from Iceland. He averages 60e-mails per day with questions about the SCTV days.“Variety shows and sketch comedy are the best. Itwas a privilege to be there, a joy to come to work. There were 6 binders of sketch possibilities that theywould choose from but we never knew what it wasgoing to be. We were left to create these charactersfrom the chosen script.”As 2010 unfolds, CAFTCAD continues togrow in its importance to our member-ship, costume community and industryat large. We’re proud to premiere ‘BeSpoke’ our newsletter that will becirculated to our professional unions& guilds, industry support establish-ments and producers.From our 1st meeting in Feb 2006,CAFTCAD has grown in leaps andbounds. With a concise web presence,edu cational seminars, bi-annualwardrobe sales, Toronto Film FestivalParties & members gatherings allhave become a mainstay in our yearlyagenda.CAFTCAD’s Studio Services Program, anew Head oce and social events willround out our current plans. We shouldall be very proud of our ac complish-ments. Thanks to the support of themembership, studios and the devotedeorts of everyone that has contrib-uted along the way.Here’s to continued success and growthof the Alliance!
Luis M. Sequeira
CAFTCAD PresidentJuul ‘s talent has been recognized by his peers with a EmmyAward for the children’s series “Noddy” (1998) and an A.C.E.Award for “The Incredible Time Travels of Henry Osgood” (1985).He is inspired by the team of Bob Mackie and Ret Arthur andtheir ability to combine glamour and comedy. “I have alwaystried to live up to their standard”. Malabar’s has been a constantthroughout his career: his rst job in the industry, buildingmade-to-rent for his budget constricted shows and a supportivefriendship to this day. Two very lucky breaks for the new guy intown.Always involved in theatre productions and gifted with a strongsinging voice, Juul had hoped to become an opera singer. Born in The Netherlands, his family immigrated to the U.S. when he wasa young child. As a teenager, the U.S. was at war with Vietnamand to avoid the draft, Juul’s father sent him and his brother torelatives in Canada. Upon receiving Landed Immigrant Status,hopes of a scholarship and studying at Juilliard were now over.However, show biz tapped him on the shoulder and showed himin through another door. Between design gigs, Juul has sung inmany stage productions and choral groups. “On my singing andacting resume under special skills, it says NONE.” None? We begto dier, Juul Haalmayer.
Juul owns and operates Homemade Tarts, a ull servie ostumerental house eaturing a magnient vintage olletion.Google Juul Haalmayer on Wikipedia or a more omplete list o redits
KRISTEN O’REILLYLOREEN LIGHTFOOTJOANNA SYROKOMLALUIS SEQUEIRA TAMIYO TOMIHIROJOSEPH EIGERBARBARA SOMERVILLEADAM SMITH
Monique Prudhomme, Costume DesignerMelissa Stewart, Costume DesignerMichelle Lyte, StylistLuda Tseloousseva, Asst. DesignerAnita Bacic, BuyerSidney Sproule, BuyerAleya Gibson, BuyerWayne Godfrey, Set SupervisorSandra MacDonald, Truck/SetWilliam Ng, Truck/SetSierra Constantinides, Truck CostumerVictoria McKay, Cutter/SeamstressNancy DaSilva, Cutter/SeamstressMia Sturup, ProfessionalSusan Dicks and Co., IndustryVanessa Sheri, Student
NEW MEMBERS
CONTRIBUTORS
BREAKOUT QUOTE
“I believe in luck - I believe in serendipitous events.I was lucky in the beginning.”
“I can do this.” “If I can do this, I can do anything.”
THE JUUL IN OUR CROWN
BY OREEN IGHTfOOT
LETTER
FROM THE
PRESIDENT
W
hAt
dreW
you
to
thiS
project
?
I found the director,Charlie very engaging. His passion, energy and personalconnection to the story touched me. I loved the script andthe characters’ strength.
W
hAt
iS
the
Story
line
?
Nurse. Fighter. Boy - the title reectsthe 3 characters. It is about a single mother, Jude, who hassickle-cell anemia and works as a nightshift nurse. She isoriginally from St. Elizabeth, Jamaica and longs to takeher son, Ciel, back to show him Zion - paradise. Since hisfather’s passing, Ciel is the ‘man of the house’ and desper-ately tries to take care of his mother. Jude meets an agingboxer, Silence, who despite his personal demons capturesher heart. Silence is trying to keep a gym aoat after hisold coach suddenly dies and leaves the gym without aleader. Silence and Jude slowly fall in love and the con-nection between all 3 of them becomes unbreakable.
W
hAt
reSeArch
MethodS
did
you
rely
on
?
I looked at pho-tographs from Jamaica - the people, the colours and theenvironment. It was a deeply personal story for Charlie, sowe discussed his ideas at length in order to be true to hisvision. I also spent a lot of time researching real boxers. The world of underground boxing was both foreign andintriguing to me so I immersed myself in it.
W
ho
WAS
on
your
WArdroBe
teAM
?
My assistant, JeannetteLinton, was really my co-designer. We created the lookstogether and she was instrumental in helping me ndthese characters. Also, I have to include hair and make-updesigner, Roxanne DeNobrega, and also consider thedirector and the cast as a part of my team. The collabora-tion really helped me dene the lm’s “world”
W
ho
WAS
your
fAvorite
chArActer
to
dreSS
?
This story hadso many great characters, but I feel a special connection toCiel. He is wise beyond his years and believes in magic andthe power of the unknown. His sensitivity and wisdommade him unique. I really got to create a real look withDaniel (the actor playing Ciel).
W
hAt
WAS
the
MoSt
difficult
pArt
of
the
deSign
proceSS
?
To be honest, being Caucasian and designing Afro-Canadian characters was challenging. I wanted themto be authentic and full of integrity. The design processwas a real collaboration between myself, director, cast,hair/make-up and my assistant. We all worked togetherto bring the characters to life and any hesitation I hadquickly faded.
W
hAt
WAS
one
of
your
fondeSt
MeMorieS
of
the
Shoot
?
I have to say it was the director. Charlie’s energy on setwas inspiring. He is one of the most generous, happy,intelligent and gentle people I have ever worked with. Nomatter how stressed, he always had time for me. I alwaysfelt supported and close to the entire crew.
A
ny
other
noteS
?
Often we put our blood, sweat and tearsinto our work and few people get to see the enormouseort that goes into making lms. This project really was‘the little engine that could’ and proves that hard work does pay o sometimes.
cAftcAd MeMBerS noMinAted for 2010 genie AWArdScd S
ArAh
A
rMStrong
: n
urSe
. f
ighter
. B
oy
. cd B
rendA
B
roer
: c
Airo
t
iMe
W
hAt
dreW
you
to
thiS
project
?
The idea of dressingPatricia Clarkson in a romantic role intrigued me andwhen I realized it was set in Cairo, I became very excited.
W
hAt
iS
the
Storyline
?
It is about a woman, married forover 20 years, whose children have left home, and is ques-tioning her life’s choices. Juliette (played by Patricia) is thewife of a diplomat in the Gaza strip. She goes to visit him inCairo when he is delayed due to unrest in Gaza. He sends afriend, Tariq to meet her and be her guide while she waitsfor her husband. Juliette learns a lot about herself andbecomes close to Tariq.
W
hAt
reSeArch
MethodS
did
you
rely
on
?
I began research-ing Bedouin and contemporary Muslim culture and dressfrom books and websites. However, when I arrived inCairo, I realized that my research wasn’t enough. In Muslimcultural the ‘rules’ for dress vary considerably. Cairo is moreconservative than it was decades ago, but young womendo dress in revealing silhouettes. Depending on religiousbeliefs, women in Cairo chose to wear a burka when theyget married. And although Hijabs (headscarves) are wornby the majority of women, they are certainly not worn byall. Advance research was essential, but the real processbegan after arrival. Comfortable sandals and Egyptiancoee kept my jet-lagged eyes open to explore locally forinspiration.
W
ho
WAS
on
your
WArdroBe
teAM
?
I had 4 set peoplefrom large Egyptian lms that spoke almost no English,which meant communicating in the style of charades. Weneeded someone for Patricia who could speak Englishand who understood western industry standards. To myrelief, they brought Sheila Fitzpatrick over to join us.
W
hAt
WAS
your
fAvorite
coStuMe
?
My favorite piece wasPatricia’s sea-foam green chion dress. Mid-way through,I sent it out for dry-cleaning and it came back severalshades lighter, crispy and had shrunk half a foot! I’ll neverforget Sheila and I trying to steam the life back into it. Ithad to be re-made.
W
hAt
WAS
the
MoSt
difficult
pArt
of
the
deSign
proceSS
?
Without a doubt it was dressing the Israeli soldiers. Notonly were no police or army uniforms available for rentin Egypt, I was warned about laws against bringing themin. Not only would they be conscated by customs, butI would be risking punishment. My team explained thatthey usually have to make them. I expressed my doubtsabout the authenticity of the scene with ‘homemade’costumes, but I really had no choice. I have to say, I wasimpressed with the results given the circumstances!
W
hAt
WAS
one
of
your
fondeSt
MeMorieS
of
the
Shoot
?
Weshot for a day in the ‘white desert’, eight hours north-westof Cairo. After wrap we went to a hotel on a small oasisfor a marvelous evening by a candlelit pool with Bedouinfood and sheesha. Unforgettable!
A
ny
other
noteS
?
I wish I brought pant hangers andzippers. I couldn’t get them in Cairo and the few zippers Ibrought became like gold to me.
CAFTCAD AT THE GENIES
BY KRISTEN O’REIY JOHN cANY AS MR. MAMBO ANREA MARTIN AS EITH RIcKEY AS qEEN EIzABETH I NRSE. fIGHTER. BOY.cAIRO TIME
Add a Comment