Académique Documents
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24
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
COVER
Costume designs and illustrations by
SANDY POWELL
2010 Career Achievement Honoree
To view more of Ms. Powells illustrations
go to costumedesignersguild.com
Spotlight on: Sandy Powell
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Presidents Letter
Executive Director
Assistant Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 30
Meet the Assistants
History of Dress
My Favorite Things
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DEPARTMENTS
18
FEATURES
CDG Awards . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Award Nominees . . . . . . . . . . . . . . . . . . . . . . 18
Q&A with this years nominees
Collaborations . . . . . . . . . . . . . . . . . . . . . . . . 24
Rob Marshall and Colleen Atwood
Swarovski Shines . . . . . . . . . . . . . . . . . . . . . . 28
Swarovski plays a vital role
16
vol. 6, issue 1
4 The Costume Designer Winter 2010
OLLABORATION. Isnt that what this business all boils down
to? There isnt a motion picture captured on the screen,
large or small, that could exist without it. Its why I look
forward to this issue. We not only showcase our Costume
Designers Guild Award nominees and honorees but also our
Distinguished Collaborator and our Award Partner, Swarovski, with-
out whom our award celebration would not be possible.
Director Rob Marshall knows collaboration. Born of the theater,
he not only appreciates completely interactive involvement from
all of his department heads, he lives for it. Our Career Achievement
in Film honoree, Sandy Powell, has designed four films for Martin
Scorsese, with two more in the works. Together, theyve covered
almost 150 screen years on film from Gangs of New York to The Departed. Michael
Travis, Career Achievement in Television honoree, is known for his tremendous con-
tribution to variety television. His design relationships with producer George Schlatter
and Liberace provided him with extraordinary challenges and great satisfaction. It
seems that with all of these examples, where successful collaboration goes, loyalty
and long-term partnership follows.
As for collaborating on this magazine I have to acknowledge one newly com-
mitted partner in crime, CD Bonnie Nipar. Bonnie stepped in a few issues back, rolled
up her sleeves and jumped into the deep end with me. She has taken on several of
the more tedious and time-consuming projects (Whats On/Whats In, Locations,
Nominee Q&As), compiling, editing, fact-checking and all the while being extremely
organized, terribly thorough and genuinely happy to be involved. Thank you, Bonnie.
I can no longer do it without you.
Lastly, as with every issue, I have no idea what the cover could possibly be until
at least the eleventh hour. It always comes by divine intervention. This issue was no
exception. While starting to gather material for our Awards Tribute Book, I received
an abundance of sketches from Sandy Powell that amazed me for two reasons. Her
sketches are so lovely, whimsical, beautifully drawn and colored. I could immediately
picture a lineup of her characters as if they were on a studio back lot. But the other
reason I was so impressed, was that Sandy keeps a complete set of her sketches and
film stills, all organized and in digital form. As I put my Creative Rights hat on, I
would suggest that this should be a reminder to take responsibility to archive your
own work. Its almost impossible to go back and collect your work from the network
and/or studios after the fact. Take the time as you near the end of each job, to ask the
publicity department for digital images of your workif you dont have your original
sketches, be sure you have quality high-resolution scans and/or color copies and be
sure to get a DVD copy of every project written into your contract. The digital age is
moving fast and more and more filmmakers are expecting us to have websitesthis
is the material youll need to be successful in the coming years.
Congratulations to The Costume Designers very own Associate Editor/Costume
Designer Audrey Fisher and contributor/ACD JR Hawbaker on their CDG nomination
for True Blood!
Deena Appel
dappel@costumedesignersguild.com
EDITORS NOTE
EDITOR/PHOTO EDITOR
Deena Appel
ASSOCIATE EDITOR
Audrey Fisher
MANAGING EDITOR
Cheryl Downey
PRESIDENT
Mary Rose
mrose@costumedesignersguild.com
VICE PRESIDENT
Hope Hanafin
hhanafin@costumedesignersguild.com
SECRETARY
Ann Somers Major
asomersmajor@costumedesignersguild.com
TREASURER
Marilyn Matthews
mmatthews@costumedesignersguild.com
EXECUTIVE BOARD
Sharon Day
sday@costumedesignersguild.com
Salvador Perez
sperez@costumedesignersguild.com
Deena Appel
dappel@costumedesignersguild.com
April Ferry
aferry@costumedesignersguild.com
Lois DeArmond (Asst. Costume Designers)
ldearmond@costumedesignersguild.com
Felipe Sanchez (Illustrators)
fsanchez@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com
Susan Nininger
snininger@costumedesignersguild.com
Robert Blackman
rblackman@costumedesignersguild.com
Julie Weiss
jweiss@costumedesignersguild.com
BOARD OF TRUSTEES
Jacqueline Saint Anne, Chair
jsaintanne@costumedesignersguild.com
Peter Flaherty
pflaherty@costumedesignersguild.com
Marcy Froehlich
mfroehlich@costumedesignersguild.com
EXECUTIVE DIRECTOR
Cheryl Downey
cdowney@costumedesignersguild.com
ASSISTANT EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@costumedesignersguild.com
ADMINISTRATIVE ASSISTANT
Suzanne Huntington
shuntington@costumedesignersguild.com
RECEPTIONIST/SECRETARY
Cheryl Marshall
cmarshall@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
C
6 The Costume Designer Winter 2010
JR HAWBAKER
(Meet the Assistants, Nominee
Q&A) joined the Guild in 2006
and currently works as an Assistant
Costume Designer for film and
television. Originally from Chicago
and the Goodman School of Drama,
she calls Los Angeles and the CDG
home now. Excited to be writ-
ing again, Hawbaker is thrilled to
contribute to the magazine. Our
Guild members are all storytellers,
on screen and on the page, and
I am only to happy to contribute
to a magazine that narrates their
stories.
SUZANNE HUNTINGTON
(Boldface Names) came to the Guild
in 2005 as the administrative assistant
after two years with the Editors Guild
as their project event coordinator.
Educated and working in the fine
arts and entertainment world keeps
Huntingtonina creativeenvironment.
Huntington stays busy with member
inquiries, managing special projects,
shepherding awards season info and
serving as administrator of the CDG
website, among other duties. Its a
pleasure to stay in touch with the
members and make a contribution to
The Costume Designer.
BONNIE NIPAR
(Nominee Q&A) joined the Guild
in 1997 and works as a Designer for
TV. Born and raised in Pittsburgh,
she was an art student at Carnegie
Mellon before moving to Los
Angeles and entering the industry.
A huge fan of the CDG magazine,
Bonnie happily took over two
recurring columns. She adores the
process of gathering new sources,
thus writing Locations is a great t.
And for the Whats On/Whats In,
Its a treat to research the latest
accomplishments of our peers.
ROBIN RICHESSON
(History of Dress, Illustrator) joined
the Guild in 1992 and works cur-
rently as a costume illustrator, a sto-
ryboard artist, and an educator. I
trained to work as an illustrator for
print (publishing) so when the CDG
began the magazine, I was pleased
to be asked to illustrate for it. I love
working in film, but I have to admit,
I missed seeing my work in print!
The History of Dress column is a
great way for me to learn more
about clothing and participate in
this publication.
KARYN WAGNER
(History of Dress, Copy) is a
Costume Designer for film and
television, who ran for the CDG
Board four years ago. I wanted to
give back a little of what the Guild
has given me. I have found the
experience to be rewarding and
inspiring. I trained as a historian,
and I love to watch the evolution
of culture and clothing, so I volun-
teered to write the History of Dress
column. I always learn something
new and have so much fun writ-
ing it.
Contributors
AUDREY FISHER
(Associate Editor, Boldface,
Nominee Q&A) is the CDG nomi-
nated Costume Designer for the
HBO vampire series True Blood
and she is grateful to design a
show with so much creative free-
dom, flashbacks and fantasy. The
Costume Designer gives Audrey
the opportunity to hone her edit-
ing skills, write about what she
loves, and learn about her col-
leagues latest adventures. Audrey
encourages other CDG members
to volunteer for the magazine!
New ad
to come
8 The Costume Designer Winter 2010
I imagine we all hoped that January 1 would be the start of a better year than the one that came before it?
Well, Id like to share a small ray of light that did come through for me. The talking heads current topic:
The Jay Leno Show. Some of you might know that I became somewhat obsessed with the JL (Jay Leno)
issuenot to be confused with our own dear JL (JL Pomeroy), producer of the CDG Awards. Im talking
about comedian Jay Leno, NBCs temporary prime-time guy. I even received a few calls from members (who
read my last newsletter column) congratulating me on Leno and NBCs prime-time demise. Have I gone
too far? At least now I can stop talking about it and leave it to The New York Times Maureen Dowd, who
possesses an eloquently sharper tongue than I, to finish the job. In case youre interested http://www
.nytimes.com/2010/01/13/opinion/13dowd.html
Back to the other JL and the CDG Awards For our new members who are unfamiliar with the event and
our voting process, the inaugural CDG Awards, born in 1999, was started by a handful of longtime members.
A volunteer committee was completely responsible for selling advertising and seats to pay for the evening
in the Crystal Ballroom of the Beverly Hills Hotel. Five of our most iconic designers, Travis Banton, Edith
Head, Dorothy Jeakins, Irene Sharaff and Adrian, were posthumously inducted into the Hall of Fame. The
first Honorees for Achievement in Costume Design were Bob Mackie (Television) and Albert Wolsky (Film) with the Distinguished
Director Award going to Paul Mazursky.
For a number of years, there were only two competitive categories with five nominees each for film and television with the
stipulation that only CDG members could be nominated. Along the way to 2010, many things have changed, most importantly, due
to our partnership with JLine Group in 2004. When JL Pomeroy came into the picture, she relieved us of all fiscal responsibility for
the event. To this day, she takes the vast majority of the risk, and we enjoy a fabulous annual celebration. With Swarovski as our
Presenting Sponsor for the fifth year in a row, it means that we no longer have to spend the memberships money to cover the entire
awards gala.
We understood that in order to be taken seriously in the industry we had to honor the best of the year, regardless of member-
ship, just like the Academy Awards and the Emmys. There should be no barrier to excellence in art!
We can also be proud that were the only awards show in Hollywood, or anywhere else for that matter, to separate the categories
to equally acknowledge Contemporary as well as Period and Fantasy costumes in Film and in Television. The idea was brought fourth
by EBoard member Deena Appel to honor all the work that we do, as opposed to just the traditionally nominated historical period
dramas. That brings our previous two winners out of 10 nominees to seven winners from as many as 35 nominees in any given year.
Nomination submission is the most important part of the process that members do not seem to understand. Let me impress
upon all of you how important it is to submit your own workespecially for TV designers. There is no way to create a complete
list without your submissions. Do not wait for your fellow designers to submit your work. Do it for yourself. Take charge of your
own work and be counted. Its my dream that one year all the submissions will be made by the Costume Designer themselves Or
would that fall into the fantasy category?
A happier and improved new year to you all!
In Solidarity,
Mary Rose
mrose@costumedesignersguild.com
Dear Members,
PRESIDENTS LETTER
UNION LABEL
February
15 CDG Offices closed for Presidents Day
18 Final CDG Awards Ballots due
25 12th Annual CDG Awards
27 Masters Mentoring Panel &
Swarovski Workshop
March
1 Executive Board Meeting,
7 PM, CDG Offices
7 82nd Annual Academy Awards
29 General Membership Meeting,
7 PM, CDG Offices
2010 CALENDAR
The CDG has launched several new initiatives designed for growth in the coming years:
CDG Website Have you checked out our new look? Thank you to CD Salvador Perez for all his hard work.
ACD Anna Wyckoff will continue to populate our site with fresh images of our members and vendors and
add new articles regularly.
Besides using our website to report availability, you may now report your latest job as well. Reporting
your work is your responsibility as a member. Now you can do it in minutes, 24/7.
Joint Seminars With the Art Directors Guild New opportunities to learn alongside our peer designers
(like the Wacom Tablet seminar) are welcome. We look forward to more mutually beneficial classes in
cutting-edge technology to make your job easier.
CSATTF Computer Classes Each year, the number and variety of classes available to our members (at
reduced fees) grows. As declining prep time and late casting exponentially complicate designers jobs,
it is essential to utilize computer programs, new tools and the Web to save time, enhance creativity and
increase communication with other departments. Resolve to sign up now!
GEMS General Email Messages is a compilation of pertinent news for members sent once a week to cut down on your Guild
emails. Key information about awards balloting, Boldface News for The Costume Designer, educational opportunities, and
labor/political calls to action are just a sampling of the vital communications youll find in GEMS handy table of contents. Be
sure to open your GEMS email each Friday, or you are certain to miss some important smart talk!
Meet the Nominees Mentoring Brunch The second annual member brunch and panel discussion with our CDG Award
nominees will be held on Saturday, February 27. It gives members an opportunity to learn from their nominated peers in an
elegant setting. This year, the entire day will be hosted by our esteemed Presenting Sponsor, Swarovski, in conjunction with
their fantastically informative seminar.
Political Action Committee The CDG Eboard and membership unanimously endorsed creation of a PAC to make our pro-
labor political voices heard. It is essential that we individually and as a professional labor organization make sure lawmakers
know we hold them accountable. We inform you when legislation is pending on such serious concerns as universal healthcare
and labors right to organize. Its up to you to call, email and writerepeatedly!
You now have marvelous opportunities for education, communication, political activism and social networking through our Guild
of 740 amazingly talented Designers and Illustrators. What are you waiting for? Take advantage and may 2010 be very good to you.
In Solidarity,
Cheryl
cdowney@costumedesignersguild.com
Into the Next Decade
EXECUTIVE DIRECTOR
10 The Costume Designer Winter 2010
CORRECTIONS
CD Mayes C. Rubeo was inadvertently omitted from the
Boldface entry as the co-designer of Avatar. Jeannie Ione
Flynn worked as Rubeos ACD. The highly acclaimed
live-action movie with a new generation of special effects
conceived and directed by James Cameron has already
received several awards as well as nine Academy Award
nominations.
Karen Patch was the Costume Designer for the pilot
episode of Communityas well as for the cast photo
published in the fall issue of Whats On/Whats In.
UNION LABEL
Community
ASSISTANT EXECUTIVE DIRECTOR
UNION LABEL
12 The Costume Designer Winter 2010
Looking Forward
The last two years have been chal-
lenging for many members both
creatively and financially. With the
new year now in full swing, we are
all hoping that the economy will
continue to improve and work will
begin to pick up. In the meantime,
there are many things you can do to
improve your chances of landing that
next job.
When was the last time you updated your resume, port-
folio, reel, or book? Take another look.
The Guild offers many opportunities for members to
improve their computer skills. We are affiliated with
Studio Arts and Valley College, where members can
learn anything from basic computer skills to industry-
related programs such as costume Plot Pro, Photoshop,
Illustrator, and many more. Be sure to check the weekly
email GEMS for the most current class info.
Each Tuesday at the Guild office, there is an informal
group called Tuesday Tea and Technology, where mem-
bers share computer knowledge and help each other
learn new computer skills.
The West Coast IATSE office has a new monthly pro-
gram with classes to help members hone the many skills
required in this industry. For a list of those classes, you
can contact me by email at the address below.
Networking is always an important aspect of our work
search. Take time to connect with friends and co-work-
ers during these downtimes. Not only are you helping
yourself professionally but you are also benefiting from
the camaraderie of creative people. Call a crew member
or fellow collaborator from a past project and reconnect
with them. You never know where that next job will
come from.
Come in to the Guild and check out our library.
Familiarize yourself with our wonderful periodical collec-
tion that goes back to the late 1800s as well as our other
resources. This will give you an edge and save time on
the next project.
These ideas will help make you more competitive on your
next job and keep the creative juices flowing during a
downtime.
I hope you have a great 2010!
In Solidarity,
Rachael Stanley
rstanley@costumedesignersguild.com
612.375.8722 or e-mail costumes@costumerentals.org
855 EAST HENNEPIN MINNEAPOLIS, MN 55414 COSTUMERENTALS.ORG
CostumeRentals offers year-round access to the
Guthrie and The Childrens Theatre Companys
combined inventory of extraordinary costume pieces.
PHOTO CREDITS (L TO R): JENNIFER BLAGEN (MICHAL DANIEL), ROBERT CUCCIOLI (T CHARLES ERICKSON), CHRISTINA BALDWIN (MICHAL DANIEL)
Over 30,000 costumes
Designs by leading theatrical designers
Storybook and fantasy characters
Shoes, hats, masks and accessories
14 The Costume Designer Winter 2010
LABOR REPORT
UNION LABEL
Organizing Is So Important
Ive been designing Spike TVs The Deadliest Warrior, a non-union, low-budget, one-hour TV series
since the pilot. This November, during the second season, the IATSE with representatives of each of the
Hollywood Locals, came to the set to organize the show.
I felt hopeful but nervous at lunch as I came off the private property where we were shooting to talk
with CDG Executive Director Cheryl Downey.
I didnt know if negotiations with the company would succeed since Spike TV had never produced a
union show and I knew the money had been very tight from the beginning. I was made aware that there
was a possibility I would lose my job if talks failed and the show hired a non-union designer to replace me.
Though the crew voted not to return to work after lunch, no negotiating progress seemed to be made
during the rest of that day (November 18, 2009). Cheryl and I spoke over the weekend, but the crew offi-
cially heard nothing throughout that next Thanksgiving week except that negotiations were ongoing. The IA remained very
positive, but the concerned crew didnt know whether to pack up our equipment and search for other work or to hang in and
keep believing. Finally, the next Monday (Nov. 23), we got the call to come back to workon a union basis!
What at first seemed like a scary situation, turned out to be such a blessing. The producers and IATSE were able to come
to an agreement, and I am now able to design the series with all the benefits of a union show. I was even given a raise, as well
as retroactive pension and health benefits! The IA contract enables me to pay my team union rates, and I am now able to hire
union costumers for any additional staffing requirements. Having designed mostly union shows, it is so nice to now be able to
run this one at the high professional level Im used to. Organizing is so important!
Amanda Riley
amandalynnriley@gmail.com
Winter 2010 The Costume Designer 17
SandyPowell
Robert Turturice
Michael Travis, the son of Greek immigrants, was born in
Detroit as Lycourgos Torakis.
After finishing his army duties in 1949, Michael attended
LEcole Des Beaux Artsa, Le Sorbonne and later, LEcole
Guerre Lavigne in Paris studying couture fashion. He moved
to New York and worked at the famous Eaves Costume
Company as assistant to the owner, Andrew Geoly. Michael
then began his Broadway career assisting Raoul Pene duBois,
Miles White and Irene Sharaff, whom he greatly admired for
her attention to detail.
Michael got his first big break designing classical Greek
costumes for Rape of the Belt followed by Rhinoceros. He then
designed The Play of the Week for two years including The
Cherry Orchard with Helen Hayes; Thieves, Carnival, Medea
and Tiger at the Gates with a star-studded cast. He was concur-
rently designing the television series The Voice of Firestone and
The Bell Telephone Hour featuring stars of the opera.
Travis landed the opportunity to design the costumes
for the Academy Awards where he first met producer
George Schlatter, who hired him to design The Steve
Lawrence Show. The successful relationship with Schlatter
led to his six-year collaboration on Laugh-In where he
created up to 400 costumes per week. Other variety show
credits include The Tony Orlando Show, Ernie Ford spe-
cials, Lily Tomlin specials and Rowan & Martins Laugh-In.
Michaels 15-year collaboration with Liberace was his
most gratifying by far. What started as a possible one-time
design job turned into designing Liberaces entire ward-
robe. Michael was given carte blanche to fantasize along
with Liberace, experimenting with exotic designs, unusual
materials, color and embroideries.
Michael Travis has emerged as one of the most gifted
and talented costume designers in American Theater, tele-
vision and film.
Academy Award
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