Winter 2010 The Costume Designer 3

11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
Costume designs and illustrations by
2010 Career Achievement Honoree
To view more of Ms. Powell’s illustrations
go to
Spotlight on: Sandy Powell
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
President’s Letter
Executive Director
Assistant Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 30
Meet the Assistants
History of Dress
My Favorite Things
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
CDG Awards . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Award Nominees . . . . . . . . . . . . . . . . . . . . . . 18
Q&A with this year’s nominees
Collaborations . . . . . . . . . . . . . . . . . . . . . . . . 24
Rob Marshall and Colleen Atwood
Swarovski Shines . . . . . . . . . . . . . . . . . . . . . . 28
Swarovski plays a vital role
vol. 6, issue 1
4 The Costume Designer Winter 2010
OLLABORATION. Isn’t that what this business all boils down
to? There isn’t a motion picture captured on the screen,
large or small, that could exist without it. It’s why I look
forward to this issue. We not only showcase our Costume
Designers Guild Award nominees and honorees but also our
Distinguished Collaborator and our Award Partner, Swarovski, with-
out whom our award celebration would not be possible.
Director Rob Marshall knows collaboration. Born of the theater,
he not only appreciates completely interactive involvement from
all of his department heads, he lives for it. Our Career Achievement
in Film honoree, Sandy Powell, has designed four films for Martin
Scorsese, with two more in the works. Together, they’ve covered
almost 150 screen years on film from Gangs of New York to The Departed. Michael
Travis, Career Achievement in Television honoree, is known for his tremendous con-
tribution to variety television. His design relationships with producer George Schlatter
and Liberace provided him with extraordinary challenges and great satisfaction. It
seems that with all of these examples, where successful collaboration goes, loyalty
and long-term partnership follows.
As for collaborating on this magazine… I have to acknowledge one newly com-
mitted partner in crime, CD Bonnie Nipar. Bonnie stepped in a few issues back, rolled
up her sleeves and jumped into the deep end with me. She has taken on several of
the more tedious and time-consuming projects (What’s On/What’s In, Locations,
Nominee Q&As), compiling, editing, fact-checking and all the while being extremely
organized, terribly thorough and genuinely happy to be involved. Thank you, Bonnie.
I can no longer do it without you.
Lastly, as with every issue, I have no idea what the cover could possibly be until
at least the eleventh hour. It always comes by divine intervention. This issue was no
exception. While starting to gather material for our Awards Tribute Book, I received
an abundance of sketches from Sandy Powell that amazed me for two reasons. Her
sketches are so lovely, whimsical, beautifully drawn and colored. I could immediately
picture a lineup of her characters as if they were on a studio back lot. But the other
reason I was so impressed, was that Sandy keeps a complete set of her sketches and
film stills, all organized and in digital form. As I put my “Creative Rights” hat on, I
would suggest that this should be a reminder to take responsibility to archive your
own work. It’s almost impossible to go back and collect your work from the network
and/or studios after the fact. Take the time as you near the end of each job, to ask the
publicity department for digital images of your work—if you don’t have your original
sketches, be sure you have quality high-resolution scans and/or color copies and be
sure to get a DVD copy of every project written into your contract. The digital age is
moving fast and more and more filmmakers are expecting us to have websites—this
is the material you’ll need to be successful in the coming years.
Congratulations to The Costume Designer’s very own Associate Editor/Costume
Designer Audrey Fisher and contributor/ACD JR Hawbaker on their CDG nomination
for True Blood!
Deena Appel
Deena Appel
Audrey Fisher
Cheryl Downey
Mary Rose
Hope Hanafin
Ann Somers Major
Marilyn Matthews
Sharon Day
Salvador Perez
Deena Appel
April Ferry
Lois DeArmond (Asst. Costume Designers)
Felipe Sanchez (Illustrators)
Valerie Laven-Cooper
Susan Nininger
Robert Blackman
Julie Weiss
Jacqueline Saint Anne, Chair
Peter Flaherty
Marcy Froehlich
Cheryl Downey
Rachael M. Stanley
Suzanne Huntington
Cheryl Marshall
IngleDodd Publishing
Dan Dodd 310.207.4410 x236
6 The Costume Designer Winter 2010
(Meet the Assistants, Nominee
Q&A) joined the Guild in 2006
and currently works as an Assistant
Costume Designer for film and
television. Originally from Chicago
and the Goodman School of Drama,
she calls Los Angeles and the CDG
home now. Excited to be writ-
ing again, Hawbaker is thrilled to
contribute to the magazine. “Our
Guild members are all storytellers,
on screen and on the page, and
I am only to happy to contribute
to a magazine that narrates their
(Boldface Names) came to the Guild
in 2005 as the administrative assistant
after two years with the Editors Guild
as their project event coordinator.
Educated and working in the fine
arts and entertainment world keeps
Huntingtonina creativeenvironment.
Huntington stays busy with member
inquiries, managing special projects,
shepherding awards season info and
serving as administrator of the CDG
website, among other duties. “It’s a
pleasure to stay in touch with the
members and make a contribution to
The Costume Designer.”
(Nominee Q&A) joined the Guild
in 1997 and works as a Designer for
TV. Born and raised in Pittsburgh,
she was an art student at Carnegie
Mellon before moving to Los
Angeles and entering the industry.
A huge fan of the CDG magazine,
Bonnie happily took over two
recurring columns. She adores the
process of gathering new sources,
thus writing Locations is a great fit.
And for the What’s On/What’s In,
“It’s a treat to research the latest
accomplishments of our peers.”
(History of Dress, Illustrator) joined
the Guild in 1992 and works cur-
rently as a costume illustrator, a sto-
ryboard artist, and an educator. “I
trained to work as an illustrator for
print (publishing) so when the CDG
began the magazine, I was pleased
to be asked to illustrate for it. I love
working in film, but I have to admit,
I missed seeing my work in print!
The History of Dress column is a
great way for me to learn more
about clothing and participate in
this publication.”
(History of Dress, Copy) is a
Costume Designer for film and
television, who ran for the CDG
Board four years ago. “I wanted to
give back a little of what the Guild
has given me. I have found the
experience to be rewarding and
inspiring. I trained as a historian,
and I love to watch the evolution
of culture and clothing, so I volun-
teered to write the History of Dress
column. I always learn something
new and have so much fun writ-
ing it.”
(Associate Editor, Boldface,
Nominee Q&A) is the CDG nomi-
nated Costume Designer for the
HBO vampire series True Blood
and she is grateful to design a
show with so much creative free-
dom, flashbacks and fantasy. The
Costume Designer gives Audrey
the opportunity to hone her edit-
ing skills, write about what she
loves, and learn about her col-
leagues’ latest adventures. Audrey
encourages other CDG members
to volunteer for the magazine!
New ad
to come
8 The Costume Designer Winter 2010
I imagine we all hoped that January 1 would be the start of a better year than the one that came before it?
Well, I’d like to share a small ray of light that did come through for me. The talking heads’ current topic:
The Jay Leno Show. Some of you might know that I became somewhat obsessed with the JL (Jay Leno)
issue—not to be confused with our own dear JL (JL Pomeroy), producer of the CDG Awards. I’m talking
about comedian Jay Leno, NBC’s temporary prime-time guy. I even received a few calls from members (who
read my last newsletter column) congratulating me on Leno and NBC’s prime-time demise. Have I gone
too far? At least now I can stop talking about it and leave it to The New York Times’ Maureen Dowd, who
possesses an eloquently sharper tongue than I, to finish the job. In case you’re interested… http://www
Back to the other JL and the CDG Awards… For our new members who are unfamiliar with the event and
our voting process, the inaugural CDG Awards, born in 1999, was started by a handful of longtime members.
A volunteer committee was completely responsible for selling advertising and seats to pay for the evening
in the Crystal Ballroom of the Beverly Hills Hotel. Five of our most iconic designers, Travis Banton, Edith
Head, Dorothy Jeakins, Irene Sharaff and Adrian, were posthumously inducted into the Hall of Fame. The
first Honorees for Achievement in Costume Design were Bob Mackie (Television) and Albert Wolsky (Film) with the Distinguished
Director Award going to Paul Mazursky.
For a number of years, there were only two competitive categories with five nominees each for film and television with the
stipulation that only CDG members could be nominated. Along the way to 2010, many things have changed, most importantly, due
to our partnership with JLine Group in 2004. When JL Pomeroy came into the picture, she relieved us of all fiscal responsibility for
the event. To this day, she takes the vast majority of the risk, and we enjoy a fabulous annual celebration. With Swarovski as our
Presenting Sponsor for the fifth year in a row, it means that we no longer have to spend the membership’s money to cover the entire
awards gala.
We understood that in order to be taken seriously in the industry we had to honor the best of the year, regardless of member-
ship, just like the Academy Awards and the Emmys. There should be no barrier to excellence in art!
We can also be proud that we’re the only awards show in Hollywood, or anywhere else for that matter, to separate the categories
to equally acknowledge Contemporary as well as Period and Fantasy costumes in Film and in Television. The idea was brought fourth
by EBoard member Deena Appel to honor all the work that we do, as opposed to just the traditionally nominated historical period
dramas. That brings our previous two winners out of 10 nominees to seven winners from as many as 35 nominees in any given year.
Nomination submission is the most important part of the process that members do not seem to understand. Let me impress
upon all of you how important it is to submit your own work—especially for TV designers. There is no way to create a complete
list without your submissions. Do not wait for your fellow designers to submit your work. Do it for yourself. Take charge of your
own work and be counted. It’s my dream that one year all the submissions will be made by the Costume Designer themselves… Or
would that fall into the fantasy category?
A happier and improved new year to you all!
In Solidarity,
Mary Rose
Dear Members,
15 CDG Offices closed for Presidents’ Day
18 Final CDG Awards Ballots due
25 12th Annual CDG Awards
27 Master’s Mentoring Panel &
Swarovski Workshop
1 Executive Board Meeting,
7 PM, CDG Offices
7 82nd Annual Academy Awards
29 General Membership Meeting,
7 PM, CDG Offices
The CDG has launched several new initiatives designed for growth in the coming years:
• CDG Website Have you checked out our new look? Thank you to CD Salvador Perez for all his hard work.
ACD Anna Wyckoff will continue to populate our site with fresh images of our members and vendors and
add new articles regularly.
• Besides using our website to report availability, you may now report your latest job as well. Reporting
your work is your responsibility as a member. Now you can do it in minutes, 24/7.
• Joint Seminars With the Art Directors Guild New opportunities to learn alongside our peer designers
(like the Wacom Tablet seminar) are welcome. We look forward to more mutually beneficial classes in
cutting-edge technology to make your job easier.
• CSATTF Computer Classes Each year, the number and variety of classes available to our members (at
reduced fees) grows. As declining prep time and late casting exponentially complicate designers’ jobs,
it is essential to utilize computer programs, new tools and the Web to save time, enhance creativity and
increase communication with other departments. Resolve to sign up now!
• GEMS “General Email Messages” is a compilation of pertinent news for members sent once a week to cut down on your Guild
emails. Key information about awards balloting, Boldface News for The Costume Designer, educational opportunities, and
labor/political calls to action are just a sampling of the vital communications you’ll find in GEMS’ handy table of contents. Be
sure to open your GEMS email each Friday, or you are certain to miss some important smart talk!
• Meet the Nominees Mentoring Brunch The second annual member brunch and panel discussion with our CDG Award
nominees will be held on Saturday, February 27. It gives members an opportunity to learn from their nominated peers in an
elegant setting. This year, the entire day will be hosted by our esteemed Presenting Sponsor, Swarovski, in conjunction with
their fantastically informative seminar.
• Political Action Committee The CDG Eboard and membership unanimously endorsed creation of a PAC to make our pro-
labor political voices heard. It is essential that we individually and as a professional labor organization make sure lawmakers
know we hold them accountable. We inform you when legislation is pending on such serious concerns as universal healthcare
and labor’s right to organize. It’s up to you to call, email and write—repeatedly!
You now have marvelous opportunities for education, communication, political activism and social networking through our Guild
of 740 amazingly talented Designers and Illustrators. What are you waiting for? Take advantage and may 2010 be very good to you.
In Solidarity,
Into the Next Decade
10 The Costume Designer Winter 2010
CD Mayes C. Rubeo was inadvertently omitted from the
Boldface entry as the co-designer of Avatar. Jeannie Ione
Flynn worked as Rubeo’s ACD. The highly acclaimed
live-action movie with a new generation of special effects
conceived and directed by James Cameron has already
received several awards as well as nine Academy Award
Karen Patch was the Costume Designer for the pilot
episode of Community—as well as for the cast photo
published in the fall issue of What’s On/What’s In.
12 The Costume Designer Winter 2010
Looking Forward
The last two years have been chal-
lenging for many members both
creatively and financially. With the
new year now in full swing, we are
all hoping that the economy will
continue to improve and work will
begin to pick up. In the meantime,
there are many things you can do to
improve your chances of landing that
next job.
• When was the last time you updated your resume, port-
folio, reel, or book? Take another look.
• The Guild offers many opportunities for members to
improve their computer skills. We are affiliated with
Studio Arts and Valley College, where members can
learn anything from basic computer skills to industry-
related programs such as costume Plot Pro, Photoshop,
Illustrator, and many more. Be sure to check the weekly
email GEMS for the most current class info.
• Each Tuesday at the Guild office, there is an informal
group called Tuesday Tea and Technology, where mem-
bers share computer knowledge and help each other
learn new computer skills.
• The West Coast IATSE office has a new monthly pro-
gram with classes to help members hone the many skills
required in this industry. For a list of those classes, you
can contact me by email at the address below.
• Networking is always an important aspect of our work
search. Take time to connect with friends and co-work-
ers during these downtimes. Not only are you helping
yourself professionally but you are also benefiting from
the camaraderie of creative people. Call a crew member
or fellow collaborator from a past project and reconnect
with them. You never know where that next job will
come from.
• Come in to the Guild and check out our library.
Familiarize yourself with our wonderful periodical collec-
tion that goes back to the late 1800s as well as our other
resources. This will give you an edge and save time on
the next project.
These ideas will help make you more competitive on your
next job and keep the creative juices flowing during a
I hope you have a great 2010!
In Solidarity,
Rachael Stanley
612.375.8722 or e-mail
CostumeRentals offers year-round access to the
Guthrie and The Children’s Theatre Company’s
combined inventory of extraordinary costume pieces.
Over 30,000 costumes
Designs by leading theatrical designers
Storybook and fantasy characters
Shoes, hats, masks and accessories
14 The Costume Designer Winter 2010
Organizing Is So Important
I’ve been designing Spike TV’s The Deadliest Warrior, a non-union, low-budget, one-hour TV series
since the pilot. This November, during the second season, the IATSE with representatives of each of the
Hollywood Locals, came to the set to organize the show.
I felt hopeful but nervous at lunch as I came off the private property where we were shooting to talk
with CDG Executive Director Cheryl Downey.
I didn’t know if negotiations with the company would succeed since Spike TV had never produced a
union show and I knew the money had been very tight from the beginning. I was made aware that there
was a possibility I would lose my job if talks failed and the show hired a non-union designer to replace me.
Though the crew voted not to return to work after lunch, no negotiating progress seemed to be made
during the rest of that day (November 18, 2009). Cheryl and I spoke over the weekend, but the crew offi-
cially heard nothing throughout that next Thanksgiving week except that negotiations were ongoing. The IA remained very
positive, but the concerned crew didn’t know whether to pack up our equipment and search for other work or to hang in and
keep believing. Finally, the next Monday (Nov. 23), we got the call to come back to work—on a union basis!
What at first seemed like a scary situation, turned out to be such a blessing. The producers and IATSE were able to come
to an agreement, and I am now able to design the series with all the benefits of a union show. I was even given a raise, as well
as retroactive pension and health benefits! The IA contract enables me to pay my team union rates, and I am now able to hire
union costumers for any additional staffing requirements. Having designed mostly union shows, it is so nice to now be able to
run this one at the high professional level I’m used to. Organizing is so important!
Amanda Riley
Winter 2010 The Costume Designer 17
Robert Turturice
Michael Travis, the son of Greek immigrants, was born in
Detroit as Lycourgos Torakis.
After finishing his army duties in 1949, Michael attended
L’Ecole Des Beaux Artsa, Le Sorbonne and later, L’Ecole
Guerre Lavigne in Paris studying couture fashion. He moved
to New York and worked at the famous Eaves Costume
Company as assistant to the owner, Andrew Geoly. Michael
then began his Broadway career assisting Raoul Pene duBois,
Miles White and Irene Sharaff, whom he greatly admired for
her attention to detail.
Michael got his first big break designing classical Greek
costumes for Rape of the Belt followed by Rhinoceros. He then
designed The Play of the Week for two years including The
Cherry Orchard with Helen Hayes; Thieves, Carnival, Medea
and Tiger at the Gates with a star-studded cast. He was concur-
rently designing the television series The Voice of Firestone and
The Bell Telephone Hour featuring stars of the opera.
Travis landed the opportunity to design the costumes
for the Academy Awards where he first met producer
George Schlatter, who hired him to design The Steve
Lawrence Show. The successful relationship with Schlatter
led to his six-year collaboration on Laugh-In where he
created up to 400 costumes per week. Other variety show
credits include The Tony Orlando Show, Ernie Ford spe-
cials, Lily Tomlin specials and Rowan & Martin’s Laugh-In.
Michael’s 15-year collaboration with Liberace was his
most gratifying by far. What started as a possible one-time
design job turned into designing Liberace’s entire ward-
robe. Michael was given carte blanche to fantasize along
with Liberace, experimenting with exotic designs, unusual
materials, color and embroideries.
Michael Travis has emerged as one of the most gifted
and talented costume designers in American Theater, tele-
vision and film.
Academy Award
winning Costume Designer Sandy Powell
was honored with her second Oscar
for Martin Scorsese’s
The Aviator in 2004. In 1999, she not only took home
the Oscar for Shakespeare in Love, but was also nomi-
nated for her work on Velvet Goldmine that same year.
Her most recent credits include Scorsese’s Shutter Island and
the critically acclaimed The Young Victoria for which she just
received her eighth Oscar nomination.
Powell previously created the costumes for Mr. Scorsese’s
The Departed and Gangs of New York, for which she also
garnered an Oscar nomination. Additional Oscar-nominated
credits include Mrs. Henderson Presents, Wings of the Dove
and Orlando. She has also been nominated for a total of nine
BAFTA Awards to date having won for Velvet Goldmine.
Among Powell’s other credits are Edward II, The Crying
Game, Wittgenstein, Being Human, Interview With the
Vampire, Rob Roy, Michael Collins, Butcher Boy, Hilary and
Jackie, Felicia’s Journey, The End of the Affair, Miss Julie, Far
From Heaven, Sylvia and The Other Boleyn Girl. Ms. Powell’s
early screen credits include Caravaggio, Depuis Le Jour—Aria
and The Last of England, Stormy Monday, For Queen and
Country, Venus Peter, Killing Dad, The Miracle and The Pope
Must Die.
Ms. Powell’s theater designs include A Midsummer Night’s
Dream, Nijinsky and Cruel Garden for London Festival Ballet
as well as Edward II at the Royal Shakespeare Company, Atom
Egoyan’s Dr. Ox’s Experiment, Verdi’s Rigoletto and most of
the Choolmondeleys and Featherstonehoughs shows with
director/choreographer Lea Anderson.
CDG President Emeritus Robert Turturice
(March 15, 1949–December 15, 2009)
cdg career achievement in television
cdg lacoste career achievement in film
cdg hall of fame award

Jane Lynch
Mistress of Ceremonies
Emily Blunt
Swarovski Award
Rob Marshall
Distinguished Collaborator Award
16 The Costume Designer Winter 2010
At age 60, Robert Turturice leaves behind a limitless body
of work spanning more than four decades. Everything in
this prolific life reflected his passion for design, art and
Immediately upon graduation from high school at 17,
Robert left Berkeley for Los Angeles, where he pursued his
studies at the Pasadena Playhouse. In 1968, Robert met then
NBC Costume Department Head Ret Turner and began his
illustrious career as a dresser and later, an assistant to some
of the most established Costume Designers of the day.
His many talents led him through a career designing
varied feature films including Batman and Robin, The
Flintstones in Viva Rock Vegas, Big Top Pee Wee, Clean
and Sober, Say Anything and Beaches. It was his work on
Beaches that spawned a collaborative relationship with
Bette Midler, who called him “A Saint!”
Robert’s extensive TV credits (31 made-for-TV movies,
19 series, 27 pilots and countless specials) include the series
Moonlighting, Cybil, Partners in Crime, Sisters, Bette, Arli$$,
Pee Wee’s Playhouse, JAG, Bosom Buddies and HBO’s Gia
starring Angelina Jolie. He was honored with 10 Emmy nomi-
nations and the Emmy win for Moonlighting in 1987.
As President of the CDG for two terms (1992–1996), he
headed an educational program which sponsored and pro-
duced an extensive series of instructional seminars which
were recorded as training tapes for the members. Robert
believed in offering as many apprenticeship tools as he
could to his fellow Costume Designers Guild Members.
Costume Designer: JASON ALPER
Assistant Designer: JENNIFER STARZYK
Key inspiration? I wanted Bruno to ‘pop,’ so I concentrated on fabrics that were textured, shiny, and
reflective. Most challenging costume? The velcro suit was a favorite. After several prototypes it gave me
a lot of pleasure to execute the costume for such an ambitious scene. What keeps you focused? Tons of
preparation, an amazing ACD, and as long as you’re prepared to change everything at a minute’s notice, what
could go wrong? Comments? Brüno was an exhilarating experience. It felt like I was about to do a bank job!
Costume Designer: DOUG HALL
Assistant Designer: NANCY CEO
Key inspiration on the project? Working with world-class musicians. To make beautiful music is a gift.
Favorite costume? I love making western shirts because once you have a pattern, there are limitless options
to make each one unique. Finding the material was the hard part since I wanted the drape of 1970’s fabrics.
Best advice? Diversify, make friends with the still photographer, visit the sets/locations early on and gel the
fluorescent lights on the trailer. What keeps you calm on the busiest of days? Stepping away, turning
up the music.
Costume Designer: MARINA DRAGHICI
Your key inspiration? Sapphire’s book Push, the ultimate cathartic reading experience, mentally recording
people’s clothing choices on the subway, 1980’s films and documentaries, and stacks of photography books.
Best advice? There is no formula. Find out what works for your uniqueness. What keeps you calm and
focused? Yoga and acupuncture. Comments? Everyone involved, especially director Lee Daniels, did this
movie because the story touched a deep cord in our hearts. Nobody on our crew ever, expected the kind of
recognition and success of Precious.
Costume Designer: DANNY GLICKER
Assistant Designer: MICHELE K. SHORT
Illustrator: LOIS DEARMOND
Inspiration? I researched the clothing, the habits, the world of actual business travelers, and then filtered that
down through Ryan’s perception. Biggest challenge? Creating, then editing down the clothing of an existen-
tialist traveler. Every item of Ryan’s clothing had to be multifunctional, essential, and fit in his carry-on. Equally
challenging was to create the counterpoint to his minimal existence with a highly cluttered and detailed world
of more than 3,000 costumed background in five cities and four international airports! What keeps you
focused? Reminding myself how fortunate I actors am to be doing what I love.
Costume Designer: ANN ROTH
Assistant Designer: MICHELLE MATLAND
Inspiration? Pictures and home movies of Julia Child growing up in Pasadena and later at prep school in San
Francisco. Favorite costume? Julia and her visiting sister looking in the mirror wearing similar but different
dresses, showing how alike they were. Biggest challenge? Making Meryl at 5’6” look like Julia’s 6’2” without
the clothes overshadowing the scene. Advice? Work, work, work as much as you can and in all genres, includ-
ing off-Broadway plays and classic repertory theater. Thoughts? Sadly, today’s productions seem to focus on
budget as opposed to art and vision.
Costume Designer: COLLEEN ATWOOD
Assistant Designer: COLLEEN KELSALL
Biggest challenge? There were so many costumes to make on Nine, the main challenge was how to keep the
dance costumes and principal costumes moving forward as we were shooting. Best advice? Be organized. I
see prep schedules getting shorter and shorter … superheroes excepted! What keeps you focused? I tend
to do instead of talking about it a lot, and that keeps me focused on what I have to accomplish every day. Other
thoughts? My crew was incredible, without a great team, it would not have been possible.
Costume Designer: JENNY BEAVAN
Assistant Designer: CHARLOTTE LAW
Illustrator: LAURA REVITT
Inspiration? Gustave Dore’s ‘London, a Pilgrimage’ and early photographs of late 19th-century London.
Favorite costume? Those I made for Robert Downey Jr. when we found our own ‘Sherlock.’ Advice?
Learn every aspect of the business, including diplomacy and people skills! What keeps you calm? Age and
experience, a complete lack of fear, a good cup of coffee, and a fabulous crew! Comments? This job gets
harder and harder; lack of time and money, with huge expectations. Sherlock was the happiest cast & crews in
ages and Guy Richie is a great team leader!
Costume Designer: HOPE HANAFIN
What was your key inspiration? The script. I believed from the moment I read it that it would be a classic.
While it is set in contemporary L.A., we were committed to making it seem timeless. Favorite costume?
The vintage dress Zooey wears to the wedding. Seen through aspiring architect Tom’s eyes, I wanted it to
be romantic, but not frilly or flowy. It is very feminine, but the color is reserved and the lines pure geometry.
Best advice? Keep your eyes open, inspiration is everywhere. For balance, find something that you’re pas-
sionate about.
Costume Designer: SANDY POWELL
Assistant Designer: DEBBIE SCOTT
Key inspiration? Victoria herself and the portraiture of the period. Favorite costume? The simplicity of the
cornflower blue dress Victoria wears with matching flowers in her headdress during the recital scene and then
later when she’s having a fight with Albert. Best advice? Keep enjoying the work and the process. The minute
you get bored, you cannot do good work. Keep your eyes open and you can find inspiration in anything. What
keeps you calm? Remembering it’s only a film. We’re part of a collaborative effort, we’re not all alone.

Inspiration? Gabrielle Chanel liberated women’s bodies and invented a new way of being feminine, which in
turn became fashionable. Most challenging? For a costume designer, creating costumes for Coco Chanel
was as challenging and exciting as playing Shakespeare would be for an actor. Detailing the early life of Chanel,
I wanted to show her elegance while being terribly poor. The black jersey dress shows her modern elegance
(jersey was only used for underwear then). Advice? Apart from my enthusiasm and curiosity, I have no secret.
Keeps you calm? My concentration keeps me calm.
Excellence in Contemporary Film Excellence in Period Film
Assistant Designers: MICHAEL MOONEY/London, LISE HACHE/Vancouver
Key inspiration? The immortal Doctor Parnassus; images from antiquity to modern times, spanning east to west;
16th- & 17th-century European theatrical costumes; and Commedia dell’arte. Favorite costume? The stage cos-
tumes: “Beauty,” “Wisdom,” “Mercury” and the “Demon.” Best advice? Be very curious, experience as much as
possible, and fill your imagination to the brink. What keeps you calm? A very organized ACD with a good ear
and a great memory. Comments? This film was the most interesting and challenging rollercoaster in a long while.
Terry Gilliam is a master.
Costume Designer: MICHAEL KAPLAN
Assistant Designer: STACY CABALLERO
Key inspiration? Different sections had different influences. The film’s flavor was inspired by the 60’s TV series.
The flashback scenes with Kirk’s father were inspired by 1950’s futuristic films. Favorite costume? The hooded
snowsuit, in which, Spock Prime (Leonard Nimoy) is revealed to the audience. It answered many needs in a way I’ve
never seen. Advice? Never take the easy way out. Every detail matters because you never know what will be seen,
and remember that unlike theater, filmwork is indelible. What keeps you calm? The good support of my crew.
Costume Designers: MAYES C. RUBEO & DEBORAH L. SCOTT
Assistant Designer for Rubeo: JEANNIE FLYNN
Key inspiration? MR: Jim Cameron’s storyline, and the clan (tribes) of Africa, Mexico and New Zealand, to name
a few. Most challenging? MR: Balancing the right amount of ornaments for Netiri, the symbol of the Na’Vi.
DS: I think it was Tsu’tey, and the white leafy ceremonial robe of Moat. Best advice? MR: Research, Research,
Research! DS: Be flexible! And never stop learning. Other thoughts? MR: Avatar teaches us how to find Eywa,
the guiding force and deity of the Na’vi, in this world, here and now. DS: The craft of animation is a new territory
that we designers deserve a piece of.
Excellence in Fantasy Film
Costume Designer: AUDREY FISHER
Assistant Designer: JR HAWBAKER
Your key inspiration? Sassy sexy, scary characters that jump off the page into my fitting room every day,
courtesy of Alan Ball and our amazing writers. Most challenging? Season two’s Maenad wedding finale! The
scene was suddenly moved up, so we set up a bridal factory overnight. In three days, we built six of Maryann’s
1940’s gown, plus multiple dresses for maid of honor Sookie and four bridesmaids. Bridezilla whirlwind! Best
advice? Listen carefully, learn voraciously, and trust your creative instincts. What keeps you calm? My
wonderfully talented, dedicated and resourceful team.
Costume Designer: JOAN BERGIN
Assistant Costume Designer: GABRIEL O’BRIEN
What makes this season different? The Tudors is 90% based on historical fact. The third season covers
The Reformation when Henry accrued astonishing wealth by sacking Catholic monasteries. I help him spend it
on clothes! Favorite costume? Anne of Cleeves. Henry and his Court thought her clothes strange. Written
research and Crannoch’s paintings show them to wear the ‘extreme Paris Couture’ of their time. Comments?
I feared the danger with a long historical series was that we would all get bored. Instead, the danger proved the
exact opposite.
Costume Designer: JANIE BRYANT
Assistant Designer: ALLISON RENEE LEACH
Your key inspiration on this project? The script. Favorite costume? Designing costumes for Christina
Hendricks who plays “Joan,” one of my favorites. She has an amazing hourglass figure and looks gorgeous in clothes.
Your best advice to the next generation of designers? Enjoy the creative process and have fun! What
keeps you focused and calm during the busiest of days? A positive and supportive team!
Outstanding Period/Fantasy TV Series
What made this season different? The cast! We went from 10-12 couples competing to a whopping 16
couples! And we whipped up a slew of last-minute costumes for our Michael Jackson Tribute. Most challeng-
ing? Joanna and Derek’s “Futuristic Paso Doble” lighted costumes. Designed, built, and wired in four days!
We were on pins and needles hoping they’d stay lit and not short circuit during the strenuous and athletic
performance! Comments? I just hope everyone realizes that NONE of these costumes are prepared ahead
of time and my ACDs make this insanity happen.
Costume Designer: LOU EYRICH
Assistant Designer: JENNIFER EVE
Your key inspiration? The characters themselves. The music. Ryan Murphy (creator, writer, director). Most
challenging? The most challenging costumes continue to be the dance numbers in each episode with indi-
vidual looks for the 14 principals. Your best advice to the next generation of designers? Your strongest
asset is your crew. What keeps you focused? My crew. They are amazing. Comments? I’m so grateful
for the opportunity to design a show where we get to explore so many varied characters and new creative
challenges in every episode.
Costume Designer: JO KATSARAS
Your key inspiration? The essence of Africa, the script and all its characters, and naturally, the late Anthony
Minghella. Your favorite costume? My favorite character is Mma Makutsi. I just love her quirkiness, I have
so much fun with her costumes. Best advice? Always trust your instinct and smile whilst working. It’s the best
job in the world. What keep you calm? Early-morning meditation and my sense of humor, mostly.
Costume Designer: PATRICIA FIELD
Associate Designer: MOLLY ROGERS

Unavailable at press time
What made this season different? The raid on the Texas polygamist compound was totally new. We
needed to merge that style into our characters who were established in calico prairie styles from years back.
Most challenging? Dressing my cast of fashionistas as your average middle-class polygamists and creating
Mormon attire for their most sacred ceremonies, because it can’t be seen by anyone outside Mormon sanc-
tums. Rewarding when we got it right! Comments? Just goes to show that strong costume design is all about
visual storytelling … not about making a fashion statement.
Assistant Designer: MICKEY CARLETON
Key inspiration? The story of these two remarkable women. I envisioned their progression through the
decades as a decoupage. Collecting pieces of clothing and incorporating them as they aged through the years.
Interesting to me was Little Edie’s unique aesthetic. Favorite costume? The silk-hooded gown Little Edie
wears to the bohemian party in the 1930s. We wanted to reference the onset of her alopecia and her pro-
gressive clothing choices even at such a young age. Advice? It’s good to be afraid of a challenge. It means you
are learning.
Costume Designer: BARBARA KIDD
Inspiration? The original drawings by Dickens’ illustrator Phiz and imagining these two men discussing the
characters in Little Dorrit. Most challenging costume? I applaud ‘Sparkler’ and ‘Tip,’ who both bravely corset-
ted without complaint making their fashionable outfits work; their stance and ‘manliness’ enhanced. Advice to
the next generation of designers? Be ingenious in your research. You are there to bring fresh ideas. And
make friends with the alterations workroom! What keeps you calm? Focusing on the importance of making
each costume perform at its best.
Costume Designer: MICHAEL DENNISON
Assistant Designer: MICHAEL CROW
Inspiration? Alfred Stieglitz photography, colors and patterns from O’Keeffe’s paintings, and the palette of
the Southwest. Most challenging costume? All were fun and challenging but the most rewarding charac-
ters were Georgia and Mabel Dodge Luhan. Advice to the next generation of designers? Perseverance
and dedication should be your guideposts while kindness, trust, respect and honesty should be your catalysts.
What keeps you calm? Visualizing the entire scene and focusing on the outcome. I trust the talent of my
crew, and before you know it … it’s on film!
Costume Designer: CASEY STORM
Assistant Designer: KAMMY LENNOX
Key inspiration? Our vision was rock opera references like David Bowie and Kiss and weird futuristic films of
the ’70s. Most challenging? The heroine’s outfit because of the politics of advertising. The costume had to be
sexy but not too sexy. We made the costume as a two-piece but had to reconceived it as a corset and make it
overnight. Advice? Do everything you can to link up with a designer to really learn the business. Keeps you
focused? The shear amount of work. Every moment is focused on trying to make it better.
Outstanding Commercial Costume Design Winner
Outstanding Contemporary TV Series Outstanding TV MOW or Miniseries
Winter 2010 The Costume Designer 25
Rob Marshall
Colleen Atwood
24 The Costume Designer Winter 2010
I spoke with Rob Marshall from his suite at Shutters on the Beach the
morning of the Golden Globe Awards. He could not have been more
enthusiastic about his upcoming CDG Distinguished Collaborator
Award saying, “I was so surprised and thrilled to learn of this award
because I don’t think people ever recognize the importance of col-
laboration. I was so moved by it.” From Colleen Atwood’s point of
view, “Rob is not only a collaborator with costumes, he inspires the
feeling of total collaboration; camera, production design, acting and
dance. As a result, a true atmosphere of creativity and closeness is
born.” Marshall’s respect and appreciation for his constant collabora-
tor, Colleen Atwood, is the foundation this award is built on.
RM Colleen and I share something so special. It started with Chicago. I’ll never forget meet-
ing her at the Four Seasons Hotel. I’d chosen [to meet] just a handful of designers whose
work I admired. When she came in, she had her books with her, which she didn’t need
because I knew her work so well—I think she was genuinely excited about the possibility of
doing a musical—which she’d never done.
CA When I met Rob, I really liked his energy and clarity of vision. I would have been happy
to work with him on anything. The fact that it was a musical was a gift!
RM What I loved about Colleen immediately is that she’s a true artist and she talks my lan-
guage. We talked about character and story and the world we were trying to create. And I
offered her the job on the spot.
RM I usually have a few key images that I’ve gathered but Colleen puts together an imagery
book and they’re often not even clothes. Photography from the era, images that set a mood,
show the light. For Geisha, she even showed me pictures of flowers. It begins with a gen-
eral feeling and it becomes costumes. We’ve created these very different worlds together.
Chicago in the late ’20s had a showbiz sensibility, Geisha was a hidden world inside Japan,
mysterious and seductive, and for Nine, the research was mostly black-and-white photos
from 1960’s Italy.
CA For Chicago, I put together news photos of the grittier side of Chicago (’20s and early
’30s), mixed with Brassai and Man Ray photos that inspired me. For Geisha, I used Japanese
art and photo research of the period, mixed with fashion research from both Japan and the
world from that time, as there was considerable Western influence in the clothing of people
on the street, both pre- and post-war. For Nine, I used lots of paparazzi images of Rome in the
era, mixed with real family photos of the ’60s and Avedon and fashion photography as well.
RM Something I do, that may be unique, is that if I’m sitting in a
costume meeting, John Myre (production designer), Dion Bebe
(director of photography) and John DeLuca (artistic partner) are
all there talking about the clothes too. I invite the collaboration.
Maybe because I come from theatre, but it’s important to me for
everyone to hear what we’re doing so we’re all on the same page.
The best idea in the room doesn’t necessarily come from myself or
Colleen. You have to check your ego at the door. Colleen has sat in
production design meetings with me and come up with wonderful
ideas for production design or light.
RM Colleen will do a show-and-tell and sometimes I’m looking at
50 different costumes at once. We also do a “dress tech,” usually
the day before [we shoot]. On Nine, I had two female associate
choreographers, Tara Nicole Hughes and Denise Faye [with cho-
reographer, Joey Pizzi]. Tara & Denise would wear the clothes
early on so Colleen could make adjustments. She would use them
as guinea pigs since they could tell you what’s working and what
isn’t from the inside out. We have such respect for Colleen that we
always try to make it work, but she never wants the costumes to
compromise the choreography in any way.
RM We’re not just documentarians. It has to be seen through
our eyes today. For me, we’re not trying to replicate that time
but instead, the time as seen through our eyes. Especially in the
Geisha’s world; there are such rules in their culture that didn’t
serve our image of what a glamorous woman would be. The look
of a Geisha was meant to be the most seductive, the most beauti-
ful and the most alluring; but we knew we needed to find a way
into it that modern eyes could accept. To me, that’s the fun of it.
It’s the artistic impression of the world instead of just the world
itself. It follows for me in hair and makeup, production design
and lighting as well.
RM She always betters what I imagine it will be. There is a cos-
tume Rene wears in Chicago and Colleen said it’s just going to be
diamonds. We had talked about a black-and-white number—sort
of a Fred Astaire and Ginger Rogers palette. When she said it was
going to be diamonds, I didn’t know exactly what she meant but I
knew it was going to be spectacular. There were 13 or 14 musical
numbers in Chicago and they all needed to look different. It was
better than I ever imagined it would be because she knew what I
was looking for.
CA It was the first time I had worked with a director/choreogra-
pher and it was amazing to see how visual the choreography is on
its own, and how it inspires both color and design. It was also just
amazing to watch Rob, John and the dancers build a show. Then
see it on the day and think “Wow!”
RM Thinking back to Roxy’s torn stockings in Chicago … it was
important to me that you knew Roxy was poor but still proud, and
it was important to Rene that she feel that; so Colleen finds a way to
bring that feeling to the costume, which in turn advances the story.
Were the torn stockings Colleen’s idea? I think in the best of collabo-
rations it doesn’t matter whose idea it was … it belongs to everyone.
Deena Appel
26 The Costume Designer Winter 2010
“Swarovski was our hero,” said Rob
Marshall, director of the sparkling musical Nine. “We could
not have done the ‘Cinema Italiano’ or the ‘Folies Bergere’
numbers without them.” Our Distinguished Collaborator,
Marshall, and his constant design partner, Colleen Atwood, are
certainly not strangers to the impact Swarovski has on film.
After her Oscar-winning costume designs for Chicago, Atwood
knew that Swarovski was always willing to take on a new chal-
lenge. For Nine, she had an idea for graduated crystal beads
for the exceptional showgirl headdresses, so Swarovski made
them in additional colors per her design. Colleen also used the
smallest crystals on all the black costumes. While unnoticeable
to the eye, they beautifully captured the dancers’ movement
in low light.
Career Achievement honoree Sandy Powell has used
Swarovski on various costumes in Interview With the Vampire,
Shakespeare in Love, Mrs. Henderson Presents, and The
Aviator. The Young Victoria, however, was her first experi-
ence commissioning specific pieces. Powell uses the tiniest
crystals, like sequins, to add glimmer to a costume, enhance
a color or accentuate a piece of embroidery which would
not necessarily be obvious. In The Young Victoria, the yel-
low dress Victoria wears to the King’s birthday was resplen-
dent in crystal. As for the jewelry, Powell says, “It’s all about
the stones. It was very satisfying to be able to commission
the production of exact replicas of certain pieces, including
the famous tiara and all the royal regalia that were made to
Assistant costume designer Lois DeArmond has been
working with designers Michael Bush and Dennis Tompkins
illustrating the costumes for Michael Jackson’s tours for the
past 18 years, and This Is It was no exception. The Billie
Jean costume illustration almost leaps off the page in a famil-
iar pose; but for the stage it was built with seven pounds
of Swarovski Jet and Black Diamond Hot Fix crystals. The
costume was also set to make a comeback complete with a
new sparkling glove, this time with a crystal crown on the
back of the hand. The tour wardrobe, designed by a team
of designers, was set to shine with over 4 million Swarovski
crystals before Michael Jackson’s untimely passing.
Swarovski is the Presenting Sponsor of the Costume
Designers Guild Awards for the fifth consecutive year. They
are our partner in so many ways: from extravagant show-
pieces to the most subtle of enhancements, Swarovski con-
tinues to play a vital role in realizing the designers’ vision.
Deena Appel
Winter 2010 The Costume Designer 29
30 The Costume Designer Winter 2010
JR Hawbaker


Liuba Randolph has dabbled in every
medium but is currently in love with
the schedules and hyperfocus of com-
mercials and music videos. “I feel
that commercials are quite challeng-
ing. You have to establish a charac-
ter and personality and tell a story
all within 30 seconds.” While on
the job, Randolph’s proficiency as an
illustrator and skilled seamstress are
put to excellent use communicating
by using detailed sketches to help
express the final vision to the work-
“Being a good people person
with a great disposition is key in this
industry,” says Randolph and comes
in handy when working with ven-
dors. “My favorite is taking care of
product placement! I am great at
cold calling companies and PR reps.”
Also, with a 21-month-old daughter to
chase after, it’s no wonder that she
also knows the value of that all-impor-
tant ACD mantra: time management!
Randolph has worked with CDs
Cendra Martel and Karyn Wagner and
looks forward to working on another
project with cast and crew who know
how to laugh together during that
14-hour haul!
Her masterful illustrations are
revered among her colleagues and as
an Assistant, Lois DeArmond knows
that the ACD is “the designer’s right
hand, creative support and guardian
of the designer’s vision at all times.”
She studied fashion illustration
at CalArts/Chouinard but knew that
“costumes was then and is now my
true love.” Today, she uses illustration
as just one of many skills working
toward the designer’s vision. “A great
part of my job is also working with
the workrooms and vendors. Since I
have often done the illustrations, I am
in a perfect position to interpret them
should the need arise.”
When asked what makes her
laugh out loud, DeArmond whimsi-
cally muses: “Some of the stuff I hear
from production. No really, I love a
good laugh. The more we laugh, the
more likely we are to survive what
we hear from production!” She has
cultivated a knowledge of cutting/
draping and construction, period
costumes and has a passion for fab-
ric. DeArmond adds: “A fast car and
sharp pair of scissors for swatching
aren’t bad either!”

“I believe you can still get the job done
with a nice manner,” says this former
Seattle fashion designer turned Los
Angeles ACD. Sound advice from an
ACD who also lists patience, a sense
of humor, communication, and a love
for what you do as key to accom-
plishing the job. Sica has earned her
stripes in the worlds of fashion, art and
design. In addition to graduating from
the Parsons New School for Design
in fashion, she also holds a degree
in art and art history from Oregon’s
Willamette University and can render
illustrations both traditionally and on
Adobe Photoshop and Illustrator.
“Since arriving in L.A., Ann Major,
Marlene Stewart, and Audrey Fisher
have been wonderful inspirations,”
says Schmitz and explains that, “the
industry is so much more fun and
so much harder than I ever imag-
ined!” Before Hollywood, she cut her
chops working and interning “in a
little bit of everything” from editorial
(0: The Oprah Magazine) to fashion
PR (People’s Revolution in NY) to
fashion show production (Mercedes
Benz Fashion Week) to design and
styling for clothing, theater, film, com-
mercials, and television.
can’t live without
her daughter and teaching
others about natural birth
can’t live without
singing, especially early
music and British Isles
traditional songs
can’t live without
traveling every chance I get,
experimenting in the
kitchen, yoga
Winter 2010 The Costume Designer 33
ACQUE: Loose-bodied garment popular in the end
of the 17th and early 18th centuries. It was made
popular by the painter Watteau and is often referred
to as a Watteau gown.
direct translation from the French
means “without breeches,” during the
French Revolution this term came to
refer to poorly dressed working-
class French patriots, who wore
full-length trousers instead of the
more fashionable knee-length
SARPE: Ornamental gir-
dle of metal.
SCHENTI: Egyptian
loin cloth, wrapped
around hips and
held in place by a
tied belt or girdle.

K A M E E Z ,
A pair of
g a t he r e d
paj ama- type
bottoms with a narrow
opening at the bottom, the shalwar, and a long collar-
less tunic, the kameez. The traditional kameez usually
has long sleeves and a coordinating scarf called the
SKILTS: Short full trousers, half a yard wide at
the bottom. Reaching just below the knee, they
were worn by country people during the American
SNOOD: Originally a fillet
worn around head by young
women in Scotland and con-
sidered an emblem of chasti-
ty. Later, the snood came to
be adapted to a small mesh
beret or section attached to
back of hat to conceal or com-
pletely confine the hair.
SOCCAE: Light shoe worn
in the house by the Romans and
worn with soleae: Roman house slippers.
SOUP AND FISH: Slang for men’s formal dress, especially,
but not specifically referring to a tuxedo. According to the
OED, the term refers to clothing worn to a formal
dinner of many courses, the first two of which
will be … you guessed it, soup and fish.
sers made of sponge cloth, which was
cotton fabric of coarse yarn woven
in honeycomb weave to produce
open-spongy effect. Used for sum-
mer dresses, sports garments, etc.
Spongebag trousers were particularly
popular in Regency England.
SPORRAN: Large pouch bag used
as a purse and made of leather with
some fur or long hair which is often
decorated. It hangs center front of
the men’s kilts as part of the Scottish
national dress.
STAY: That part of a garment or
shoe which contains the eyelets for
STAYS: Refers to corsets or the
stiffened inserts that make them
more rigid.
Illustrations by Robin Richesson
Text by Karyn Wagner
32 The Costume Designer Winter 2010
My iPhone—instant
Fabulous textiles from around
the world—instant inspiration
Google image library—
instant research
Carrot and ginger juice—
instant energy
An atmosphere of calmness—
instant focus
34 The Costume Designer Winter 2010
Fine men’s and women’s fabrics for stage and screen from Ermenegildo Zegna
West Coast
Scott Anderson
East Coast
Toll Free





Marlene Stewart
Most of the “things”
I need are people but…
Korean baths ... aka
Japanese baths. Always a cure for the craziest day
Mini-trapoline so I can get some exercise anywhere, anytime
Meditation tapes so I can be “forced” to meditate when I am
not capable ... which of course, is an oxymoron
The perfect crew with whom I have
established a vocabulary
Books, libraries, museums—the Internet
is unbelievable, but there is nothing like
paper for inspiration
My essential art supplies including Pink
Pearl erasers. Once, my crew gave me a
pinata filled with erasers for my birthday!
eBay. I am an addict.
Studio services
Winter 2010 The Costume Designer 37
36 The Costume Designer Winter 2010
CD Denise Wingate launched 2010 with the Farrelly broth-
ers’ comedy Hall Pass, starring Owen Wilson as a man given
a ‘free pass’ to have an affair. Wingate prepped in Los Ange-
les and then headed to Atlanta through May. Any tips or local
sources, Wingate is all ears! CD and Eboard member Salva-
dor Perez is currently designing the action feature Faster
with good friend and director, George Tillman. The film stars
Dwayne Johnson and Billy Bob Thornton. Fellow CD Dalhia
Schuette has teamed up with Perez as Key Costumer for the
local shoot. CD Michael Kaplan is in town with ACD Stacy
Caballero designing the Screen Gems/Sony musical Bur-
lesque, starring Cher, Christina Aguilera and Alan Cummings.
The film is about an alcoholic writer who gets involved with
two eccentric exotic dancers, who promise to make all his
dark dreams come true. CD Debra McGuire finished the
year wrapping two feature films and a commercial: The Big
Bang, starring Antonio Banderas; Life As We Know It, star-
ring Katherine Heigl; and a spot for 1-800-Flowers which
will air around Valentine’s Day. McGuire is now prepping the
comedy Bad Teacher with Cameron Diaz here in Los Ange-
les. Also in Los Angeles, CD Ellen Lutter is in the middle of
an Adam Sandler double feature. She’s wrapped Grown Ups,
about a holiday weekend with old friends, 30 years after their
high school graduation and is currently prepping Pretend
Wife, which stars Jennifer Aniston. Illustrator Felipe San-
chez is working alongside Lutter on the romantic comedy.
CD Susan Lyall is shooting in both Toronto and New Orleans
for Summit Entertainment’s Red. Susan is joined by ACDs
Amy Ritchings in New York and Cori Burchell in Toronto.
CD Shoshana Rubin is designing Steven Soderbergh’s spy
thriller Knockout. The film, starring mixed martial arts fighter
Gina Carano and Ewan McGregor, has Rubin globetrotting to
Dublin, Barcelona, and Santa Fe. From the Michigan desk: CD
Hope Hanafin just wrapped Cedar Rapids, about a naive
insurance salesman who travels to a big-city convention in an
effort to save the jobs of his co-workers. ACD Valerie Laven-
Cooper worked with Hope from Los Angeles. Meanwhile, in
Traverse City, MI, Susanna Puisto has finished up the drama
A Year in Mooring, starring Josh Lucas and James Crom-
well. Avatar Co-Costume Designer Mayes C. Rubeo is very
happily tackling the epic John Carter of Mars. Rubeo and
ACD Colleen Kelsall are in London at the magnificent Sur-
rey Longcross Studios, designing another unknown world—
this time… Mars! CD Colleen Atwood is on location in Italy
with ACD Christine Cantella for The Tourist led by award-
winning director Florian Henckel von Donnersmarck (The
Lives of Others). The dramatic thriller stars Johnny Depp
and Angelina Jolie. Jolie plays an American tourist used by
an Interpol agent in an attempt to flush out a criminal with
whom she once had an affair.
CD Allison Leach, along with freshly minted CDGer, ACD
Tiffany White, recently designed the costumes for the
LEGION of Extraordinary Dancers’ special appearance on
So You Think You Can Dance. She also designed LXD’s
original online series. The narrative dance show chronicles
“the most elite dance crew ever created!” Check out www. The same Leach/White duo also did the cos-
tumes for a MSN/Warner Bros. interactive mystery game as
part of the online promotion for the new Sherlock Holmes
film. CD Mary Kate
Killilea is winding up the first season of Make It Or Break
It for ABC Family, with a second season starting up this April.
CD Nancy Steiner, along with ACD Jennifer Starzyk, is
designing HBO’s pilot Enlightened, shooting in Los Angeles
and Hawaii. The comedy features Laura Dern as a woman
who embarks on living an enlightened life after a meltdown
and consequent spiritual epiphany. Diane Ladd (Dern’s real-
life mom) and Owen Wilson will play her mother and former
husband. CD Stephen M. Chudej is designing Fox televi-
sion’s new police series Code 58. The dramedy, starring
Colin Hanks and Bradley Whitford, will be shot in Dallas,
with actor Tim Matheson directing. CD Kathryn Morrison
designed the pilot and subsequent series for Shawn Ryan’s
Terriers—an FX comedy/crime drama series shooting in San
Diego. Morrison previously teamed up with Ryan for The
Shield and expects to be busy with the new series through
spring 2010. CD Laura Goldsmith is busy designing the
new NBC ensemble dramady Parenthood after they recast
and reshot the pilot now starring Lauren Graham, Peter
Krause, Monica Potter, Craig T. Nelson and Bonnie Bede-
lia. Goldsmith has also re-teamed with director/creator JJ
Abrams on his latest NBC pilot, Undercovers, about a mar-
ried couple that gets reactivated as CIA agents after years of
CD Ariyela Wald-Cohain is currently designing the third
season of Web Therapy. Lisa Kudrow portrays Dr. Fiona Wal-
lice, a therapist who decides that three minutes via webcam
is better than 50 minutes of face-to-face therapy. Lisa won
a “Webbi” for her performance in season one, and Wald-
Cohain has happily been on board since then. CD Dana
Woods designed Fences by August Wilson at South Coast
Repertory Theater in Costa Mesa. The play stars acclaimed
Wilson regulars Charlie Robinson and Juanita Jennings, and
opened in January.
38 The Costume Designer Winter 2010 Winter 2010 The Costume Designer 39
CD Alexandra Welker sat down with fellow CD Kristin
Burke for an interview for Burke’s blog,
Welker spoke about the interesting process of designing for
not only actors, but also animated chipmunks for Alvin and
the Chipmunks: The Squeakquel. CD Audrey Fisher, ACD
JR Hawbaker and the costume department of True Blood
will be included in a behind-the-scenes feature about popular
TV shows in the upcoming issue of Emmy magazine. On Jan-
uary 29, CD Chrisi Karvonides-Dushenko’s costumes for
the drama The Loss of a Teardrop Diamond were on display
during a champagne reception hosted by reVamp Vintage
Clothing in their downtown L.A. studio. The film, based on
a recently rediscovered screenplay by Tennessee Williams, is
set in the “Roaring Twenties” and stars Bryce Dallas Howard.
Chrisi spoke about her designs, and both her sketches and
stills from the movie were also on view. This January, RTP
International, an online Portuguese TV station with a viewer-
ship of 60 million people worldwide, aired a detailed profile
on CD Deborah Ferguson highlighting her fim and print ca-
reer. Check out CD Kresta Lins and her
“Let Them
Recycl e”

costume that
graced the
cover of The
C o s t u m e
Desi gner’ s
Spring ’09
i ssue has
created a
buzz around
town! After
a recent
display in
b o u t i q u e
Code C’ s
window on
the Sunset
Strip, articles
about Kres-
ta’s costume
project, en-
titled “The
Sirens,” have appeared in LA 411,, Mother
Nature Network, Racked LA, Green LA Girl, Ethical Style,
Kresta Lins’ “Let Them Recycle”™
818 S. Broadway Suite 801
Los Angeles, CA 90014
EcoDivasTV and Your Daily Thread. Kresta was also inter-
viewed for articles in both Designed by Hollywood and IA-
TSE’s Bulletin magazine, and “Let Them Recycle” will also be
featured in the new issue of The Creative Handbook. Kresta
is currently finishing the second costume in the series,
which will address the topic of e-waste. Stay tuned at www.
Check out for a behind-the-scenes preview of
Wall Street 2: Money Never Sleeps, featuring CD Ellen
Mirojnick’s costumes shot by Annie Leibovitz. Ellen
and longtime collaborator Michael Douglas are sure to
set trends once again 23 years after the original Wall
Street premiered.
CD Mirojnick goes back to Wall Street Vanity Fair visits Wall Street
40 The Costume Designer Winter 2010

CD Allison Leach is
happy to announce her
website will launch
in February:
while the winter issue
of In Style Weddings
pictures Leach’s styl-
ing talents for Mad
Men’s Christina Hen-
dricks. Leach styled
the wedding party,
and designed the groom’s three-piece ensemble. If you
missed it, be sure to read Los Angeles Times’ fashion writer
Booth Moore’s excellent year-end article highlighting the
stunning style of this season’s holiday hits designed by the
illustrious CDs Jenny Beaven, Sherlock Holmes; Arianne
Phillips, A Single Man; Sandy Powell, The Young Victo-
ria; Colleen Atwood, Nine; and Danny Glicker, Up in
the Air. Find it at
CD Leach styles Hendricks’ wedding party
The dapper groom
CD Arianne Phillips designed A Single Man
Winter 2010 The Costume Designer 43 42 The Costume Designer Winter 2010
la-ig-film6-2009dec06,0,1325629.story. And finally, in The
New York Times’ online T Magazine’s December 29 arti-
cle “Naughtie Behavior: The Decade in Film Style,” blogger
Adam Kepler named the top 10 movies of the decade that
made a lasting fashion statement, but unfortunately, he ne-
glected to mention all of the films’ esteemed Costume De-
signers. Since eight out of 10 are CDG members, we thought
we’d name them right here: Theresa Squire, High Fidel-
ity; Nancy Steiner, Lost in Translation; Mary Zophres,
Catch Me if You Can; Karyn Wagner, The Notebook;
Marit Allen, Brokeback Mountain; Pat Field, The Devil
Wears Prada; Suttirat Larlarb, Slumdog Millionaire; and
Hope Hanafin, 500 Days of Summer. Read the article:
CD Francine Lecoultre has relocated her atelier, Lecoul-
tre Studio: Fabrics & Painting, to the Brewery Art Colony
in East L.A. For directions: CD
Deborah Ferguson has started a fashion and design blog
which features the latest fashion trends and street looks.
Deborah takes all her own photos and hopes to inspire fel-
low costume designers in both their shopping and designing
in New York City, Los Angeles, London and any other cities
she finds herself in:
CDGers at Sundance 2010: CD Marie-France Drouin
designed the costumes for High School, and CD Ane
Crabtree designed the costumes for Please Give, and
both films will be at the festival this year. For the fifth
High School by CD Marie France
the nominees & honorees
of the 12th annual
Costume Designers
Guild Awards
Rain and Shine!
Custom Manufacturing • Costume Rentals • Prep Spaces
818.954.1297 •
© and ¹ 2010 Warner Bros. Entertainment Inc. All rights reserved

Winter 2010 The Costume Designer 45 44 The Costume Designer Winter 2010
Compiled by:
Suzanne Huntington shuntington
Audrey Fisher

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Atwood & Sanchez in Burton Exhibit
year, CD Francine Lecoultre has the
pleasure of supporting her talented
FIDM Costume Design Program students
as they prepare for the annual fashion
show at Barker Hangar in Santa Monica.
The students are all busy designing,
constructing and embellishing for the
show in early March, and she is very
proud. CD Colleen Atwood’s designs,
as illustrated by Felipe Sanchez, are on
display as part of an extraordinary ex-
hibit of Tim Burton’s work at MOMA in
New York through April 26. (follow the
link to Exhibition Check List page 88).
46 The Costume Designer Winter 2010
Designer Michael Travis and Joan Sutherland, Bell Telephone Hour: Ernani by Verdi, 1961

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