the costume designer winter 08
TRANSCRIPT
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 1/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 2/32
Winter 2008 The Costume Designer 3
FEATURES
vol. 1, issue 5
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
email: [email protected]
COVER
Gown design by 2008 CDG
Career Achievement Award Honoree
Ray Aghayan and Bob Mackie for
Anjelica Huston, CDG Awards
Mistress of Ceremonies.
Illustration by Bob Mackie
CDG 10th Anniversary AwardsHonorees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Career Achievement recipients . . . . . . . . . . . . . . . . . . . . 21Hall of Fame: Marit Allen . . . . . . . . . . . . . . . . . . . . . . . 22Swarovski: A story in pictures. . . . . . . . . . . . . . . . . . . . . 24
Award Nominees
Q&A with this year’s nominees . . . . . . . . . . . . . . . . . . . . 26
Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 10President’s Letter
From the Desk of the Executive Director
Assistant Executive Director’s Report
Labor Report
The Costume Department. . . . . . . . . . . . . . . 35History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 A Look Back at L.A. Confidential
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DEPARTMENTS
12 24 26
1st Annual CDG Holiday Party. . . . . . . . . . . 12
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 3/32
EDITOR/PHOTO EDITORDeena Appel
ASSOCIATE EDITOR Audrey Fisher
MANAGING EDITORCheryl Downey
PRESIDENTMary Rose
VICE PRESIDENTHope Hanafin
SECRETARY Ann Somers Major
asomersmajor@costumedesignersguild
TREASURERKaryn Wagner
EXECUTIVE BOARDSharon Day
[email protected] [email protected]
Deena [email protected]
Cliff [email protected]
BOARD ALTERNATES Valerie Laven-Cooper
vlavencooper@costumedesignersguildSusan Nininger
[email protected] Van Broughton Ramsey
[email protected] Butler
ASST. COSTUME DESIGNER REP. Audrey Fisher
COSTUME ILLUSTRATOR REP.Dana [email protected]
COMMERCIAL COST. DESIGNER RETanya Gill
BOARD OF TRUSTEESPeter Flaherty, Chair
[email protected] Saint Anne
[email protected] Matthews
LABOR REPRESENTATIVEBetty Madden
EXECUTIVE DIRECTORCheryl Downey
ASSISTANT EXECUTIVE DIRECTORRachael M. [email protected]
ADMINISTRATIVE ASSISTANTSuzanne Huntington
shuntington@costumedesignersguild.
RECEPTIONIST/SECRETARYCheryl Marshall
GENERAL CDG [email protected]
PUBLISHERIngleDodd Publishing
ADVERTISING DIRECTORDan Dodd 310.207.4410 x236
6 The Costume Designer Winter 2008
inally, a sketch on the cover of The Costume Designer !
We’ve been imagining a sketch on the cover for a year now
and what better inaugural sketch than a gown in the making
for the past 10 YEARS! What, you don’t recognize it? Well
that’s because the dress hasn’t been made yet. This one-of-a-kind
dress has been designed for our returning Mistress of Ceremonies,
Anjelica Huston, for our 10th Awards Anniversary by none other than
the fabulous design team of Ray Aghayan and Bob Mackie.Yes we’ve
been talking about this dream for 10 YEARS and it’s finally a reality.
Anjelica Huston will walk the red carpet for us in a gown designed
exclusively for her by this year’s Career Achievement in Television honoree Ray
Aghayan and Bob Mackie (honored at our first award presentation in 1998).This one-
of-a-kind gown will hopefully tour the country before making its home with a lucky
bidder from Clothes Off Our Back founded
by 2007 CDG Awards host Jane Kaczmarek.
More than 500 celebrities have participated
in Clothes Off Our Back auctions since its
inception in 2002,helping raise more than$2 million for various children’s charities.
This issue celebrates our CDG Award
nominees and 10th anniversary honorees.
Enjoy the Q&A with the nominees. It’s very
interesting, the minds of some of our most talented designers; how varied and yet
similar we all are.We also mourn the tragic and untimely loss of Costume Designer
Marit Allen. CD Christine Peters shares her personal thoughts on Marit that will make
you wish you’d known her.The Swarovski photo journal will remind you just how
extensively Swarovski has been collaborating with Costume Designers for more than
70 years.
Deena Appel
EDITOR’S NOTE
F
“
”
Attempt theimpossible in
order to improveyour work.
— BETTE DAVIS
The Kobal Collection Tanya Gill, Christine Peters, Louise de Teliga
THANK YOU
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 4/32
Winter 2008 The Costume Designer 9
Contributors
AUDREY FISHER
(Associate Editor) joined the
Guild in 2000 and is currently
working as an Assistant
Costume Designer on film and
television projects. Fisher is
also the ACD representative on
the CDG Executive Board.
“Associate editing the CDG
magazine allows me to indulge
one of my first loves and keep
up my writing chops. I appreci-
ate the creative outlet and the
opportunity to learn more
about our colleagues and their
designs.”
ROBIN RICHESSON
(History of Dress, Illustrator)
joined the Guild in 1992 and
works currently as a costume
illustrator,a storyboard artist,and
an educator.“I trained for work
as an illustrator for print (pub-
lishing) 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 col-
umn is a great way for me to
learn more about clothing and
participate in this publication.”
JACQUELINE SAINT ANNE
Emmy Award–winning Costume
Designer and former CDG
President now serves as a
Trustee.Saint Anne has designed
a range of media from IMAX to
Opera for which she is currently
designing at USC.“I am prepping
a new column to introduce the
Assistant Costume Designers—
their art and craft. I am pleased
to be able to bring my writing to
the Guild membership in hopes
of increasing jobs for them.”
Saint Anne is a frequent
contributor and writes for The
Beverly Hills Times magazine.
KARYN WAGNER
(History of Dress, Copy) A
Costume Designer for film and
television, Wagner ran for the
CDG Board four years ago and
is now the newly elected CDG
Treasurer. “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 evolu-
tion of culture and clothing, so
I volunteered to write the
History of Dress column. I
always learn something new and
have so much fun writing it.”
I r v K e r s h n e r
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 5/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 6/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 7/32
Winter 2008 The Costume Designer 13
Holiday Committee Chair
Tanya Gill Venice Carnivale designed by
Robert Turturice
White Fantasy (trompe l’oile)
designed by Jude Orlando.
Generous volunteers:
Bill Barton, Cliff Chally,
Sharon Day, Bonnie Nipar,
Jacqueline Saint Anne
and Brittany Trusler
Clockwise from top left: Anna Bae & Eduardo Castro;Vikki Barrett & Jacqueline Saint Anne; Carlos Brown & Francine Lecoultre;
Mark Beall & Christopher Lawrence; Rachael Stanley, Astrit Daku & Wendy Benbrook; Alison Schmidt, Gail McMullen, Robert
Cron, Maritza Garcia-Roddy, Melissa Lizardo; Mona May & Brittany Trusler.
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 8/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 9/32
16 The Costume Designer Winter 2008
UNION LABEL
Strike Survival
s we head into the third month
of the writers’strike, I thought it
might be helpful to share some
ideas from myself and fellow
members about financial survival in this
difficult time. Below are a few sugges-
tions that you might find helpful.
• Write down your monthly financial obligations and organ-
ize them by the due date each month.This helps to pay
things on time.
• File your tax return early if you expect a return.You can do
it electronically and increase your immediate cash needs.
• Call your cable company and ask if they have any special
offers that will lower your bill. Cancel all extra-pay channels.
• Call all your credit cards and ask for a lower interest rate.Ask
if there are any balance transfer rate specials and then trans-
fer balances from higher rate cards. This will lower your
monthly payments.
• Contact the Actors Fund (323-933-9244) or MPTF (818-876-1888)
if you need financial assistance to meet mortgages and
household bills.• The Musicians Inter-Guild Credit Union is now offering unse-
cured loans in increments of $5,000 at the credit union rate
with no payments due until after the strike has settled.
• For any member with overdue DWP, Edison, or The Gas
Company bills, you may apply for up to a $150 rebate on
your bills.This can be done each Friday at Local 80 from 10
a.m.to 3 p.m. Call our office for further instructions.
• Be sure to call creditors if you are having trouble making
bills and try to work out a payment plan with them. If you
just ignore things, you may ruin your credit rating.
• Have a garage sale or sell items on eBay.You’ll be surprised
how much you have that you really don’t need.• Lower your cell phone rates by eliminating all the extras dur-
ing this period.You can always add them back later.
• Make your entertainment low-cost by inviting friends for a
game night or dinner.
In Solidarity,
Rachael
Assistant Executive Director’s Report
A
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 10/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 11/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 12/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 13/32
Marit Allen1941–2007
Costume Designer Christine
Peters shares her mostpersonal thoughts and
memories about a colleague
and dear friend.
“Working with Marit
Allen was like being sur-
rounded by fairy dust 24 hours a day. Slight of figure,
speaking with her ethereal, English-accented voice, she
enthralled directors, actors and crew with her infectious
enthusiasm. Marit had the ability to turn the mundane
into a magical event. Whether it be morning tea, the
sewing on of a button,or searching high and low through
the aisles of a thrift store for that perfect piece—every-
thing was an adventure. Much has been said of her keen
eye, her discriminating taste and her enthusiasm. More
than anything else, it was her ability to have it all, to live
every day like a precious moment, and to stop and smell,
not just the roses, but every freesia,orchid,marigold, cac-
tus or tumbleweed,you might pass (in between setups of
course!). She missed nothing. Marit’s zest for life infected
everyone she worked with—she could enthrall an actor
with the tiniest accessory that became the essence of
their character, as easily as she would convince the most
dour of Khazak seamstresses to “please, please, please do
that seam by hand—the garment demands it!” No one
could say no to Marit, and ultimately, who wanted to any-
way? She rewarded everyone with a “hooray,” “goodo,”
“outstanding” or other congratulation. Translators and
drivers the world over were smitten by her charms. She
loved life and all its imperfections.
Her talent was a unique blend of skills—intuition,
appreciation for the beautiful and unusual, and a true love
of creating characters, bringing the directors’ visions to
the screen with grace and ease. She strove to create char-
acters that were real, imperfect and nuanced. She never settled for the ordinary. For those who had the pleasure
of working with her,we all are the richer for seeing a true
master at work, teaching us all to appreciate every tiny
detail—even the buttons on the “lady in the back, last
row, to the right of the portly man. You see her, don’t
you?” Of course we did.“She will be sorely missed.”
Costume Designer Marit Allen died of a brain aneurism
on November 26 in Sydney, Australia. She was working
with director George Miller on the Warner Bros.’ superhero
adventure, Justice League of America.
HALL OF FAME
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 14/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 15/32
Enchanted /CD Mona May
I'm No Angel /CD Travis Banton
Gentlemen Prefer Blondes /CD Travilla
Marie Antoinette 1938/CD Adrian Moulin Rouge /CDs Catherine Martin& Angus Strathie
The Wizard of Oz /CD Adrian
Phantom of the Opera / CD Alexandra Byrne
Blades of Glory /CD Julie Weiss
Elizabeth:The Golden Age / CD Alexandra Byrne
Angel/Paramount/Kobal,BladesofGlory/Pa
ramount,TheWizardofOz/MGM/Kobal,Gentlem
enPreferBlondes/20thCenturyFox/Kobal,Elizab
eth:TheGoldenAge/StudioCanal/WorkingTitle/Kobal/LaurieSparham,
P h a n t o m o f t h e O p e r a / W a r n e r B r o s . P i c t u r e s / K o b a l
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 16/32
THE DIVING BELL AND THE BUTTERFLYCostume Designer: OLIVIER BÉRIOTAssistant Designer: CAMILLE JANBON
What new lesson did you learn on this project? Because of director Julian Schnabel’s painterly eye,I discovered last-minute,on-set inspiration to use costumes based on color more than shape.One thing youcouldn’t live without? I always referenced my research books for ideas and insight. What surprisedyou most? Julian Schnabel’s very particular perception of colors and patterns.Your favorite costume? Iloved Empress Eugenie’s costume because it was so out of time in this contemporary film.Her green silk taffe-ta dress echoed the green of the hospital’s walls.
INTO THE WILDCostume Designer: MARY CLAIRE HANNANWhat did you learn on this project?Traditional filmmaking methods were replaced with an organic flow:nature and artistic instinct drove this project.Couldn’t live without? I relied on Chris McCandless’ person-al journal and photographs to create authentic costumes to represent Chris’ journey. What surprised youmost? Because of the majestic Alaskan mountains’ bright white blankets of snow, the costumes required amore vivid level of distress. Your favorite costume? Marcia Gay Harden’s first outfit was a little ceriseMaggy London suit abandoned in a local thrift store for $3.50.
JUNOCostume Designer: MONIQUE PRUDHOMMEAssistant Designer: CHRISTINE COUTTS
What new lesson did you learn on this project? Costume Design is collaborative: clothes shape thecharacter and actors give it life. One thing you couldn’t live without? My personal directory of thriftand vintage clothing shops in Vancouver.What surprised you most? Ellen Page’s intensity beneath her non-chalance—heartbreaking and funny at the same time.Your favorite costume? Juno’s attempt to look girliewhen she discusses fatherhood and the impending divorce with adoptive Dad Mark (Jason Bateman).The littlefluttery skirt hanging on below her big belly is endearing and pathetic at the same time.
OCEAN’S THIRTEENCostume Designer: LOUISE FROGLEYIllustrator: JAMIE RAMA
What new lesson did you learn on this project? I learned all about tuxedos.One thing you could-n’t live without? A fabric called mohair tonic, a ’60’s men’s suiting that I happily rediscovered.What sur-prised you most? George Clooney and Steven Soderbergh became even funnier than usual.Your favoritecostume? Elliott Gould’s tuxedo.
BLADES OF GLORYCostume Designer: JULIE WEISSAssistant Designer: MICHAEL CROW
What new lesson did you learn? If an extra claims to be a professional skater, never dresshim in a pointed headdress for a crowd scene without seeing him skate first. And never lose a crystalon the ice. One thing you couldn’t live without? Band-Aids for the fingers burned during after-midnight
crystal applications surrounded by hot plates in a dark room. What surprised you most? That surely ournext U.S.National Skating Champions will be in the category of same-sex doubles. Favorite costume? Thepeacock costume, if Jimmy MacElroy had accessorized himself with pieces borrowed from the rap costumes.
Excellence in Contemporary Film
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 17/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 18/32
ENCHANTEDCostume Designer: MONA MAYAssistant Designer: MIRENA RADAIllustrator: ADAM FORMAN
New lesson ? Creating costumes with slightly cartoonish,animated proportions for live-action bodies is crit-ical. I navigated between media, starting with costumes for two-dimensional animated characters, then translat-ed the flat designs to three-dimensional actors. It was especially challenging transforming Queen Narissa into
a CGI dragon while keeping her design consistent. Biggest surprise? Disney’s archived artwork from the’30s and ’40s.The character and set designs were both innovative and inspiring. Favorite costume? QueenNarissa: I gave this iconic Disney character a sexy high-fashion makeover.
THE GOLDEN COMPASSCostume Designer: RUTH MYERSAssistant Designer: CAMILLE BENDER
What new lesson did you learn on this project? I learned not to be intimidated.Even the largest proj-ect can be achieved if you don’t panic. One thing you couldn’t live without? Passion—from the entirecrew—and support. What surprised you most? Nicole Kidman’s complete dedication to beauty. Yourfavorite costume? Naturally, the Gold Dress worn by Nicole Kidman as Mrs.Coulter.
HARRY POTTER AND THEORDER OF THE PHOENIXCostume Designer: JANY TEMIMEAssistant Designer: SARA MEEKIllustrator: MAURICIO CARNEIRO
What new lesson did you learn? Although this was my third Harry Potter film, the biggest challengeremains the same:visualizing JK Rowling’s masterpiece and giving it a modern touch without upsetting her fans.Couldn’t live without?The book! All the answers are in it.What surprised you most? Ralph Fiennes
ability to be even more devilish than in the last Harry Potter ; he is a perfect Voldemort.Favorite costume?Bellatrix:she is so bad and so sexy!
PIRATES OF THE CARIBBEAN:AT WORLD’S ENDCostume Designer: PENNY ROSEAssistant Designer: JOHN NORSTERIllustrator: DARRELL WARNER
What new lesson did you learn on this project? Collaboration with CGI live-action blue screen char-acters. One thing you couldn’t live without? Global Textile Collection, our computerized embroiderymachine,massive braid,ribbon,buttons and accessories. What surprised you most?The amazing talent of my ageing and dyeing department.Your favorite costume? Captain Sao Feng’s costume,worn by Chow Yun-Fat, combined metal application (duplicated in plastic), embroidery,leather, and bizarre accessories.
300Costume Designer: MICHAEL WILKINSONAssistant Designer: CHRISTINE BIESELIN
What new lesson did you learn on this project?To create something that looks unique, you need tostick to your vision with 200% commitment.One thing you couldn’t live without?Two things:Moldable
leather and heat-set gold foil! What surprised you most? The passion and talent of the Québécois cos-tume craftspeople. Your favorite costume? Xerxes—equal measures of majesty and audacity.
Excellence in Fantasy Film
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 19/32
DANCING WITH THE STARSCostume Designer: RANDALL CHRISTENSENAssistant Designer: STEVEN LEE
What did you learn on this project? Nothing is more important than putting together the right team.My colleagues are phenomenal. What surprised you most? The incredible freedom the producers gaveme, which translated into trust. Humbling and empowering at the same time. Favorite costume?We haveonly three days to make incredible dance costumes—no time for changes or mistakes.My great crew and goodresearch have saved me many times.Anything my muse Edyta Sliwinska wears is a favorite! Also, the VienneseWaltz costumes for Julianne Hough and Helio Castroneves.
ENTOURAGECostume Designer: AMY WESTCOTTAssistant Designer: ROEMEHL HAWKINS
What new lesson did you learn on this project? I learned to be very careful about what you say tothe press. What surprised you most? The on-going creative ambition of the cast and crew. Entourage isalways striving to be better,not shifting to autopilot,and each season tops the next.Your favorite costume?Aquaman for Vince (Adrian Grenier).It was a great opportunity to reinvent the original comic book characteras a muscle-bound blue avenger, even though the costume never made it to the screen.
THE SOPRANOSCostume Designer: JULIET POLSCAAssistant Designesr: LORRAINE CALVERT and LAUREN PRESS
What did you learn on this project? No matter how long you’ve worked on a project or how manytimes you feel like you’ve solved the same design problem, there is always something new to inspire or baffleyou. One thing you couldn’t live without? My actors’ trust.Their faith eliminated my second-guessing.What surprised you most? That creator David Chase ended the series so unconventionally. Yourfavorite costume?When Christopher’s baby is baptized,Carmela,Kelli and the child are dressed beautiful-ly.But Christopher and Tony’s sharp outfits belied their simmering mistrust.
UGLY BETTYCostume Designer: EDUARDO CASTROWhat did you learn on this project? I learned to have patience—without it I would never gottenthrough the show.One thing you couldn’t live without? Our fabulous workroom,which handled manydaily challenges.What surprised you most? How cutter/fitter Lynda Arnold gained the confidence of ourmore challenging cast members,and consistently delivered gorgeous work with a smile. Your favorite cos-tume? Vanessa Williams’ white silk crepe dress with faux panda skin belt and iridescent black coque feathercollar.
BIG LOVECostume Designer: CHRISI KARVONIDES–DUSHENKOWhat new lesson did you learn on this project? How to make three fashionistas look like dowdymiddle Americans.One thing you couldn’t live without? Calico and plaid western shirts. What sur-prised you most?The subject matter and the scripts.Every week there was a phenomenon about polygamy
that surprised me.Your favorite costume?Two hundred people in white fundamentalist baptismal garb atpatriarch Roman’s family reunion.
Outstanding Contemporary TV Series
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 20/32
ROMECostume Designer: APRIL FERRYAssistant Designer: GIUSEPPE AVALLONE and ROSSANO MARCHIIllustrator: BOB FLETCHER
What new lesson did you learn on this project?That a team effort is more important than anything.One thing you couldn’t live without? My espresso in the morning because it jump-started my day.What surprised you most? My entire crew:they are terrific craftsmen but always went above and beyondmy expectations. Your favorite costume? Probably Cleopatra’s six-layered silk organza peacock cape. Ittook many days and a lot of experimenting to accomplish the final product.
THE TUDORSCostume Designer: JOAN BERGINAssistant Designer: GABRIEL O’BRIEN
What new lesson did you learn? An old lesson driven home.To reinvent period costumes for modernsensibilities,your inspiration has to be deeply rooted in endless research.Couldn’t live without?Workshopon site. What surprised you most? Michael Hirst’s writing inspired both the actors and the entire cos-tume department in this journey. Favorite costume? Anne Boleyn’s turquoise bodice, hand-embroideredwith wildflowers copied from a 16th-century sampler, worn with a skirt of bronze and gold. I like to think thecostume adds to Cardinal Wolesley’s disquiet at his miscalculation of Boleyn’s rise to power!
PUSHING DAISIESCostume Designer: ROBERT BLACKMANWhat new lesson did you learn? This project gave me enormous license to collaborate with creatorsBryan Fuller and Barry Sonnenfeld,production designer Michael Wylie,and my great costumers Carol Kunz andTom Siegel.One thing you couldn’t live without?The Internet—getting instant research images is essen-tial in this fast-paced creative process. What surprised you most?The commitment of every crew mem-ber to do their best work. Your favorite costume?The Dandelion Showroom Gals,Kristen Chenoweth’s
4th of July Mermaid outfit and almost any of Anna Friel’s disguises, particularly her red dress and hat.
Outstanding Period/Fantasy TV Series
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 21/32
JANE EYRECostume Designer: ANDREA GALERWhat new lesson did you learn on this project? An inspiring script and director leads to a uniqueexperience: every project is a learning curve. One thing you couldn’t live without? The appropriatebudget to make the principal costumes I had envisioned from both the book and the script.What surprisedyou most? Our location which Charlotte Bronte actually wrote about in the novel … and Ruth Wilson’s per-fomance as Jane Eyre. Your favorite costume? So many I made for the movie!
THE STARTER WIFECostume Designers: Marion BoyceCostume Designer for Debra Messing: DEBRA MCGUIRE
What new lesson did you learn on this project? DM: I learned that miracles can happen! I didDebra’s 80+ changes here in L.A. and shipped clothes and boards to Australia so that the costumers could fol-low the changes and could have a palette guide. What surprised you most? DM: I am thrilled when col-laboration with another CD works out so flawlessly. I was delighted to be included in the nomination for boththe Emmy and the CDG Award. Your favorite costume?DM:Too many! Debra is beautiful in everything.
BURY MY HEART AT WOUNDED KNEECostume Designer: MARIO DAVIGNONAssistant Designer: MICHELINE ROUILLARD
What new lesson did you learn? The real way to control your creation is to manufacture your cast’scostumes and much of the background actors’ looks.Couldn’t live without?A huge capacity to adapt! Wehad to fight with the weather and be ready for sudden shooting schedule changes. What surprised youmost?The light in Alberta kills standard ageing. Favorite costume?The burgundy dress Anna Paquin wears
the first time we see her: she is the only color in a sea of Victorian black.
Outstanding TV MOW,Miniseries or Special
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 22/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 23/32
THE COSTUME DEPARTMENT
Ihram: Garment
worn by Muslims
on the pilgrimage
to Mecca; it con-
sists of two pieces
of white cotton without
any needlework. One is worn
wrapped around the loins, the
other is thrown over the left
shoulder, leaving the right arm
and shoulder free.
Incroyable: Coming from the
French word meaning incredible, it
came to stand for the French dandies of the Directoire period
(1795–1799). They wore highly elaborate waistcoats, cravats
and cut their hair in a ragged, so-called Dog’s Ears fashion.Their
knee breeches were decorated with buttons, ribbons and loops
and they wore silk stockings and jewelry. It was also quite com-
mon for them to wear makeup and to go heavy on the amber
perfume.
Intaglio: Design carved in a hard
material, usually semiprecious stone.
Settings in rings and fobs are most
common and these were pressed
into hot wax as a kind of signature.
Jabot: Frill or ruffle
fastening at the neck-
line and worn down the
front of the bodice or
shirtfront, intended to
hide the fastening at the neck. They were most commonly
made from lace or from fine lawn trimmed with lace. The style
originated in the Louis XIV period and survived until the middle of
the 19th century. Since then, this style has most commonly beenrevived in women’s wear.
Jellaba: A hooded woolen robe,
worn by natives of Northern
Africa, most commonly referred
to in Morocco. Usually full length,
they also wear a three-quarters-
length version in the
rainy season.
Jodhpurs: Created for equestrian
pursuits, jodhpurs are a form of
breeches which are cut tightly
from the knee down and more
loosely above the knee.Depending
on their use,they fit inside a riding
boot for hunt or polo seat, but
outside the boot for hacking.
Hacking jodhpurs may alsohave a cuff and a strap that
goes under the boot. Both
forms are usually padded inside
the knee.
Jouy Print or Toilede Jouy: Usually cotton
or linen fabric with mon-
otone prints of land-
scapes or groups of
figures on a white
background. This
type of print originated in 18th-century France.
Jumper: In the U.S.,this garment commonly refers to a
sleeveless dress worn over a sweater or blouse.In Great
Britain and most of Europe, however, a jumper refers
to a heavier over-sweater.
HISTORY OF DRESS A-Z
Winter 2008 The Costume Designer 35
Illustrations by
Robin Richesson
Karyn Wagner
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 24/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 25/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 26/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 27/32
42 The Costume Designer Winter 2008
BOLDFACE PRESSThe New York Times did a piece about Debra McGuire’s costumes for Walk
Hard titled “The Clothes That Make the Man, and the Movie”! Diana Tenes
was recently interviewed by Chris Isaak on his newly-revived Showtimeseries about her sense of style. Colleen Atwood ’s designs for Sweeney Todd
were showcased with character portraits by Mary Ellen Mark in USA Today:
“Sweeney Todd cuts a fine figure, thanks to Costume Designer Colleen
Atwood.” Read an article about Michael Wilkinson ’s costumes for 300 in
Variety magazine at www.variety.com. Type VR1117978509 in the search
engine. CD Mona May ’s fantasy costumes for Enchanted were featured in
California Apparel News along with an interview with the designer.
Deborah Nadoolman Landis’ book Dressed: A Century of Hollywood
Costume Design was fea-
tured in the Image section
of the L.A. Times entitled
“The woman with the whip” just before her sign-
ing at Barnes & Noble in
Century City. Time maga-
zine online did a poll
recently to identify the Top
10 “Movies’ Best Loved
Costumes.” The gallery
includes photos and
thoughtful mentions of
each designer.With nods to
both legendary films and
newer classics such asGone With the Wind :
Walter Plunkett, Grease:
Albert Wolsky, Titanic :
Deborah Scott to name a
few. To view the complete
list, visit: time.com.
BOLDFACE HONORS Audrey Fisher won LA Stage
Alliance’s 2007 Ovation Award for Best
Costumes in an intimate theater for Tryst at the Black Dahlia Theatre. The
Academy of Motion Picture Arts and
Sciences held a cocktail party in
November to honor major donations of
unique material in the past year or two.
“Great Contributions: A Celebration of
Recent Acquisitions” by the Margaret
Herrick Library featured sketches from
this year’s CDG honorees Ruth Myers
and Ray Aghayan from the CDG
BOLDFACE NAMES
Sharon Day and Deborah Landis
Audrey Fisher
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 28/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 29/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 30/32
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 31/32
46 The Costume Designer Winter 2008
SCRAPBOOK
Ray Aghayan and Doris Day, Do Not Disturb, 1965.
8/2/2019 The Costume Designer Winter 08
http://slidepdf.com/reader/full/the-costume-designer-winter-08 32/32