The Costume Designer Fall 11

Costume Designers Guild
Local 892I.A.T.S.E.
11969 Ventura Blvd., First Floor
Studio City, CA 91604
costumedesignersguild.com
The Official Magazine of the Costume Designers Guild
Non-Profit Org.
U.S. Postage
Paid
Santa Ana, CA
Permit No. 450
Merry Christmas & Happy Holidays
Wishing you peace on Earth & goodwill towards
mankind & all living creatures
Motion Picture Costume Company
Fall 2011 The Costume Designer 3
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
phone: 818.752.2400 fax: 818.752.2402
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
COVER
Celebrating the first 25 covers
of The Costume Designer
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Presidents Letter
Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 18
Meet the Assistants
Meet the Illustrators
History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Boldface Names
Whats On/Whats In
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Ray Aghayan
Theadora Van Runkle
DEPARTMENTS
FEATURES
The Hidden Narrative of Footwear . . . . . . . . 26

Beauty in the Details . . . . . . . . . . . . . . . . . . . 32

32 26
vol. 7, issue 4
"TRANSFIXING. MICHAEL OCONNORS COSTUMES ARE MARVELOUS.
JOE MORGENSTERN,
For up-to-the-minute screening information, exclusive
video content, the score, screenplay and more on this
extraordinary lm, go to: www.FocusAwards2011.com
FOR YOUR CONSIDERATION IN ALL CATEGORIES, INCLUDING: BEST COSTUME DESIGN MICHAEL OCONNOR
52
4 The Costume Designer Fall 2011
EDITORS NOTE
EDITOR/PHOTO EDITOR
Deena Appel
ASSOCIATE EDITOR
Bonnie Nipar
PRESIDENT
Mary Rose
mrose@cdgia.com
VICE PRESIDENT
Van Broughton Ramsey
vramsey@cdgia.com
SECRETARY
Beth Pasternak
bpasternak@cdgia.com
TREASURER
Marilyn Matthews
mmatthews@cdgia.com
EXECUTIVE BOARD
Deena Appel
dappel@cdgia.com
April Ferry
aferry@cdgia.com
Salvador Perez
sperez@cdgia.com
Cliff Chally
cchally@cdgia.com
Brigitta Romanov (ACD)
bromanov@cdgia.com
Felipe Sanchez (Illustrators)
fsanchez@cdgia.com
BOARD ALTERNATES
Robert Blackman
rblackman@cdgia.com
Julie Weiss
jweiss@cdgia.com
Mark Bridges
mbridges@cdgia.com
Sharon Day
sday@cdgia.com
BOARD OF TRUSTEES
Peter Flaherty
pflaherty@cdgia.com
Jacqueline Saint Anne
jsaintanne@cdgia.com
Karyn Wagner
kwagner@cdgia.com
EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@cdgia.com
COMMUNICATIONS DIRECTOR
Gina Silverstein
gsilverstein@cdgia.com
MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington
shuntington@cdgia.com
RECEPTIONIST/SECRETARY
Cheryl Marshall
cmarshall@cdgia.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
THRILLING AND MOVING FROM THE FIRST FRAME TO THE INSPIRED CLOSING MONTAGE.
Incredibly rich and perfectly constructed. The greys and browns that dominate the lm perfectly
capture 1970s Britain, and the attention to detail is really quite extraordinary. Grade: A.
OLIVER LYTTELTON, INDIEWIRE
TINKER TAIL0R S0LDIER SPY
For up-to-the-minute screening information, exclusive video content, the score,
screenplay and more on this extraordinary lm, go to: www.FocusAwards2011.com
BEST COSTUME DESIGN JACQUELINE DURRAN
EASILY ONE OF THE YEARS BEST FILMS. A MASTER CLASS IN FILM ARTISTRY.
PETER TRAVERS, ROLLING STONE
eauty in the Details
In the pilot episode of The Playboy Club, I was so
struck by the perfection of the foundations and lingerie in
the dressing room scenes that it made me think about the
many details that are generally overlooked and taken for granted
in projects large and small. Those details became the focal point
of this issue. As you read the story Beauty in the Details, if you
are not a Costume Designer yourself, consider the great length one
goes to for such a small part of the whole. Theres always one thing
that becomes the big thing, sometimes we see it coming and other
times it may catch us off guard. If you are a designer, you might smile to recall those
times when you searched high and low for the perfect pair of hose or just the right
belt or a purse that tells you everything you need to know about a character at first
glance. Of course, your audience shouldnt see you sweat, but every now and then
its nice to draw back the curtain and see what goes on in Oz.
One of the most critical details in defining a character is most often cut right
out of the frame. What could be so influential and so expressive an accessory that it
speaks volumes even when it goes sight unseen? The shoe of course. I recently met
the lovely Meghan Cleary, self-proclaimed Shoe Expert, and was surprised to find
that on the heels of releasing her second book on the topic of shoes (Shoe Are You?),
she was eager and willing to contribute her musing on shoes and character and story
for The Costume Designer. The first step for any character is to feel at home in his or
her shoes. Meghan, more than most, inherently understands the value of the right
shoe at the right time. Something we designers do not take for granted.
On another front; why are we celebrating our 25th issue? To some it might seem
too early; but if you consider the design and scope of The Costume Designer (with
this issue being our largest to date), weve come a long way. For someone who had
zero experience producing, shepherding, designing, writing, editing and overseeing
a magazine at the start, its been a great challenge and a pleasure getting to no. 25. So
indulge me. Thank you Sharon Day for all youve done, Audrey Fisher for a long ride,
Bonnie Nipar for never saying
no, IngleDodd for making it
possible and to all the contribu-
tors who have managed to vol-
unteer their time from the start.
Lastly and sadly we bid fare-
well to two extraordinary talents,
Costume Designers Theadora
Van Runkle and Ray Aghayan.
Both recipients of Costume
Designers Guild Career
Achievement Awards and
between them, they were hon-
ored with six Oscar nominations,
four Emmy wins, four additional
Emmy nominations and a BAFTA
nomination. We are thrilled to be
able to share their earliest days
with two scrapbook pages featur-
ing each designer in the prime of
their celebrated career.
Happy 25th and a Joyous New
Year to all!
Deena Appel
dappel@cdgia.com
B
C O N S I D E R . . .
WWW. WARNE RBROS 2011. C OM Harry Potter Publishing Rights J.K.R.
JANY TEMIME
BEST COSTUME DESIGN
THERE IS ATTENTION TO THE LOOK OF THE FILM,
BOTH IN ITS INVENTIVE DETAIL AND THE
SWEEPING ELABORATE SET PIECES.
C H R I S T Y L E MI R E ,
BONNIE NIPAR
(Associate Editor, Whats On/
In) Joined the Guild in 1997
and works as a Costume
Designer for television. Born
and raised in Pittsburgh, she
was an art student at Carnegie
Mellon before moving to Los
Angeles and entering the indus-
try. A huge fan of the CDG
magazine, Bonnie happily took
over four recurring columns.
With her sense of wanderlust,
Bonnie enjoys searching for
the treasures of Locations, and
also finds Its a treat to honor
the latest accomplishments of
our peers.
Contributors
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
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 work-
ing 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.
MARCY FROEHLICH
(History of Dress, text) Joined
the Guild in 1992 fresh from
New York and Broadway. Her
designs have run the gamut
from theater and opera to film
and TV, from Waiting for
Godot to the Miss America
Pageant! She is also a co-
author (with Barbara Inglehart
and Pamela Shaw) of Shopping
LA: The Insiders Sourcebook
for Film & Fashion. Marcy has
long had an interest in histori-
cal costume and research, so
she is delighted to contribute
to the magazine in this way.
COURTNEY HOFFMAN
(Meet the Assistants) This
Los Angeles native and CDG
newbie is thrilled to join the
writing staff of The Costume
Designer. A graduate of New
York University, she is happy to
be back in Los Angeles working
alongside her Costume Designer
heroes. She currently works as an
Assistant Costume Designer for
film and television. I am ecstatic
to have the opportunity to know
my fellow ACDs and share their
stories. I enjoyed the magazine
long before I was a member
and being able to contribute is a
dream come true.
SUZANNE HUNTINGTON
(Boldface Names) Has made a
home with the IATSE, starting
in 2002 as an event coordinator
with the Editors Guild, and
moving to the CDG in 2005,
now as the Member Services
Administrator. Creativity
blossoms in a variety of mediums
beyond her fine arts degree
writing being a favorite,
followed by making Zen-
inspired jewelry. Huntingtons
contributions include Boldface
Names and the weekly Friday
GEMS. She loves the day-to-day
contact with members and is
only a phone call away!
JACQUELINE SAINT ANNE
(Meet the Illustrators)
The Emmy Award-wnning
Costume Designer, and for-
mer President of the CDG,
continues to serve the Guild
as a Trustee. Born in Panama
and educated in Europe and
the United States, she earned
her masters from The Ring
Theatre at the University of
Miami. She has designed for
film, video, television, webi-
sodes and mobisodes, bal-
let, IMAX, opera and theater.
Chronicling our Illustrator
members since the very first
issue, Saint Anne is always a
welcome contributor.
Continued on page 13
BEST COSTUME DESIGN
joanna johnston
F OR Y OU R CONS I DE R AT I ON
For screening information,visit www.DreamWorksPicturesAwards.com
2011 DreamWorks II Distribution Co., LLC
F O R Y O U R C O N S I D E R A T I O N
Dear CDG Member,
DreamWorks Pictures cordially invites you and a guest to attend these screenings of WAR HORSE.
Additional screening information is available online at DreamWorksPicturesAwards.com
DreamWorks Pictures WAR HORSE, director Steven Spielbergs epic adventure, is a tale of loyalty, hope and tenacity set against a sweeping canvas
of rural England and Europe during the First World War. WAR HORSE begins with the remarkable friendship between a horse named Joey and
a young man called Albert, who tames and trains him. When they are forcefully parted, the lm follows the extradordinary journey of the horse
as he moves through the war, changing and inspiring the lives of all those he meetsBritish cavalry, German soldiers, and a French farmer and
his granddaughterbefore the story reaches its emotional climax in the heart of No Mans Land. The First World War is experienced through the
journey of this horsean odyssey of joy and sorrow, passionate friendship and high adventure. The cast includes Emily Watson, David Thewlis,
Peter Mullan,Tom Hiddleston, Jeremy Irvine, Benedict Cumberbatch, Niels Arestrup and Toby Kebbell. Directed by Steven Spielberg, the lm is pro-
duced by Steven Spielberg and Kathleen Kennedy, and the screenplay is by Lee Hall and Richard Curtis, based on the book by Michael Morpurgo
and the recent stage play by Nick Stafford, orginally produced by the National Theatre of Great Britain and directed by Tom Morris and Marianne
Elliott. The behind-the-scences team includes director of photography Janusz Kaminski, production designer Rick Carter, costume designer Joanna
Johnston, editor Michael Kahn, A.C.E. and composer John Williams.
Rated PG-13 Running time approximately 140 min.
SCREENING LOCATIONS
No recording permitted. Violation of this prohibition
is subject to civil and criminal liabilities.
LOS ANGELES
DGA Theaters #1 and #2
7920 Sunset Boulevard
Los Angeles
Disney Main Theatre
Walt Disney Studios
500 S. Buena Vista St.
Burbank
NEW YORK
DGA Theater
110 West 57th Street
New York
SAN FRANCISCO
Delancey Street Scr. Room
600 Embarcadero Avenue
San Francisco
Premier Theater at ILM
One Letterman Drive
San Francisco
Variety Screening Room
582 Market Street, Suite 101
San Francisco
LONDON
Century Fox
31-32 Soho Square
Soho, London
The Moving Picture Company
127 Wardour Street
Soho, London
LOS ANGELES
Sunday, Dec. 18 3:00 pm Disney Main Theatre
Saturday, Dec. 24 12:00 pm DGA Theater #2
Sunday, Dec. 25 12:00 pm DGA Theater #2
Sunday, Dec. 25 4:00 pm Disney Main Theatre
Monday, Dec. 26 7:00 pm DGA Theater #1
Thursday, Dec. 29 6:30 pm DGA Theater #2
Saturday, Dec. 31 12:00 pm DGA Theater #2

NEW YORK
Sunday, Dec. 25 4:00 pm DGA Theater
Sunday, Dec. 25 7:00 pm DGA Theater
Monday, Dec. 26 7:00 pm DGA Theater
Friday, Dec. 30 7:00 pm DGA Theater
Saturday, Dec. 31 12:00 pm DGA Theater

SAN FRANCISCO
Monday, Dec. 19 7:00 pm Premier Theater at ILM
Tuesday, Dec. 27 7:00 pm Variety Screening Room
Wednesday, Dec. 28 7:00 pm Delancey Street Scr. Room
Tuesday, Jan. 3 7:00 pm Premier Theater at ILM
Friday, Jan. 6 7:00 pm Premier Theater at ILM
LONDON
Thursday, Dec. 15 6:30 pm Moving Picture Company
Wednesday, Dec. 21 6:30 pm Moving Picture Company
LA, NY and SF screenings:
RSVP online at DreamWorksPicturesAwards.com
or by email to DisneyAwardsOfce@disney.com
London screenings:
RSVP by email to Disney@PremierPR.com

Dear Colleagues,
When someone mentioned that this is our magazines 25th year anniversary, I thought I was really having an
old-age problem. How can that be? To my relief, I then realized that they meant this is the 25th issue of the
CDG magazine. This is quite a different thing. I know that Rachael Stanley already has extended information
about the origins of the magazine, so I will not repeat the same thing here, but instead, express my heartfelt
congratulations and thanks to those key people who are involved: editor Deena Appel, contributors Suzanne
Huntington, Bonnie Niper, Gina Silverstein, Robin Richesson, Marcy Froehlich, Courtney Hoffman, and many
more volunteers who give their time and effort.
Also in this 25th issue, I want to pay tribute to the IngleDodd Publishing staff and express my long over-
due sincere gratitude for making it possible for our magazine to grow and for our partnership to continue
the way it has. I feel that I never really thanked them properly before. Does taking you for granted come to
mind? This is my proper acknowledgment to IngleDodd. Thank you so much.
By the time you get this magazine in your mailbox, I do hope that youll have had a wonderful
Thanksgiving Day, and that the Sunday after Thanksgiving, some of you would have been at the Artisan
Bazaar on Nov. 27 (as you might know, we were rained out on the 13th and 20th). On the 27th, the weather
was kind to us (third times the charm they say), and the day was wonderful and sunny and those who
attended had lots of fun, finding great creative gifts, and purchasing our own CDG Illustrators Christmas
and holiday cards.
A week after the Artisan Bazaar, Dec. 3, was our annual holiday party that once again was hosted by Western Costume
Company. Its a little bit early to celebrate their 100th year (2012), but please raise your glass at New Years to this historical
100-year-old Western Costume House that served Costume Designers since 1912.
Switching to a more serious issue regarding the CDG Awards Submissions for Best Costumes in all categories: film and
television submissions should have been in your mailbox for more than a few weeks already, yet Im noticing that the film sub-
missions seem to be far less than television, which were thin as well. Lets get serious and enter your own work. Undoubtedly,
some designers feel that if they themselves dont enter, someone else would do it. Though its often worked that way in the
past, that kind of thinking is presumptuous, irresponsible, and should end. Please give it some consideration.
Have a happy and wonderful holiday to all of you and Happy New Year!
In Solidarity,
Mary Rose
mrose@cdgia.com
PRESIDENTS LETTER
UNION LABEL
WWW. WA R NE RB RO S 2011. CO M
BEST COSTUME DESIGN
DEBORAH HOPPER
J A K E C O Y L E ,
DEBORAH HOPPERS COSTUMES
ARE EXCELLENT. THEY ALLOW THE
ACTORS TO PLAY CHARACTERS
ACROSS THE DECADES.
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costumeco-op.com
11501 N. Chandler Blvd.,
North Hollywood, CA 91601
Tel: 818 752-7522
Fax: 818 752-7524
mail@costumeco-op.com
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WE APPRECIATE THE ONGOING
SUPPORT OF OUR CORPORATE SPONSORS
DIAMOND LEVEL
SAPPHIRE LEVEL
RUBY LEVEL
For screening information,visit www.DreamWorksPicturesAwards.com
2011 DreamWorks II Distribution Co., LLC
I N A L L C AT E G OR I E S I N C L U D I N G
BEST COSTUME DESI GN
Sharen Davis
The director combines grandly detailed sets, costumes and hairdos
with well-chosen music and a keen understanding of Deep South
mindsets to create an authentic time capsule of an intransigent
way of life eroding amid the civil-rights movement.
THE ASSOCIATED PRESS, David Germain
It seems hard to believe that we are in our 25th issue of the magazine. I can remember when Sharon Day first
brought the concept of producing a magazine to the Guild officers that it was not easily embraced. After much
prodding, Sharon convinced them that the idea would pay for itself with advertising and so The Costume
Designer was born. Now 25 issues later, it is hard to imagine not having the magazine as part of our heritage. It
has long been a goal of the Costume Designers Guild to help promote the art of costume design in the entertain-
ment industry and the magazine has become a wonderful tool in this endeavor.
It is a joy to see the different talents of our members spread throughout the pages as I glance back on past
issues. In each issue, the feature article opens us to new ideas in how to develop our craft and stay on the cutting
edge of design. Our members and affiliates comment on how much they enjoy the articles and photos and look
forward to each new issue.
Location, Location has become a staple for our members as they travel to out-of-town destinations
for work. Having a list of referrals at their fingertips for fabrics, notions, ready to wear, dry cleaners, and
other necessary vendors is a valuable timesaver. Gone are the days of having to hunt down resources
from scratch with each new location.
Boldface Names helps our members stay up to date with each others work projects and new businesses.
The Whats On/Whats In section is always a guide for my personal film and TV viewing. My other personal favorite is the
Scrapbook page with a look back at where we have come from over the years. Some of those photos bring back great memories.
I personally wish to thank all the contributors who volunteer countless hours to help bring the magazine to you each issue. A
special thanks goes out to our now longtime editor Deena Appel for all her work over the last 25 issues to make this publication
into what it is today.
I look forward to the future of the art of costume design and the role our magazine will play in educating and entertaining us
along the way.
In Solidarity,
Rachael Stanley, rstanley@cdgia.com
EXECUTIVE DIRECTOR
UNION LABEL
A Look Back
CDG
Holiday Party
VISIT THE CDG WEBSITE FOR COVERAGE & PHOTOS
www.costumedesignersguild.com
Continued from page 6
Contributors
GINA SILVERSTEIN
(Boldface Names) Joined the CDG in June
2011 as Communications Director after
20-plus years working in the arts,
entertainment and fashionexecuting
advertising, public relations and integrated
marketing initiatives for Fortune 500 and
entertainment powerhouses, as well as
managing artists and producing international
editorial and advertising shoots. Gina is
happy to apply her experience and skills to
grow positive awareness of CDG Costume
Designers and Illustrators. A portion of
Boldface Names is just one of the many com-
munications activities she is taking on at
the Guild.
Collective
Bargaining
History
Collective bar-
gaining is the pro-
cess of negotia-
tion between the
employer and the
representative of a
unit of employees
aimed at reach-
ing an agreement on working conditions.
Collective agreements set wages, work
hours, training, health and safety conditions
in the workplace.
In 1886, the American Federation of Labor
(AFL) instituted collective bargaining for the
crafts. The Federal Society of Journeymen
Cordwainers of Philadelphia was established
in 1792 for the craft trades. The IATSE was
established in 1893 for stage carpenters, elec-
tricians and property persons.
So the next time someone asks what does the
union do for you? Think about it. What does
the union do? Could I have bargained a better
contract for myself? The answer is yes and no.
Under the union contract that is in place from
collective bargaining, I can still bargain better
terms and conditionsbut the minimum bar
is set. The union sets a solid foundation from
which we negotiate. So when I write my dues
check, I think about the IATSE contract and
what Local 892 does for me. I am assured a
safe, healthy working environment and a valu-
able resource when I need answers. I know
the union is there for me.
In Solidarity,
Betty Madden
bmadden@cdgia.com
LABOR REPORT
UNION LABEL
BOLDFACE NAMES
20112012 CALENDAR
December
23 CDG office closed 1:00
26 CDG office closed
Christmas holiday
30 CDG office closed 1:00
January
2 CDG office closed
New Year holiday
10 Executive Board Mtg.
16 Martin Luther King Jr. Day
office closed
21 A Day at the Races Benefit
for MPTF
February
13 Executive Board Mtg.
24 CDG Awards at the
Beverly Hilton Hotel
BEST COSTUME DESIGN
LISY CHRISTL
BEST MAKEUP
BJRN REHBEIN
HEIKE MERKER
PEOPLE WILL LIKELY LOOK BACK TO ANONYMOUS AS THE TIPPING POINT
OF WHAT YOU CAN REALLY DO WITH DIGITAL IN A NEXT-LEVEL KIND OF WAY.
ITS BEAUTIFUL WORK, CAPTURING EQUALLY EXTRAVAGANT AND NOTEWORTHY
COSTUME AND PRODUCTION DESIGN.
Kristopher Tapley, IN CONTENTION
BRILLIANT! CAPTIVATING! OSCAR
WORTHY!!!
Bonnie Laufer, TRIBUTE ENTERTAINMENT
THE COSTUME DEPARTMENT
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As a toddler playing dress up in Highland
Mills, N.Y., Ali Levine always had her heart
set on a life in clothing. Shopping trips
with her grandmother cemented a founda-
tion in color, concepts and the intricacies
of fashion. She attended Northern Arizona
University studying fashion merchandising
and design, helping her to become more
business savvy, a skill she uses today with
vendors and tailors. She then began a path
down the corporate design road, working
for Target and Coach, but quickly realized
that was not for her.
While still in New York, she landed
a gig as a PA for CD Ellen Mirojnick, who
greatly influenced her on and off the
set. Ellen explains, From Alis first day
on Wall Street 2: Money Never Sleeps,
she showed determination to learn every
aspect of Costume Design, from the
ground up. After her first day, Ali knew
she had found a home in Costume Design.
After a couple more East Coast films, she
was encouraged to move to Los Angeles.
Upon her arrival, she signed up with Jim
Livie at Eastern Costume and then joined
MPC 705 and subsequently, CDG 892.
Ali now seizes any opportunity to fur-
ther her experience in Costume Design.
She wears a constant smile and relies on
her positive attitude and out-of-the-box
thinking, while building relationships and
trust with her designers. She reminds
herself to make the best of every circum-
stance and let go of the things you cant
control.
When not working, Ali enjoys relax-
ing with her fianc and exploring & hik-
ing all over California. She continues to
be inspired by fashion. Ali also makes it
a point to visit family back East and often
reminds her grandmother about the excit-
ing career she influenced!
alilevine712@gmail.com
cant live without
JJ my inspiration, my crazy
NY family and shoes!
THE COSTUME DEPARTMENT THE COSTUME DEPARTMENT
MEET THE ASSISTANTS
Courtney Hoffman
courtneyehoffman@gmail.com
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Born and raised in Hollywood, this Fairfax
High graduate went on to Otis Parsons to
study fashion design. Zelda Lambrecht
started out in the garment industry with
the hope of becoming a fashion design-
er, until a production designer friend
enlisted her help on a low-budget film.
Realizing she could combine her creative
and technical skills, Zelda found fashion
one-sided, while costumes are infinite.
After working for Levis Strauss in
San Francisco, she fell into episodic tele-
vision. Its the fastest pace of the medi-
ums, never a dull moment, we pretty
much make a movie every eight days!
She also relies on respectful relation-
ships with vendors and stays in touch
to maintain a strong relationship. Zelda
understands how to buffer between
the creative concept and the technical
aspects to a successful end result. She
often relies on her experience from the
garment industry and loves anything
crafty.
CD Kathryn Orindgreff expounds,
Zelda is a brilliant addition to any team.
Her personal style combined with her
positive attitude are a huge asset for any
designer. I count on her to find that per-
fect piece and present it with a smile and
flair! Additionally, Zelda suggests taking
an inventory of your strongest skills.
Develop what you think are your weak-
est and fine-tune your strongest to find
your specialty. Make genuine contacts
and friendships and stay connected. The
true friends I have made along the way
are the best costumers in the business.
When not at work, Zelda enjoys her
blog, rebuilding her house and ballroom
dancing. She also relishes traveling to
Europe with her German husband to
spend time with family.
ReelStylePros@gmail.com
After a brief time in Taiwan, Devons
family settled in Franklin Lakes, N.J.,
just steps from Manhattan. During fam-
ily outings to Broadway shows, Costume
Design captured Devons eye. She attend-
ed Radford University in Virginia to study
technical theater and immersed herself in
the costume shop while spending her off
time at summer stock theaters to further
her craft. She moved west for UCLAs
graduate costume design program, and
then took a leave of absence to join John
David Ridge as a shopper. After her trial
by fire, she had learned her L.A. sources,
met tons of designers and was prepared
for the nitty-gritty of Hollywood.
Just out of JDR, she paired up with
CD Mary Vogt who became a good
friend and mentor. Mary contributes,
Devon is a tireless worker with great
taste, an endless source of contacts and a
whimsical sense of humor that has both
charm and edge. With her background
and as a member of 705, Devon feels at
home in the workroom interacting with
the unsung talent who craft Hollywoods
costumes.
Devon advises ACDs to persevere,
build strong relationships with the entire
crew especially the Costume Supervisor.
Learn how to sew ... even if you are not
good at it and be a great multi-tasker.
She admires Designers like Vogt and Sanja
Hays, whose ability to prioritize a life
outside of work, makes them happier
people to work for.
Devon has been working on her
most challenging and rewarding project
to date, her baby girl Grace. Still, she
tries to integrate her own balance with a
move to Tennessee, a project in L.A. and
around the world, and a husband whos
also in the biz.
devoncostume@gmail.com
cant live without
my contact list, Eastern Silks
swatch card and my car keys
cant live without
my husbands coffee
B E S T C OS T UME DE S I GN
Penny Rose
www.WaltDisneyStudiosAwards.com
2011 DISNEY
THE COSTUME DEPARTMENT THE COSTUME DEPARTMENT
MEET THE
ILLUSTRATORS
ALAN JAMES VILLANUEVA was fas-
cinated by character and creature design
throughout his childhood. He pursued his
passion at Cal State University, Long Beach,
where he was introduced to costume illus-
tration through teacher and mentor and
CDG Illustrator Robin Richesson. During
this time, Alan decided to study advanced drawing and
painting abroad in Firenze, Italy, and graduated cum laude
with a B.F.A. in illustration. CD Christine Bieselin Clark was
instrumental in Alans joining the Guild thanks to a chance
encounter at last years Comic-Con.
Alan was convinced he was dreaming when he was
asked to illustrate his first film, OZ: The Great and Powerful,
with a surprise call from CD Gary Jones. He is forever
grateful for the experience and
considers himself lucky to have
worked with such an incredibly
cohesive and talented team. He
found that it helps for the cos-
tume illustrations to convey the
mood and personality of the charac-
ter which allows the actors to visualize
themselves in the role.
Utilizing strong traditional art
skills mixed with digital media,
Alans style can be best described
as beautiful, theatrical, stylishly
sophisticated and yet to the point,
with an amazing attention to detail.
Richesson notes: Alan brings so
much to every project. Hes a very posi-
tive, open-minded and dedicated artist,
and loves collaboration. His gracious
personality and definitive work ethic
allows for an enjoyable and quality-
driven costume design experience and
would be a great addition to any cos-
tume crew.
When hes free, Alan loves draw-
ing, music and competing in triath-
lons.
www.AlanVillanueva.com
Jacqueline Saint Anne
jsaintanne@cdgia.com
VINCENT SONG is a San Jose native who as a
child was so enthralled by his uncles humorous
drawings that at age 5, he insisted his uncle teach
him how to do it himself. Once he understood how
to draw characters, he quickly imitated comics, car-
toons and fantasy films. As he matured in his art, he
studied fashion photography and illustration and
graduated with an art degree from UC Santa Cruz.
In San Francisco, he spent studio time at the Academy of Art and
when he arrived in Los Angeles, he drew at the Animation
Union. Vincent has worked with costume designers and stylists
and recently joined us as a CDG Illustrator.
Vincent has attained a high level of competence and success
in the world of advertising and for the past several years, he has
enjoyed contributing concept art for one sheets and print ads for the-
atrical, television, home entertainment and online campaigns for film.
Vincent draws inspiration from the many master illustrators hes
worked with including Gruau and Antonio Lopez, who have greatly
influenced his art. His versatile style ranges from representative and
realistic art to a more stylized approach for fashion and character. His
focus is to illustrate concepts and designs that inform the characters
that audiences enjoy on screen.
I enjoy translating ideas into aesthetically beautiful and thought-
fully designed illustrations that communicate a mood, feeling or con-
cept. In my work, I tend to pay close attention to details and likenesses
and strive to represent the design and look of things faithfully and
hopefully, inspirationally.
To see more of Vincent Songs stunning work, please visit him at
www.vincentsong.com
THE COSTUME DEPARTMENT
BANDEAU: A headband or
fillet for the hair, usually used with
evening wear.
BANYAN: A mans dressing
gown, full length: originally
in the 18th century, a loose
robe of Asian or Turkish
inspiration, but in this cen-
tury with a waist seam and
flared skirt.
BEAVER TOPPERS: Top hats
made from felted hairs of beaver
fur. Mercury was used in the curing
of the beaver skin. No wonder hat-
ters were mad! Styles in these hats
often reflected the
dress and coat sil-
houettes of the
decade.
THE BETSY:
A neck ruff, with a
varying number of
layers.
DERBY (U.S.):
A hard felt hat with round crown and
narrow brim curled up at sides. Called a
bowler in England.
PANTALETTES: Under drawers, worn
for modesty to cover the legs as the skirts
grew bigger and moved further away from
the legs. Made of linen or cotton, with either
separate legs attached at a waistband, or
joined by a crotch seam. Usually trimmed
with lace at the hem.
ROULEAU: French for a little
roll; a cord encased in fabric that
was especially used to trim the
lower part of skirts. During this
decade, skirts became more
bell shaped, with much
ornamentation near
the hem, and rou-
leau (along with
horsehair) was
i nst r ument al
in keeping the
skirt wider and
stiffer than in
previous years.
SMOCK: Full
shirt worn by
working men,
especially farm-
ers. Smocking at
the yoke and on
the sleeves gave
this garment its
name.
TOQUE: A womans
hat with little or no
brim. Along with
turbans, a very
popular headdress
for evening; often
plumed.
HISTORY OF DRESS 1820 1830
DER
A h
nar
bo
PA
for
grew
the legs
separa
joine
wit
adband or
y used with
dressing
ginally
loose
kish
cen-
and
hats
beaver
curing
der hat-
ese hats
ROULEAU: French
roll; a cord encased in
was especially used
lower part of skirts. D
decade, skirts bec
bell shaped, w
ornamentati
the hem,
leau (a
hors
i nst
in ke
skirt
stiffe
previo
SMOC
shirt w
workin
especia
ers. Sm
the yok
the sle
this ga
name.
mans
no
s
n
Illustrations by
Robin Richesson
rrichesson@cdgia.com
Text by Marcy Froehlich
mfroehlich@cdgia.com
www.roadsideawards.com 2011 Roadside Attractions, LLC. All Rights Reserved.
N O M I N E E
Janet McTeer
Best Supporting Actress
Film Independent Spirit Awards
W I N N E R
Glenn Close
Career Achievement
Palm Springs International
Film Festival
Excellence in Period Film
PIERRE-YVES GAYRAUD
Thanks to the uniformly excellent costuming,
the Dublin of the 1800s has been rendered
authentically and beautifully.
- Michael Patterson, IndieWire
Pierre-Yves Gayrauds costumes play a key role
in helping defne the characters.
- Todd McCarthy, The Hollywood Reporter
I can see awards nods to the costume designer
Pierre-Yves Gayraud for dressing Glenn Close
and Janet McTeer so authentically.
- Mike Goodridge, Screen International
HIDDEN
was just 5 years old when I fell in love with my first pair of
shoes. They were a pair of baby blue, wedge espadrille san-
dals with embroidery. I dont think I could have articulated it
at the time, but what I was thinking was that if I got to wear
those shoes, I would somehow be different, transformed,
that life would be suddenly bigger, more perfect, or exciting
in some way. It was a very visceral feeling and although a very small
moment, turned out to be a very defining one launching me into
my career as a footwear expert.
What I have found along my footwear journey, and what fasci-
nates me most about footwear are not only the architectural details,
the shape of a toe box or the build of a last, exotic materials and
detailing, or the physics that go into the height of a heelalthough
all of those things DO fascinate mewhat fascinates me most is the
story behind the shoe. Shoes are the only item we put on our bod-
ies that have an actual physiological impact on usthey affect the
way we walk, the way we carry ourselves, the way we stand. And
so shoes tell us stories about who we are, what we do, what mood
we are in, our place in society, maybe even where we live or very
literally what life experiences we may have walked through. Its
the particulars of shoe stories that fascinate me the most.
One of my favorite footwear narratives, that intrigued me
to know the character and story behind the shoe, was that of
Catherine de Medici. In 1530, she was a precocious 13-year-old
bride trying to make an impression at the French court where she
was being married, and she asked a Florentine artisan to make her
some special shoes for that occasion. With that first pair of what
many say were actually stilettos, she undulated her way across the
French court and caused quite a furor. Not only that, she cemented
her position and superiority in her new country, just by starting out
with this particular pair of shoesgoing on to be a very long living
and powerful queen. That kind of driving force in shaping charac-
ters and creating narratives is the special sauce that only footwear
has, and one that we see reflected time and again in modern film
and TV.
Nowhere has that power of the shoe been so apparent as in
Sex and the City, brilliantly designed by Patricia Field. The ground-
breaking HBO series was not only pivotal in bringing the shoe into
the forefront of pop culture, but also in highlighting the stories
that go along with our footwear. There is an episode of Sex and
the City where Carrie Bradshaw goes to a baby shower and upon
arrival, is asked to remove her Manolo Blahnik silver Dorsay pumps
in the foyer. As the party winds down, she returns to the foyer
for her shoes as she says her goodbyes. It turns out someone has
done the unthinkable and nicked her stilettos at the baby shower!
Her hostess (or in actuality, her Costume Designer, Ms Field) gives
her grungy Converse Chuck Taylors to get home. A few moments
later, we see a forlorn Carrie walking home in the black, worn out
Chucks, her spirit diminished, shoulders slumped, a light gone out.
Her narrative while wearing her sparkly stilettos is quite different
than in her replacement pair of flat and spongy Chucks. And while
it might seem very minor, it is actually this episode that drives the
narrative of who she is, the choices she had made and how she
chooses to liveor even BE in the world.
Fashion Designer Christian Siriano firmly believes that a char-
acters personality shows in their shoe taste. Speaking as a man
who now has both his own shoe line and one for Payless, Siriano
pays his respects to costume designers and their challenges when it
comes to footwear. In a period film you know the costume design
is good when the shoes are right, you cant fake itcertain shoes
you just cannot fake.
I
The
Narrative
of Footwear
Sex and the City
Title illustration of
Catherine de Medici
by Mary Pressel Cline
S
e
x

a
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t
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Fall 2011 The Costume Designer 29 28 The Costume Designer Fall 2011
To that point, Laura Jean Shannon, Costume Designer for the
box-office smash, Footloose, had a particular challenge. Not only to
get the footwear right for the characters, but to honor the spirit of
the first Footloose as well. It was important to our director, Craig
Brewer, Julianne Hough, and me that we revive Ariels classic red
boots from the original Footloosewe tried upwards of 30 pairs
of red boots on Julianne before we landed on the Frye boots.
Julianne weighed in as well, I definitely feel that a characters look,
from head to toe, helps define who they are. She points to Ariel
as a great example. The red boots were practically a character of
their ownnot only were they a homage to the original film, but
they represented Ariels wild-child attitude. For Kenny Wormalds
character Ren, Laura Jean had to find the perfect fit for the key
dance solo which builds up to the climax of the film. We wanted
Ren to have a classic James Dean vibe but he also needed to be able
to move comfortably. After trying lots of different boots, we landed
on a pair of Aldos that had a great military boot look but were very
lightweight. She also selected some converse high tops and the
lower profile John Varvatos for Converse Jack Purcells for when he
did his angry dance, which required a lot of flexibility.
Every character on screen has a shoe behind it and a Costume
Designer behind that. Janie Bryant, the Emmy award-winning
Costume Designer who is known for her spot-on, meticulous atten-
tion to detail for Mad Men shared some of her perspective. From
the perfectly polished pointy-toed stilettos that adorn Betty Draper
(now Francis) and belie her troubled internal life, to the polished
wingtips of the ad agency executive Don Draper that articulate the
shiny surface societal norms that everyone seems to violate. As the
saying goes, if the shoe fits, wear it. Shoes have a great impact on
how the audience sees the character as well as how the actor feels,
walks, stands, and moves while playing the character, says Bryant.
The type of shoe, heel height, color, and amount of distressing on
the shoe signals a great deal about the characters persona and way
of life.

Footloose 2011
Mad Men
F
o
o
t
lo
o
s
e
/
P
a
r
a
m
o
u
n
t

P
i
c
t
u
r
e
s
/
T
h
e

K
o
b
a
l
C
o
lle
c
t
i
o
n
;
M
a
d

M
e
n
/
A
M
C
/
T
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e

K
o
b
a
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C
o
lle
c
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o
n
For The Tourist, Oscar-winning Costume Designer Colleen
Atwood took a note from one of her stars when selecting the foot-
wear. Angelina Jolie showed up to the set with a pair of her favor-
ite Ferragamos, and Atwood decided they were perfect for Jolies
characterbuying three pair in black, camel and pink. Angelina did
almost all of her stunts in the three and a half inch stilettos with
hard metallic detailing on the heel. Only Colleen Atwood could pair
the most modern of shoes with her original designs and an original
Charles James dress to create a character with limitless style. Most
amazing is that in a fun twist, Ferragamo re-named the shoe Elise,
after Jolies character in the film, and sold them at the Salvatore
Ferragamo NYC flagship store for a mere $750 a pair.
One of my all-time favorite movies, Hedwig and the Angry
Inch, was designed by Arianne Phillips who followed her personal
mantra from Laurence Olivier: I always start building my charac-
ter from the shoes up, she remarks, Footwear is everything. It
informs posture, attitude, how characters walk, carry themselves.
I live by that rule! Phillips had the unusual challenge for Hedwig
to design for a transsexual drag queen who goes from rock opera
fabulousness to midwest housewife and everywhere in between.
But thats not all because Hedwig was played by John Cameron
Mitchell, who was also the director, Johns shoes were informed
by his dual role as director and actor/star. He had to wear heels
that he would be able to work with both in front of and behind
the camera.
There are endless footwear moments throughout film and TV
history, these are just a few examples that I remember fondly. Its
the story of the person in the shoe and the character behind the
shoe and the designer who labors over every pair that inspires me.
Whether they be a real person, or a larger than life character on the
silver screen, theres really no better lens, than that which adorns
the foot to get to know someone from the inside outor in this
case from the ground up.
Meghan Cleary
missmeghan@missmeghan.com
The Tourist
Hedwig and the Angry Inch
{ }
Is there always a physical thing that unlocks a
character for you?
If you change shoes you sit differently, you walk
differently. Hilary Swank
Newsweek Oscar Nominee roundtable, 2005
H
e
d
w
ig
/
N
e
w

L
i
n
e
/
T
h
e

K
o
b
a
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C
o
lle
c
t
i
o
n
/
S
o
p
h
i
e

G
i
r
a
u
d
T
h
e

T
o
u
r
is
t
/C
o
lu
m
b
ia

P
ic
t
u
r
e
s
Winter 2011 The Costume Designer 33 32 The Costume Designer Winter 2011
Beauty in theDetails
DRIVE
The Gloves by Erin Benach
While some say that Drive is a film about gloves,
the gloves were not in the script. I thought about the ele-
ments of a race car driver combined with the nature of
a killer (not wanting to leave their fingerprints behind)
and it was a natural decision. One of the first, made early
on in the process and one that was never challenged
only championed throughout. The gloves that Driver
wears are all about his style and love of cars and even his
vanitythey all go hand-in-hand. And then the aspect
of well, fingerprints, is just how we could rationalize it.
I think Driver is hero. Heroes dont usually have real
jobs, day jobs or go to the bathroom (that we know of).
The open knuckle driving gloves were not available
in the rich chocolate brown we wanted so we dyed the
six pair from Gaspar Gloves. Dorothy Gaspar claims that
in the 70 films shes gloved, shes never had more
calls (from around the world in fact) than she has for
the Driver glove.
THE PLAYBOY CLUB
The Foundations & Lingerie by Isis Mussenden
The bunny dressing room was integral to the girls of The
Playboy Club. It was their social hangout where they could trans-
form from civilian life to bunny world. A feeling of camaraderie
and playfulness exists when you get a bunch of women together
putting on makeup and getting dressed; and that gave me the
opportunity to show the girl under the suit. I wanted to capture
the variety of women and their different personalities through the
choice of their lingerie.
I had amazing research from the Playboy Enterprises who just
recently created a digital catalogue, cover to cover. Because time
was so short we pulled most of the lingerie from Western Costume
and Palace Costumes, vintage shops in Chicago and the boutique
Meow in Los Angeles. Todays bodies are so different than 50 years
ago. Actresses are thinner than ever, with little bust, less hip and
far less derriere, and we are also longer in the girth. Many bras
were simply too high, foundations too short.
I found a red vintage bra for Amber Heard, that was such an
amazing color and fit for both her body and characterthe sur-
prise under the jean clad girl. So we swatched fabric and lace and
dyed it to match the bra to create the perfect matching panty for
Ambers body.
It is rare to be able to exhibit such a extensive amount of
undergarments and lingerie in a single project. We as designers
know that you build period project from the inside out, but the
audience rarely thinks about those details. It was rewarding to
gather a room full of 25 young beautiful girls, and get to orchestrate
a colorful and playful setting that was sexy but still innocent.

D
r
iv
e
/
B
o
ld

F
ilm
s
/T
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K
o
b
a
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C
o
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c
t
io
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;
T
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P
la
y
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lu
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/M
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D
in
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e
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s
t
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in
;
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&

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)

c
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is

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Winter 2011 The Costume Designer 35 34 The Costume Designer Winter 2011
W.E.
The Jewelry by Arianne Phillips
Jewelry was a legendary part of the Duke and Duchess love
story and legacy. But for the independent film W.E. it was immedi-
ately apparent it would be an impossible story to re-create without
the participation of Cartier and Van Cleef and Arpels.
My research took me from the Met in NYC, Victoria and Albert
in London to the Museum De Mode at the Lourve in Paris. There
was a lot of documentation about Wallis style to help me identify
which pieces were crucial to our story.
Cartier has been building their heritage museum collection,
buying back their original pieces at auction. They gave us access
to those pieces and in the end, they agreed to re-create 10 of their
most iconic pieces for W.E. Since their Atelier in Paris could not
work within our timeline (some pieces take over a year to create,
working only with real gem stones), we had to find and vet an
independent jeweler that Cartier would approve. We finally found
a very talented jeweler in London who was given the technical
drawings of the real jewelry. The settings were made with precious
metals and the stones were cut Swarovski Crystal. When the film is
released, Cartier will destroy the 10 copiesso that like great art,
they dont devalue the originals.
Van Cleef and Arpels re-created their famous contract brace-
let in their own atelier and loaned us archival pieces from their
museum collection. Sothebys helped liase some very private meet-
ings to see the real jewelry owned by very private clients. I worked
with Neil Lane, Anna Hu and Alexis Bittar. Madonna also understood
our financial limitations to re-create the couture world of the Duke
and Duchesses from the start so she offered her help in whatever way
she could. I literally went into Madonnas closet and basically took
over her personal jewelry for the three-month duration of the film.
We shot most of the film in London and beyond, with a week
in Paris, the south of France and a week in NYC. I had to pre-deter-
mine what jewelry we needed in what scene, in order to ship the
jewelry to and from Paris, NYC, Switzerland, and Los Angeles and
clear customs in time. With an ever-changing shooting schedule, I
lost my assistant designer, Laura Morgan, to the monumental task of
coordinating the jewelrys travel.
The insurance aspect was its own giant hurdle. We had a full-
time security guard on set at all times and a bolted safe on our truck
as well as in the production office. Our coverage limited the value
that we could have out on set at any one time so when we exceeded
that amount, we would have additional guards. On a few of the
days, we had up to five security guards on set just for the jewelry.
It was truly a journey of discovery.
Deena Appel
dappel@cdgia.com
W
.E
./
T
h
e

W
e
i
n
s
t
e
i
n

C
o
m
p
a
n
y
Cartier
cross bracelet
Van Cleef & Arpels original
contract bracelet
IN FOCUS

CD Emma Trask has come aboard to design the series Ringer,
with new CDGer, ACD David Ochoa assisting. The duo are due
to wrap this month and start back up in January. Another new
member hitting the ground running is CD Blair Levin, who has
stepped in to design the TV movie Elixir, shooting in Pittsburgh.
CD Chrisi Karvonides-Dushenko is currently designing the
new and dark Ryan Murphy-created drama, American Horror
Story, for FX, with CD Conan Castro Jr. supervising. ACD Tif-
fany White is new this season to the iconic series Mad Men, now
assisting CD Janie Bryant here in town. ACD Laura Frecon is
now assisting CD Audrey Fisher for season ve of the hit HBO
series True Blood, due to be sexier and bloodier than ever.
CD Nancy Ceo recently wrapped up a couple of teen-to-twenty-
something MTV projectsthe pilot Dumb Girls revolves around
a group of L.A. youths who are smart in life but dumb in love, as
well as the series Awkward, a teen comedy set for a second season.
CD Carrie Cramer has taken on double-duty designing Tosh.0, a
humorous commentary about content on the Internet, and the day-
time series The Doctors. CD Kathryn Langston Orindgreff is
designing the third season of the series Make It or Break It, fol-
lowing a group of teen Olympic hopefuls as they train and prepare
for their day in the spotlight. Orindgreff also made time to design
the pilot Baby Daddy for ABC Family. CD Julia Schklair and
ACD Courtney Stern have just nished up Perception for ABC/
TNT, starring Eric McCormack and Rachael Leigh Cook, with the
duo resuming design duties on their ABC Family show Switched
at Birth. CD Kathleen Felix-Hager has wrapped the ABC Fam-
ily pilot Intercept, here in town for director Kevin Hooks, about
a couple of college students-turned-crime-solvers, who create a
communication device that captures nearby conversations, starring
Austin Butler, Danielle Panabaker and Chloe Wang. CD Wendy
Benbrook is designing a fresh new show for VH1 titled Stevie TV,
starring the clever and beautiful Stevie Ryan in a sketch comedy
parodying todays pop culture, reality shows and pop stars. CD
Meredith Markworth-Pollack is the new designer on board
for CWs Hart of Dixie, starring Rachel Bilson. It is set in small-
town Alabama but shoots locally through March.
CD Alexandra Welker is having great fun on location in Port-
land designing Grimm for NBC. The police procedural collides
with a supernatural spin, featuring Portland in all its glory. Welker
is delighted by the fun and unique town and her fabulous crew, and
claims that between the stunts, the blood and the epic numbers of
guest stars, it feels like doing a lm every eight days. Atlanta is fast
becoming a second home to more than a few of our designers: CD
Frank Helmer is back in Atlanta on the A&E miniseries Coma, a
retelling of the bestselling novel by Robin Cook and lm by Michael
Crichton. Coma is produced by Ridley Scott, Tony Scott and David
W. Zucker. Frank reports its a busy scene there with lots of fellow
BOLDFACE AT WORK
BOLDFACE NAMES

IN FOCUS
CDGers. Hes especially grateful to CD Mona May for the crew
tips! CD Michael T. Boyd is another designer starting to grow
roots in Georgia, having wrapped Gamers in September for NBC,
and due to be in Atlanta right up to Christmas on the Hallmark
movie, Crew Six, based on the uplifting true story about a CA pro-
gram within the juvenile minimum-security prisons turning female
inmates into reghters, with Cuba Gooding, Jr. and QOrianka
Kilcher. CD Susanna Puisto is back East in Rhode Island this fall,
taking over for the second season of Body of Proof, along with her
team of ACD Rhona Meyers and CD Maritza Garcia-Roddy
supervising. Puisto loves the fashion her cast of Dana Delany and
Jeri Ryan rock every episode. CD Roland Sanchez has just re-
turned from Prague and Istanbul designing the TV series Missing,
starring Ashley Judd as a woman on a mission abroad after her son
disappears.
This month, CD Mary Zophres is putting to rest the Warner
Bros. crime feature Gangster Squad, shot entirely in Los Angeles.
The 1940s drama, directed by Ruben Fleischer, is based on an L.A.
Times article that chronicles the LAPDs ght to keep the East Coast
maa out of Los Angeles in the 40s & 50s. The all-star cast includes
Sean Penn, Josh Brolin, Ryan Gosling, Emma Stone, Nick Nolte and
Giovanni Ribisi. CD Tricia Gray recently wrapped her fth proj-
ect teamed with director Jay Chandrasekhar on the feature comedy
The Babymakers, shot in Los Angeles, starring Paul Schneider, Ol-
ivia Munn and Chandrasekhar, about a guy who after failing to get
his wife pregnant, recruits his pals to steal the deposit he left at a
sperm bank years ago. CD April Napier returned from Shreveport
after nishing Straight As for director James Cox (Wonderland),
starring Anna Paquin, Ryan Phillippe and Luke Wilson. The comedy
feature focuses on a young man harassed and haunted by the ghost
of his mother pushing him to return home to deal with the family
and rst love left behind. Napier is glad to be home in Los Angeles,
designing the Roman Coppola feature A Glimpse Inside the Mind
of Charles Swan III, featuring Charlie Sheen, Jason Schwartzman,
Patricia Arquette, Bill Murray, and Aubrey Plaza.
CD Caroline B. Marx designed the feature Long Time Gone,
starring Virginia Madsen, Sam Trammell and Zach Gilford, with
the producing team behind the Academy Award-winning lm,
Precious. Marx collaborated with her good friend and artist Elisa
Jimenez (Project Runway All Stars), to design the unique free-cut
and hand-drawn T-shirts worn by the cast. CD Shawna Trpcic
has had a busy fall having just wrapped the latest feature adaption
of Shakespeares Much Ado About Nothing for Joss Whedon before
launching into her next feature Lust for Love, starring most of her
cast from Dollhouse. Trpcic rounded out her season with Dragon
Age: Redemption, designing a series of three webisodes to coincide
with the video game release. ACD Jessica Albertson and CD So-
phie De Rakoff are currently up in Santa Cruz on the surf feature
Of Men and Mavericks, starring Gerard Butler and Elizabeth Shue.
Mavericks is well known among seasoned surfers as a Northern Cali-
fornia heavy-hitter surf break on the Santa Cruz coastline.
BOLDFACE NAMES
BOLDFACE AT WORK
IN FOCUS
BOLDFACE NAMES
CD Barcie Waite nished Jackie, a feature that was a gem of
a project from a Dutch/American production company with a
wonderful cast and crew, starring Holly Hunter. It couldnt have
been any better for Waite to also design in her own town of New
Mexico. CD Salvador Perez is in Baton Rouge, LA, designing the
comedy feature Pitch Perfect, about competing, college a cappella
groups. Perfect stars Anna Kendrick, Brittany Snow, Rebel Wilson
and Freddie Stroma and is produced by Perezs dear friend, Eliza-
beth Banks. FYI: He reports from Los Angeles that he has ofcially
bought out the city.
ILL Gina Flanagan and ILL Felipe Sanchez have been having
a blast together, cranking out a broad range of period costume
illustrations for CD Sharen Davis, who is designing Quentin
Tarantinos latest feature, Django Unchained. Tarantinos vision
of the feature is a spaghetti western done in the Deep South and
focuses on a slave-turned-bounty hunter setting out to rescue his
wife from a brutal Mississippi plantation owner. The cast includes
a lengthy list of notables, including Leonardo DiCaprio, Jamie Foxx,
Joseph Gordon-Levitt, Samuel L. Jackson, Christoph Waltz, Kurt
Russell, Sacha Baron Cohen, and more. This fall, CD Leah Butler
designed The Lords of Salem, the latest horror feature from direc-
tor Rob Zombie, shot locally and wrapped in Salem, MA. CD Betsy
Heimann is presently ensconced on the feature Broken City, a
neo-noir genre pic set in NYC, with an amazing cast including Mark
Wahlberg, Russell Crowe, Catherine Zeta-Jones, Barry Pepper, Kyle
Chandler and Jeffrey Wright. Heimann and her ACD, Autumn
Saville, are excited to be designing for director Allen Hughes (the
Hughes Bros.), who brings incredible vision to the lm.
CD George Little
just wrapped the fea-
ture Warm Bodies in
Montreal for Summit
Entertainment. The post-
apocalyptic love story
is directed by Jonathan
Levine and stars Nicho-
las Hoult, Teresa Palmer,
and John Malkovich. CD
Lizz Wolf is in Bulgaria
continuing her longtime
collaboration with Syl-
vester Stallone, designing
The Expendables 2. The
action feature, directed
by Simon West, wraps
up in China to festively
ring in the new year. CD
April Ferry has been in
Mexico City on the last
six weeks of Elysium, the feature starring Matt Damon by writer/
director Neill Blomkamp of District 9. Ferry reports the locations
in the barrios of Mexico City are eye opening and quite fabulous
and nds the Mexican crew is experienced and easy to work with.
Ferry heads off to visit CD Joe Tompkins at his new home in
Merida, Mexico, after the show wraps.
BOLDFACE HONORS
CD Gabriella Pescucci won the 2011 Primetime Emmy in the
Outstanding Costumes for a Se-
ries category for The Borgias, the
Renaissance period drama shot in
Budapest. Pescuccis Costume Su-
pervisor, Uliva Pizzetti, shared the
honor. In the Outstanding Cos-
tumes for a Miniseries, Movie or a
Special category, CD Susannah
Buxton took the honor home to
London, along with her ACD, Car-
oline McCall, for their work on
Downton Abbey. CD Arianne
Phillips was honored with a Hol-
lywood Style Award for Costume
Designer of the Year on November
13, presented by actress Andrea
Riseborough. The honor followed numerous press mentions for Phil-
lips work on the period lm W.E., directed by longtime collaborator
Madonna, including a September Vanity Fair spread with Risebor-
ough and James DArcy. The 5th Annual Hamilton Behind the Camera
BOLDFACE AT WORK
CD Lou Eyrich walks the
Emmy carpet
CD Phillips accepts the Style Award
CD Ferry on a break in Mexico
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Costume Rentals
Manufacturing
Alterations
Fitting Rooms
& Offices
FI LMMAKERSDESTI NATI ON. COM
818.777.2722 800.892.1979
NBC Universal
Awards honored CD Janie Bryant on November 6 for her con-
tributions to television and the lasting impression her work has
left on audiences. Mad Men star Jon Hamm presented the trophy
in front of a room full of A-listers. Season ve of the hit show will
kick off March 16, 2012.
BOLDFACE PRESS
Pan Ams 1960s-era
costumes have been jet-
ting off in the press. CD
Ane Crabtree was in-
terviewed by California
Apparel News, WWD
and ABCs Nightline
anchor Cynthia McFad-
den (http://abcn.ws/
n6HCWw), who tried
on a flight attendant
hat during the segment.
Crabtree descri bed
the pillboxes in a TV
Guide interview as
works of art ... with
tiny trapunto stitch-
ing, rows and rows that
I hope youll be able
to see on camera. http://
bit.ly/n1fidV http://
www. mu c h a d o t h e -
movie.com Entertain-
ment Weekly interviewed
Jon Hamm and Hamilton Prez Sylvian Dolla ank CD Bryant
McFadden & CD Crabtree
BOLDFACE NAMES
BOLDFACE HONORS
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44 The Costume Designer Fall 2011 Fall 2011 The Costume Designer 45
IN FOCUS
Earn a BFA in Fashion Design Study Costume Design as
a minor Choose millinery, shoe, and handbag design as
electives Research costume history in the 6,000-piece
Fashion Study Collection Cross disciplinary boundaries to
psychology, communication, graphic design, and animation.
Join the fashion revolution: mcd.woodbury.edu/fashiondesign
Alter
fashion
world!
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Gown by: Stephen Ferradino, Class of 2010
Photo by: Volker Correll
Whether youre looking for an entire production, a character or simply to
provide the quintessential accessory, CostumeRentals has an array of
period costumes, flamboyant frocks, hilarious hats and mysterious masks.
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A combined project of the Guthrie Theater
and the Childrens Theatre Company
BOLDFACE NAMES

CD Debra McGuire about her work on the hit show New Girl on
FOX, starring Zooey Deschanel. The veteran designer explained how
she created a playful retro look for Deschanels quirky character using
mainly vintage pieces with a mix of colors and patterns. Dont expect
to see Jess in cropped tops and tight jeans, McGuire added. http://
bit.ly/uMXCk1 Designs
by CD Nolan Miller
and Elizabeth Courtney
Costumes, owned by CDs
Ret Turner and Bob
Mackie, were featured
in an InStyle article on
Christies unprecedented
auction of Elizabeth Tay-
lors wardrobe. Included
was Millers 1987 ruby red
dress with a pleated silk
taffeta bodice and oral-
accented skirt that Taylor
wore to the 40th Cannes
Film Festival. Millers
work was also recently
highlighted in a Spotlight
On article and video on
the CDG website. http://
www.instyle.com/eliza
bethtaylor
BOLDFACE PRESS
CD McGuires look for The New Girl
Christies auctions CD Miller designs
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CD Louise Frogleys cos-
tumes for George Clooney and
Ryan Gosling in The Ides of
March were featured in the
October 14th issue of The Hol-
lywood Reporter. Frogley,
who dressed Clooney with clas-
sic single-breasted gray suits
worthy of a political candidate,
said, it wasnt about making
a style statementthe clothing
is elegant but never draws atten-
tion to itself. A recent revival
of 1990s fashion has put CD
Sherry Thompsons trade-
mark hats and quirky accessories
front and center again. A Ren-
ery 29 interview revisited the
costumes Thompson created for
the popular teen comedy drama
Blossom, which aired on NBC from 1991 to1995, and praised her for
spawning an army of lookalikes in school hallways. http://bit.ly/paqQTf
CD Jill Ohanneson, who is designing for ABCs freshman drama
Revenge, is a behind-
the-scenes star in a series
of short clips airing on-
line by the network. In
the videos, Ohanneson
shares design ideas and
inspiration for the shows
characters, and provides
an insiders look at how
their individual styles are
developed. http://abc.tv/
ufTSY0
CD Thompsons Blossom make new print
CD Frogleys Ides
CD Ohanneson
BOLDFACE NAMES
BOLDFACE PRESS
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We are mad for hats,
shoes, ties, petticoats . . .
all thingsCostume!
and 2011 Warner Bros. Entertainment Inc. All rights reserved
818.954.1297
www.wbcostumedept.com
Custom Manufacturing
Costume Rentals Prep Spaces
IN FOCUS
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You make it. They take it. Lets stop them. Thieves are making millions of dollars
trafcking in stolen lm and television. America has already lost 140,000 lm and
television jobs to content theft. Wages, benets and residuals are all being hit hard.
Now theres a way to ght back. Creative America is a new grassroots voice for the
entertainment community and anyone else who believes America must do more to
protect our jobs and creativity. Join us. Sign up at CreativeAmerica.org and make
your voice heard.
JOIN CREATIVE AMERICA
SAY ACTION.
U N I T E D T O F I G H T C O N T E N T T H E F T
CreativeAmerica.org
WANT TO STOP CONTENT THEFT?
CD Colleen Atwood spoke on a panel
discussion at the L.A. County Museum of
Art (LACMA) as a key contributor to di-
rector Tim Burtons exhibition there. The
retrospective, which suitably ended on Hal-
loween, brought together more than 700
drawings, paintings, photos, storyboards,
maquettes and costumes, with contributions
by Atwood and CDs Gabriella Pescucci,
Ingrid Ferrin and Aggie Rodgers, who
also designed for the iconic lmmaker. The
Palm Spring Film Festival hosted a Behind
the Scenes series with CD Arianne Phil-
lips in October at the Rancho Mirage Public
Library. Phillips spoke to the capacity crowd
about designing costumes for lms such as
A Single Man and the upcoming W.E. as
well as her Oscar-nominated work on Walk
the Line. In November, CD Shawna Trp-
cic was on a panel discussion Creating
Characters With Costumes at the Comikaze
Expo, touted by organizers as the Comic-
Con of Los Angeles. The convention brings
together the comic, anime, gaming, sci-,
fantasy and horror genres under one roof at
the L.A. Convention Center. During a two-
day event in late October, veteran CD Ann
Roth exhibited illustrations and drawings
from her lms and theater works in the
Crossley Gallery at the Ringling College of
Art + Design in Sarasota, FL. A screening of
The Hours, for which she received a 2002
Oscar nom, was held the next day followed
by a Q&A moderated by Roths Julie & Julia
producer Amy Robinson.
Compiled and written by:
Suzanne Huntington
shuntington@cdgia.com
Gina Silverstein
gsilverstein@cdgia.com
BOLDFACE ENTREPRENEURS
CD Trish Summerville has created a 30-piece line for retailer H&M
inspired by her Girl With the Dragon Tattoo costumes. Summer-
ville describes it as more wearable and fashionable than in the lm.
Summervilles H&M
collection includes
slouchy T-shirts,
leather motorcycle
jackets, long cardi-
gans, roughed-up
boots and jewelry,
available Decem-
ber 14. ILL Lucas
Culshaw has
reached beyond
rendering sketches
into the world of
indie filmmaking.
The multi-talented
Illustrator wrote
and produced
Wasteland, a sci-
fi/adventure film
set in the near
future. Culshaw
also co-designed
the costumes with
705 Costumer Erin
Tanaka. Released
on DVD October 11, the lm is sold online and at major na-
tional retailers. http://www.wastelandthemovie.com/
CD Tashiba Jones-
Wilson and her sister
Zakiya Jones, have ex-
panded their plus-size
(14-24) ZMJ line from
denim into T-shirts.
The siblings have been
successfully tapping
into the big and beau-
tiful womens market
since 2007. http://
www.zmjdenim.com

BOLDFACE FESTIVALS & EVENTS
North of the border, CDs Del-
phine White, Luis Sequeira,
Gersha Phillips, Monique
Prudhomme and Antoinette
Messam are participating in Other-
wordly: The Art of Canadian Costume
Design at the Toronto International
Film Festivals (TIFF) film gallery.
The exhibit, running through March,
showcases costumes the Canadians
designed for sci- and horror lms.
Also at TIFF, White created a chil-
drens educational program and Prud-
homme was the keynote speaker in
November on The Reality of Fan-
tasy. In October, CD Ane Crabtree was in a group show Bound
Together, at the Fifth Floor Gallery in L.A.s Chinatown. Ten artists
from various backgrounds exhibited experiential, unedited portfolios
containing sketches, collages, drawings, writings and multimedia, while
stretching the boundaries of what is commonly considered a book.
CD Summervilles streamlines Tattoo for H&M
CD Tashiba Jones-Wilson
CD Delphine White
CD Crabtrees multimedia portfolio
CD Colleen Atwood
BOLDFACE NAMES
Ill, CD, producer Culshaw
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Ringer
Costume Designer:
EMMA TRASK
Assistant Designer:
DAVID OCHOA
Up All Night
Costume Designer:
KIRSTON MANN
Once Upon a Time
Costume Designer:
EDUARDO CASTRO
Suburgatory
Costume Designer:
MYNKA DRAPER
Assistant Designer:
SARA JANE
SLOTNICK
Prime Suspect
Costume Designer:
AMY STOFSKY
Assistant Designer:
ERIKA WALTHALL
Revenge
Costume Designer:
JILL OHANNESON
Pan Am
Costume Designer:
ANE CRABTREE
Assistant Designer:
CAROLINE QUIROGA
Boss
Costume Designer:
JULIET POLCSA
American Horror
Story
Costume Designer:
CHRISI KARVONIDES-
DUSHENKO
Enlightened
Costume Designer:
NANCY STEINER
2 Broke Girls
Costume Designer:
TRAYCE FIELD
Illustrator:
MAIRI CHISHOLM
The Girl With the
Dragon Tattoo
Costume Designer:
TRISH SUMMERVILLE
Assistant Designer:
SYSTA MORGENSEN
Illustrators:
CHRISTIAN CORDELLA,
RUSSELL DAUTERMAN
Jack and Jill
Costume Designer:
ELLEN LUTTER
Illustrator:
FELIPE SANCHEZ
Carnage
Costume Designer:
MILENA CANONERO
Assistant Designer:
OLIVER LIGEN
The Descendants
Costume Designer:
WENDY CHUCK
I Melt With You
Costume Designer:
PATIA PROUTY
Assistant Designer:
LESLIE SUNGAIL
The Artist
Costume Designer:
MARK BRIDGES
Assistant Designer:
PAMELA SHAW
War Horse
Costume Designer:
JOANNA JOHNSTON
Assistant Designer:
JEREMY TURNER
We Bought a Zoo
Costume Designer:
DEBORAH LYNN
SCOTT
Extremely Loud and
Incredibly Close
Costume Designer:
ANN ROTH
Assistant Designers:
MICHELLE MATLAND
WHATS ON WHATS IN
T
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J. Edgar
Costume Designer:
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P
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Costume Designer Theadora Van Runkle 19292011
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The Costume Designer Fall 11

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Costume Designers Guild

32 The Costume Designer Fall 2011

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