The Costume Designer Spring 08

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WORK
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Spring 2008 The Costume Designer 3
FEATURES
vol. 4, issue 2
COSTUME DESIGNERS GUILD
11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
email: cdgia@earthlink.net
COVER
MARLENE STEWARTs costume design
for Tropic Thunder, Paramount 2008
Illustration details on page 6
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Presidents Letter
From the Desk of the Executive Director
Assistant Executive Directors Report
Labor Report
The Costume Department. . . . . . . . . . . . . . . 19
History of Dress
One to One
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
A Look Back at The Doors
Location: Chicago
Boldface Names
Whats On/Whats Out . . . . . . . . . . . . . . . . . 32
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
DEPARTMENTS
12 23 23
A Designer in Focus . . . . . . . . . . . . . . . . . . . 12
An interview with Marlene Stewart
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
Karyn Wagner
kwagner@costumedesignersguild.com
EXECUTIVE BOARD
Sharon Day
sday@costumedesignersguild.com
Salvador Perez
sperez@costumedesignersguild.com
Deena Appel
dappel@costumedesignersguild.com
Cliff Chally
cchally@costumedesignersguild.com
Lois De Armond (Asst. Costume Designers)
l.dearmond@costumedesignersguild.com
Dana Onel (Illustrators)
donel@costumedesignersguild.com
Tanya Gill (Commercial Costume Designers)
tgill@costumedesignersguild.com
BOARD ALTERNATES
Valerie Laven-Cooper
vlavencooper@costumedesignersguild.com
Susan Nininger
snininger@costumedesignersguild.com
Van Broughton Ramsey
vramsey@costumedesignersguild.com
Helen Butler
hbutler@costumedesignersguild.com
BOARD OF TRUSTEES
Peter Flaherty, Chair
pflaherty@costumedesignersguild.com
Jacqueline Saint Anne
jsaintanne@costumedesignersguild.com
Marilyn Matthews
mmatthews@costumedesignersguild.com
LABOR DELEGATE
Betty Madden
bpmadden@aol.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
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
4 The Costume Designer Spring 2008
single designer in focus. Weve avoided it in the maga-
zine until now. We are a guild of peers and this magazine
should represent us all. How do we feature a single design-
er in this quarterly without showing favoritism or tipping
the scales during Oscar season or Emmy time? It seems its now time
to shine a light on some of our veteran members who work
constantly and impeccably and yet never seem to get the attention
they deserve. Designers with eclectic resumes, who simply disap-
pear into their work. The first is Marlene Stewart, who I have to
thank profusely for giving me so much of her time, while in the middle of prepping
a huge film and nursing a bad cold. While admitting that she intentionally does not
pursue self-promotion, Marlene was so
open and generous in this process, all the
more reason that shes so deserving of this
attention.
On another front, theres a lot of talk
about computers in this issue, which brings
to mind a few things to consider
1. Remember to visit our website
www.costumedesignersguild.com for back
issues of this magazine. Theyre all online and very easy to access and viewwith a
rollover list of whats in each issue.
2. If youre going on location, you can reference back issues of this magazine for
previous location columns.Also, on IMDbsearch and then power search. Theres
a place to list a specific location. This will give you an alphabetical list of all the films
shot in that location so you can look up who shot there recently.
3. Update your IMDb credits! IMDb has become your de facto resume, so why
not make it accurate; especially for TV designers who are rarely listed. Its a tool that
I use often for researching this magazine so I know firsthand how frustrating it is
when youre not listed. Imagine how many potential employers have viewed your
incorrect page?
Deena Appel
EDITORS NOTE
A
Computing is not
about computers
anymore. It is
about living.
NICHOLAS NEGROPONTE
MATINEE NEW YORK VINTAGE
PROVIDING WARDROBE FOR FILM,
THEATER AND FASHIONISTAS
Call for a private appointment or send us
your costume list and we will ship out
samples on spec.
(212) 996-7080
www.vintagecoolclothes.com
coolvintage@earthlink.net
Contributors
AUDREY FISHER
Audrey Fisher joined the Guild
in 2000 and is currently the
Costume Designer for the new
HBO original series, True Blood.
Fisher was in her second term
representing Assistant Costume
Designers on the Executive
Board when she reclassified to
Designer. Associate editing the
CDG magazine allows me to
indulge one of my first loves and
keep up my writing chops. I
appreciate the creative outlet
and the opportunity to learn
more about our colleagues and
their designs.
ROBIN RICHESSON
(History of Dress, Illustrator)
joined the Guild in 1992 and
works currently as a costume
illustrator, a storyboard artist, and
an educator. I trained for work
as an illustrator for print (pub-
lishing) so when the CDG began
the magazine, I was pleased to
be asked to illustrate for it. I love
working in film, but I have to
admit, I missed seeing my work
in print! The History of Dress col-
umn is a great way for me to
learn more about clothing and
participate in this publication.
J.R. HAWBAKER
(Location: Chicago) 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 writing
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 too happy
to contribute to a magazine that
narrates their stories.
KARYN WAGNER
(History of Dress, Copy) A
Costume Designer for film and
television, Wagner ran for the
CDG Board four years ago and is
now the newly elected CDG
Treasurer.I wanted to give back
a little of what the Guild has
given me. I have found the expe-
rience to be rewarding and
inspiring. I trained as a historian,
and I love to watch the evolution
of culture and clothing, so I vol-
unteered to write the History of
Dress column. I always learn
something new and have so
much fun writing it.
Costume Rentals Manufacturing Prep Spaces
Tel: 818.954.1297 Fax: 818.954.2667
COSTUME DESIGN CENTER
and 2007 Warner Bros. Entertainment Inc. All rights reserved
Cover artwork by CDG Illustrator E.J. KRISOR
Detailed pencil drawing, painted in color using
Painter, a computer program by Corel.
THE UNION LABEL
hen I came home from three days of negotiations and picked up the mail that had been piling up,
I found my IATSE Bulletin Magazine. After reading the first page I wondered, how many members
really read this magazine? Of course, Im the first one to acknowledge that I dont always read it
from cover to cover, but after reading President Shorts message on page 4, I was concerned. We
are now living in one of the most challenging times for working families in decades. Both nationally
and internationally, we are seeing upheavals and disruption unlike any we have seen since the first
half of century. Within the entertainment industry, recent events have had effects that will take years
to resolve
Not that I havent heard this before, but after three days of talks at the negotiations, and discussions about
the future of television at the Television Academy Board of Governors meetings, it really resonated strongly. How can we avoid
being cognizant about the state of the industry! We cannot. It concerns me greatly, as President, to think about the future of
our now 730 members who will have to work in this changing world.
As for the invasion of computers, I cannot stop it! As the saying goes, If you cant beat em, join em. Thats why Im
trying to help our members, by giving them ammunition to fight with. The new CDG Board does understand this and is eager
to help. They have agreed to my Budget Committees recommendation to spend more money on internal education. We will
have more computer courses and how-to seminars that are more membership beneficial.
The 3rd Annual Exhibition, The Outstanding Art of Television Costume Design, is upon us. My longtime brainchild
became a reality in 2006. Out of my desire to showcase Costume Designers who work mainly in television and my role as
both President of the Guild and ATAS Governor, the FIDM & ATAS joint venture with yours truly as the guest curator was
born. It is now solidly established as an annual event at the FIDM Museum. The opening gala, tied to the Emmy season, also
serves as a reception to celebrate the Emmy nominees. Both the film and TV events are generously financed by FIDM, and
with Academy of Television participation in the TV exhibit.
The ever-generous museum director, Robert Nelson, and the President of FIDM, Toni Hohberg, invite not only the
Academy members, but also extend an invitation to all our CDG members, to celebrate our peers work.
Join me for FIDM/ATAS Gala Opening & Nominee Reception on Saturday, July 26.
In Solidarity,
Mary Rose
MRose@costumedesignersguild.com
PRESIDENTS LETTER
W
June 2, 7 PM EBOARD MEETING
June 68 IA DISTRICT II, SAN JOSE
(CDG will send seven elected Delegates)
June 7 UCLA DESIGN SHOWCASE WEST
June 21, 10 AM GETTING THE JOB SEMINAR, CDG
June 23, 7 PM GENERAL MEMBERSHIP MEETING
July 26 FIDM/ATAS OUTSTANDING ART OF
TELEVISION COSTUME DESIGN
EXHIBITION OPENS, LOS ANGELES
July 26 COMICON SAN DIEGO
August 4, 7 PM EBOARD MEETING
IMPORTANT DATES
Dear Members,
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he IATSE started negotiations with the AMPTP in early April,
14 months before the expiration of our current contract.
While progress was made, talks were temporarily tabled due
to the fast-approaching SAG and AFTRA negotiations. Im
grateful to President Short for his proactive leadership. While the cost
of healthcare and the requirements of the so-called Pension Protection
Act pose real challenges, I am confident that the IA will bring stability
to our truly threatened industry.
It is sobering to hear that network viewing is down 20% since the WGA strike and
that prime-time television on all five networks (one night in early April) carried only real-
ity programming. Future syndication income for networks is clearly being decimated.
Feature film production is being persuasively courted by many U.S. states previous-
ly absent from the location radar. Michigan, for example, is offering producers cash
rebates as high as 40% of production costs. Clearly, the film and television industry is
changing rapidly.
One of the best ways to improve your skill set as a freelance artist is to become com-
fortable, even adept with software that can save you time and enhance your designs. To
support you in this process, your Guild leaders are offering you various computer train-
ing opportunities. As I write this, 14 members just completed a nine-hour Costume Plot
Pro Workshop here at the Guild and another six members completed a 30-hour
Photoshop Class at Studio Arts through Contract Services. In fact, because of the large
number of our members interested in Photoshop for Film and Television, two additional
classes have been scheduled. Other members are enrolling at Studio Arts for Corel Painter
and Illustrator Classes while still others are taking advantage of the growing number of
entry-level computer classes offered at Valley College. Helen Butler also details a great
opportunity for MAC users in this issue. Its exciting to hear members feeling newly
empowered!
Please check that your e-mail is current with the Guild so that youre sure to receive
my e-mails about all these course offerings. Because time is of the essence, information
on these classes is only being relayed via e-mail. See you in class!
In Solidarity,
Cheryl
cdowney@costumedesignersguild.com
T
From the Desk of the
Executive Director
UNION LABEL
Hello, Members
FEBRUARY 2008, NEW MEMBERS
L-R front row: Carolyn Berger, Nia Hooper, Jill Chizaver, Hermineh Yahiayan.
L-R back row: Heidi Zimmerman, Leah Katznelson, Jennifer Dios, Roni Burks
UNION LABEL
need to remind you of a few mis-
takes that consistently occur for our
members.
1. We have been informed by
Local 705 that if you are prepping a show
here in Los Angeles, you must have an L.A.
supervisor to work with you even if the
company has hired a supervisor on location.
Please refer your production manager to Local 705 for clarification.
2. There is NO provision under the Basic Agreement contract
that allows the production company to ignore the requirement to
pay you a fifth day if you have worked four days in a workweek. It
does not matter if it is the first week worked, last week worked, or a
week with a holiday. Please refer your accountants and production
managers to the Guild office for clarification.
3. While on location you must receive 75 hours to MPIP each
week. Check your pay stubs to be sure you are receiving the proper
amount of hours.
4. Costume Designers and Assistant Designers must be paid
daily or weekly and cannot be paid hourly rates.
5. Under the Basic Agreement contract, the company is obli-
gated to pay 30 cents per mile for you to travel from studio to loca-
tion. This rate does not cover the use of your personal vehi-
cle while working for the company. If you are shopping and
transporting costumes for the company, you should negotiate up to
the government rate of 50.5 cents per mile. Also, consider negotiat-
ing a weekly car allowance with your production. This car allowance
should be ample enough to cover wear and tear on your vehicle as
well as the rising cost of gas. Carefully consider how many miles you
will average per week before settling for a car allowance. If the com-
pany refuses to pay a reasonable amount for car allowance or
mileage, please feel free to request that they rent you a vehicle to use
during work hours. It is never your responsibility to incur personal
costs in order to work for the production company.
Please remember to call the Guild office if you have any ques-
tions about contract issues.
In Solidarity,
Rachael
rstanley@costumedesignersguild.com
n Tuesday, April 15, 2008, a rally of
Los Angeles Federation of Labor
Unions (including our IATSE
Locals) started a three-day walk
from the La Brea Tar Pits on Wilshire to the
docks at the Port of Los Angeles. This was
done to call attention to the 350,000 union
middle-class jobs that are up for contract negotiation in 2008.
We walked 200 strong, ages 6 to 70.Along the way, people stepped
out of their businesses,offering words of support,while motorists honked
and waved.We rallied with various groups along the way for better wages
and healthcare and slept at a church and a labor hall. On Day 3 with ten-
der feet, we walkers continued on to Harbor-UCLA Medical Center and a
Healthcare Rally.
Four miles from the docks a chant was led by Maria Elena Durazo,
Executive Secretary-Treasurer, L.A. County Federation of Labor, AFL-
CIO: Are we tired?No,came the response 200 strong. Are we ready
to give up?No.What do we want?Good jobs.What do we want?
Healthcare.What do we want?Dignity and respect.When do we
want it?Now.
The walk was about the children we passed on the school
grounds. It was about future workers and a living wage. Vote NO on
Prop 98 to assure continued rent control so working families
can live in the community where they work.
Dear Members,
I
Assistant Executive Directors Report
Labor Report
HOLLYWOOD TO THE DOCKS:
L.A. Workers Fight for Good Jobs
O
The Costume Designer thanks
Helen Butler
Laura Goldsmith
JR Hawbaker
Suzanne Huntington
Marlene Stewart
&
The Kobal Collection
for their generous support
Clockwise from left: Hollywood to the Docks eventJanice
Hahn speaking; California Fed. of Labor Executive Sec., Art
Pulaski, County Supervisor candidate, Mark Ridley-Thomas
flank L.A. workers supporter; CD Bonnie Nipar (center) on
day three of the walk.
In Solidarity,
Betty Madden, CDG Labor Delegate
bmadden@costumedesignersguild.com
t seemed as if Marlene Stewart had been absent from the
business for a stretch and then came back with a vengeance
designing three films in a row. Stop-Loss, Tropic Thunder
(due this summer) and the Night at the Museum 2: Escape
From the Smithsonian (shooting as we speak). In reality,
Marlene has made at least one or two movies a year since
1988. She often spends her time off in Europe and in 2003 moved to
the Bay Area to spend time with her biggest supporter, her ailing
father. In August of last year, her father Bill, also an artist, passed away.
That, along with the fact that she does not lean toward self-promo-
tion, could be why it seems that shes been MIA.
After 20 years as a Costume Designer (and still going strong), its
great to hear how it all started and to share the view looking back.
Whats your background? After I graduated from UC Berkeley
with a degree in history, I headed to Europe.Then I moved to NYC
and attended F.I.T. to learn the mechanics of production and design
and also worked as a stylist for a while. However, I missed
California, so I moved back to Los Angeles and finished my degree
at FIDM. I opened my own bicoastal business designing a clothing
line called Covers that sold in all the major department stores. After
six years, I called it quits. It was a difficult but fortuitous time.
How did you get started in the business? In 1984, a stylist
friend asked me if I wanted to go on an interview with her. I met
the director, Mary Lambert, showed her my portfolio, and then a
strange thing happened I got the job. They wanted someone to
design clothing rather than just style it. Well, the client was
Madonna; and then and there I started a great working relation-
ship designing her tours and videos (and a film) for about eight
years. During that time I also worked with the Rolling Stones,
Annie Lennox, Janet Jackson, Cher and some others.
In 1989, I got a call from Oliver Stone to interview for The Doors.
It was the perfect match for me. Music and clothing. I had done
some other film work in England and several TV pilots but this was
my breakthrough opportunity. I loved the project. I had a chance to
use all my skills my love of research (history) and clothing design
and of course, I was very fortunate to work with such an incredible
director and talented crew.
Although I did have formal training as a clothing designer and
worked in the industry for many years, I really learned about film-
making on the spot. I never had the opportunity to work with
another designer to learn any skills so I had to figure it out through
trial and error (of which there were many!).
How have you seen the business of Costume Design
change? Certainly the process of filmmaking and the role of the
Costume Designer has changed since I started in the 80s. The rise
of the blockbuster and the influence of music videos.
The use of technology in process and presentation has been trans-
formative and certainly has affected the way I work. Emailing fitting
photographs has become common practice, and getting notes from
the director and producers instantaneously.
Its also becoming necessary to present images on a website to
share not only with directors and keys but the studio as well. They
want to see design and color options on the actor in costume. This
requires illustrations that can be easily manipulated. Then there are
the designs that that are duplicated through CGI to create armies,
groups and multiple creatures.
A DESIGNER IN FOCUS:
Marlene
Stewart
I
Stewart (center) on the set of Gone in Sixty Seconds
Ali, 2001
However, the more things change, the more they stay the same so
despite all the new technology, Costume Designers still have to
interpret the script, and design costumes that will inform and bring
life to each character.
Your work is so eclectic that its hard to pigeonhole you. Has
that helped or hurt your career? Since my background is both in
history and fashion, I feel comfortable in both period and contem-
porary films, and fantasy films allow you to design costumes that are
purely out of your imagination. So my focus has usually been to
work with interesting directors and actors and that has led me in
many different directions.
It might have been smarter for me to focus on one genre of film-
making, as its easier for an agent to market you. Everyone else likes
specialists but Ive always liked variety.
How do you work from genre to genre? In some sense a period
film is easier to do conceptually, as there are usually more parameters
in place. As a designer, one can say, this is the silhouette of the peri-
od, these are the colors,etc. At a certain point, having limits allows
the director and the actors to stop creating and allow you to just
design the film. The difficulty comes when several films are prepping
the same period so even if the principal wardrobe is made to order,
there is still a limited amount of period clothing at the costume hous-
es for secondary and background characters.
Contemporary films, although seemingly the easiest, can be the most
difficult to design because everyone has an opinion. I find that there are
always the same questions such as, Is it sexy enough?orhip enough?
even when its irrelevant to the characters wardrobe or the story.
For fantasy films you have to build many costumes that require long
lead times, but the actors are still cast at the last minute. Im current-
ly designing costumes (in multiples) from medieval Russia to the
civil war. We have been prepping for about 2
1
2 months and still
dont have most of the actors. So we are building to fit men from
size 40 to 46. Not easy for a fitted garment with amour.
What is your design process? One has to try and define the visu-
al vocabulary by understanding the directors eye. How does she or
The Holiday, 2006
The Holiday, 2006 To Wong Foo Thanks for Everything, Julie Newmar, 1995
The Adventures of Rocky & Bullwinkle, 2000
he see this world? Colorful, or emotional in black and white,
smooth, cold, edgy, classic, innovative, historical, transcendent,
funny, playful, realistic, surrealistic, and so on.
The key for me is to discover the code of the film, after that its
a matter of creative extrapolation. I design characters that fit into
a particular world, by referencing art, fashion, history and all the
other visual libraries that one has (and one can google!). Then I
move to a more organic level by draping the fabric.
The real challenge is knowing whos calling the final visual shots
on the film. That is to say how much influence does the produc-
tion designer, the DP, the producer or actor have on the film?
Lesson #1 .... be sure to include everyone in the process!
Youve worked with several notoriously difficult collabora-
tors in front of and behind the camera. How do you navi-
gate those waters? I suppose the benefit of working with
demanding directors is that one is called upon to develop confi-
dence and to be fearless. Ive learned the most from the most dif-
ficult situations. The trick is to be strong enough to have a defi-
nite idea and a point of view, but to be flexible when that idea is
not accepted.
I have been a Buddhist for many years, which has helped me under-
stand that challenges usually come when my ego is involved.
Costume Design is a team effort that involves many people, and
one has to be diplomatic enough to navigate the waters of creativ-
ity where ideas can become personal property all too easily.
An unusual number of your assistants have gone on to
become designers. While many designers are threatened
by an assistant who wants to be a designer, you dont
seem to be? Ive worked with many talented people. I suppose
I am fairly egalitarian, in that I am not worried about my assistant
having access to directors and actors. I always feel that everyone
brings something to the table. I suppose the only trait that Im
uncomfortable with is if an assistant is overly ambitious and using
a project to promote themselves rather than the overall success
of the department.
Coyote Ugly, 2000 Stop-Loss, 2008 Falling Down, 1993
Who are some of the Designers whove worked with you over
the years? Sal Perez, Christopher Lawrence, Alex
Friedberg Some are designing on their own ... all are surely
talented and capable of doing their own shows. Holly Davis, Ira
Hammons, Lisa Lovaas, Chrisi Karvonides, Lisa Tomczeszyn, Nancy
Collini, she has worked with me since The X-Files, and Im now very
excited to be working with Terry Anderson.
What do you like best about designing?
I couldnt think of another kind of work that would allow me to
indulge in all my favorite pastimes ... exploring different cultures,
researching various time periods, and peoples lives, designing cloth-
ing, working with talented collaborators and crew members, and
traveling. I find it incredibly stimulating and challenging to get a
script and discover a new world in the process of creating the
wardrobe for the characters.
Being a Costume Designer has allowed me the privilege of having so
many amazing and inspiring experiences. It has certainly enriched my life.
Least? There is no such thing as no for a Costume Designer
(although I have heard that some use the word). There is usually more
drama behind the camera than in front of it .... and sometimes its
about wardrobe (and I cant figure out why). I have to be an actor to
do my job as a designer (and I never wanted to be an actor, in fact, I
am too shy). I dont remember its only a movie. I can lose my per-
spective as to what IS important in life if Im not careful (happens
daily) and that there is never any real vegetarian food on a film set.
Your favorite job? The Doors. Great director. No rules. Freedom to
express in design and music.
Most interesting? For JFK, I got to meet the real strippers that
worked at Jack Rubys club. Fabulous gals in their late 70s. Heard all
their stories about Jack Ruby and Lee Harvey Oswald. Filming on the
3rd floor of the book depository in Dallas. I also heard from every
conspiracy specialist one can imagine.
On Ali, meeting Muhammad Ali in person, seeing his magic tricks,
researching his life and times; and being a witness to his incredible jour-
ney. Not to mention working with one of my favorite actors, Will Smith.
Best locations? The Saint: London and Moscow, Ali: Africa, Tropic
Thunder: Kauai. Paradise for three months.
Do you see yourself doing anything else in the business? I do
love to invent stories and characters and have everyone hang on my
every word. Just dont know if I could make it as a writer .... though Id
like to design a better sense of humor for my characters. One thing I
would like however, is to get some residuals for our designs!
If you could go back, is there anything youd do differently? If
I could go back, I would not waste time being upset about things
that are not important in the scheme of things. I would spend more
time enjoying the people I work with and appreciating all that they
do. I would take more pictures (I never did) and I wish I would have
said thank you more often.
Deena Appel
Marlene Stewart with her father, Bill
S E L E C T C R E D I T S
Night at the Museum 2 (2009)
Tropic Thunder (2008)
Stop-Loss (2008)
The Holiday (2006)
Hitch (2005)
21 Grams (2003)
Tears of the Sun (2003)
Ali (2001)
Coyote Ugly (2000)
The Adventures of Rocky & Bullwinkle (2000)
Gone in Sixty Seconds (2000)
Enemy of the State (1998)
The X-Files (1998)
The Saint (1997)
Space Jam (1996)
The Phantom (1996)
To Wong Foo Thanks for Everything,
Julie Newmar (1995)
The River Wild (1994)
True Lies (1994)
Dangerous Game (1993)
Point of No Return (1993)
Falling Down (1993)
JFK (1991)
Terminator 2: Judgment Day (1991)
The Doors (1991)
Wild Orchid (1990)
Pet Sematary (1989)
Madonna: Ciao, Italia! - Live From Italy (1988)
Siesta (1987)
JIMMY AUS FOR MEN 58 AND UNDER
Our clothing has
been used in
wardrobe on over
20 Primetime TV
programs this
2006/2007 season.

Featured on
The Today Show,
10 Years Younger,
L.A. Times,
and N.Y. Times.
Can You Guess How Tall Our Models Are?

No Camera Tricks, Clothing Alterations, or Digital Editing in these photos.

Your Actors Can Look This Good Taller and Slimmer

Your time and reputation is valuable.Dont have clothing for taller men
altered until they look completely disproportionate on a shorter actor.
A full collection of tailored clothing & sportswear in shorter sizes.

Suits, Sportcoats and Blazers in Short and Extra Short Sizes

34sh to 50sh including odd sizes to 43sh, for men 55 to 58
34xs to 48xs including odd sizes to 43xs, for men under 55

Short Rise Dress Slacks and Casual Pants in a flat front or pleated style,
and a huge selection of jeans in a true short rise (not a regular low rise)

28w to 46w including odd sizes to 35w

Dress Shirts and Sport Shirts in accurate proportions from collar to shirt tail

14 to 16 neck in 31 sleeves

Leather Jackets, Overcoats, Trench Coats, Sweaters, Camp Shirts, Polos,
Casual Jackets, Silk Ties, Knits and Socks in Proportioned Shorter Sizes

XS - S - M - L - XL - 2XL

Dress and Casual Shoes from Alden Shoe Company

Sizes 5D and 5E to 8D and 8E

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Call ( 310) 8888708 or Fax ( 310) 8888716
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Building on the corner of Canon Drive and Brighton Way
Jimmy Au is
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THE COSTUME DEPARTMENT
affiyeh/Kufiyah: Is not
technically a turban. It is
really a rectangular piece
of cloth, folded diagonally
and then draped over the
head, not wound like a turban. Yasser
Arafat, the Palestinian leader, has made
the kaffiyeh famous
in recent times.
However, the
kaffiyeh is not
solely Palestinian.
Men in Jordan, Saudi Arabia and
the Arab Persian Gulf states
wear kaffiyehs in colors and
styles that are particular to
their region. Jordanians,
for example, wear a red
and white kaffiyeh, while
Palestinians wear a black and
white one. And a man from Saudi Arabia would
likely drape his kaffiyeh differently than a
man from Jordan. The black cord that
holds the kaffiyeh on ones head is
called an ekal.
Kalasiris: A form-fitting sheath for
ancient Greek women, extending from
breast to ankles. It was adapted from
the ancient Egyptian model which was
usually held up by one strap. The kalasiris
later evolved into a skirt.
Kapa: Hawaiian cloth made of bark.
Khirka or Khirka: Is a mantle worn by
Moslem dirvishes.
Kilt: Breacan an Fhilidh or Fileadh
Mr was originally a length of
thick woolen cloth made up
from two loom widths
sewn together to give a
total width of 54 in
to 60 in and up to
seven yards in
length. The great kilt,
also known as the belted
plaid, was an untailored
garment made of the
cloth, hand gathered into
pleats and secured by a
wide belt. The upper half
was often worn as a
cl oa k dr a pe d
over the left
shoulder or
head for protec-
tion and could also
serve as a camping
blanket. It was worn
over a full-sleeved
garment gathered
along the arm
length and
ending below
the waist and
is called a line.
The solid colour line of the Irish were
also often soaked in goose grease to make
them waterproof.
Knickerbockers: Loose short pants, banded
below the knee. Often worn for sports or a sporty
look. They are also called knickers.
Illustrations by
Robin Richesson
robins.nest@verizon.net
Karyn Wagner
kwagner@costumedesignersguild.com
K
HISTORY OF DRESS A-Z
THE COSTUME DEPARTMENT
MAC TUTOR: ONE TO ONE
K. I cant believe I made this
cool website . . . by myself!
Well, I did get help. After
only four one-hour lessons
with a One to One trainer at
an Apple store, I learned how to build a
website from scratch, turn pictures of
my costume design work into a slide
show, add music, and much more.
I have owned every model of Apple
laptop since the first one came out. I still
own that first one, and it probably quali-
fies for the Smithsonian. Nevertheless, I
never quite learned all the bells and whis-
tles over the years, just enough about a
few of the software programs to get my
job done. The techno-babble stuff about
operating systems went over my head.
When I recently thought about
launching a website (formally known as a
portfolio and resume), I imagined I would
have to hire someone. Instead, Apple
trainers helped me build and maintain my
own website and learn more about the
inner workings of my laptop, including its
operating system. I learned about slick
system preferences and tech tools that
can make my job simpler. Theres a terrif-
ic Time Machine program that helps me
back up important documents, and then
there are the fun things like iPhoto,
iMovie, GarageBand and more that I have
yet to dig into. The Web Gallery is a won-
derful tool for sending large volumes of
fitting photos to directors and producers.
A one-click wonder.
Helen Butler
HButler@costumedesignersguild.com
I purchased Apples One to One series
to brush up on old things and to learn
some new tricks. The most valuable to
me professionally was learning how to
create a website with iWeb (which
came on my computer). Its so easy, if I
can do it, anyone can. Not only is it fun,
but more importantly, it can make com-
munication with the director and pro-
ducers very efficient. I recently
designed two films out of the country
and being able to share conceptual
ideas on a Web page and then mirror
those ideas by uploading my fitting pho-
tos was awesome. From fitting to Web
page in 15 minutes! A click of the button
and you can have an instant conversa-
tion with your director in Hong Kong. In
my experience, not only have the direc-
tors and producers loved it, the studios
were also impressed with the presenta-
tions. Its simply a great way to commu-
nicate and include everyone.
Laura Goldsmith
ohanksmom1@sbcglobal.net
Apples One to One service offers a per-
sonal trainer at any Apple store. They
coach you on any element of their prod-
uct line. Your private Apple tutor can cre-
ate a program customized for your level
of experience. The One to One instruc-
tion costs $99 for up to one hour of per-
sonal training per week, for an entire
year. Thats 52 private lessons! You can
bring your own computer (or iPod), or
you can learn using the equipment in
the store, and you can access a class at
any Apple store. So you can continue
learning even when youre out of town.
The instructors are great and patient.
For those of you who are missing
your old polaroids or still struggling with
your digital camera, if you havent
learned how to e-mail your fitting photos
or if youre ready to move on to your very
own website, its time to join the fray. This
is no longer an optional tool, this tech -
nology is key to your success.
O
Fine mens and womens fabrics for stage and screen from Ermenegildo Zegna
West Coast
Scott Anderson
323-650-8875
East Coast
201-708-1600
Toll Free
800-227-1724
sales@gladsonltd.com
One Night Affair
DESIGNER GOWN RENTALS
1726 S. Sepulveda Blvd., Los Angeles, CA 90025
310.474.7808
www.onenightaffair.com
WEDDING GOWN RENTALS
Over 2,000 in inventory
Bridesmaids, flower girls
All bridal accessories
Sizes 2-30
EVENING GOWNS & COCKTAIL DRESSES
Over 1,000 in inventory
Jewelry, purses, furs and wraps
Sizes 2-30
ALTERATIONS
BY APPOINTMENT ONLY
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IN FOCUS
eleased in 1991, The Doors is both Oliver
Stones homage to the infamous 60s rock
group and a biography of the bands lead singer,
electric poet Jim Morrison. The film follows
the group from its gentle hippy inception in
1965 Venice, California, to its demise in 1971
with Jims drug-addled death in Paris, France. Val
Kilmer personifies the Lizard King, turning in a powerful per-
formance demonstrating both the charisma and despair of the
late Jim Morrison.
When Oliver Stone asked Marlene Stewart to design the
costumes for The Doors, she welcomed the opportunity, and
dove into working on her first big Hollywood production. Her
costumes for the film illustrate each period of Jim Morrisons
short but prolific career, beginning with the carefree mid-60s
fashion of a UCLA student, moving through the psychedelic
rocker wear of a rising star, and ending with the anti-establish-
ment, Army-surplus look of a man on trial. Along the way, we
get wonderful glimpses of the times, like a fun scene at Andy
Warhols factory, complete with Edie and many colorful charac-
ters; party scenes at Morrisons house replete with stoned rock-
ers and imaginatively costumed groupies; and concert after con-
cert overflowing with hippie chicks and Doors fanatics.
The film begins with Jim as a child witnessing a car acci-
dent in the New Mexican desert; the wounded Native
American man he sees becomes Jims silent shaman, one of
many spiritual guides who appear during Jims drug-fueled
hallucinations. The presence of these ghostly Native
Americans in traditional garb, juxtaposed with the bands 60s
rock royalty costumes, underscores Jims struggle to maintain
his connection to the natural while reveling in his sudden
fame and fortune.
While Jim spirals into addiction, the people around him
tell the story of the times through their costumes. Jim remains
the explosive center of the story, and Marlene costumes him
in the well-known rocker uniform that he made famous: black
shirt worn open, sexy black leather pants with conch belt, and
well-loved boots. The members of the band are distinct char-
acters, each maintaining their specific look throughout the
film: keyboardist Ray Manzarek (Kyle McLaughlin) is the
bands beatnik father figure in Nehru jackets; bassist Robby
Krieger (Frank Whaley) is the sweet kid brother in simple
bohemian looks; and drummer John Densmore (Kevin Dillon)
is the good-looking wingman in fashionable bachelor wear.
Jims lover, Pamela Courson (Meg Ryan), is a long-suffering
rock widow: Marlene costumes her in the beginning in simple
free-spirit looks, but as she descends into a more abusive and
addictive relationship with Jim, her costumes become more
sophisticated and layered.
The Doors is a visual feast, with Marlene Stewarts cos-
tumes offering a detailed glimpse into the world of Jim
Morrison and his entourage. These pitch-perfect costumes
make Oliver Stones compelling film even more enjoyable, as
they help to re-create the complex, psychedelic world of the
Doors and their music.
Audrey Fisher
afisher@costumedesignersguild.com
R
A LOOK BACK
Ma r l e ne St e wa r t s Do o r s o f Pe r c e pt i o n
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K
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SOURCES
FABRIC & TRIMS
Action Fabrics & Trim
214 E. Chicago Ave. (630) 323-1962/
(630) 323-5529
Active-wear fabrics
Horween Leather Company
2015 Elston Ave. (773) 772-9235
Tannery will sell hides from showroom.
See Curtis Thomas
Fishmans Fabric
1101 S. Des Plaines St. (312) 922-7250
www.fishmansfabrics.com
$$$ but best of the best fabrics in town
International Importing Bead Company
111 N. Wabash Ave., Suite 714
(312) 332-0061
Swarovski, fire-polished beads, buttons
Renaissance Buttons
826 W. Armitage Ave. (773) 883-9508
Textile Discount Outlet
2121 W. 21st St. (773) 847-0572
Closed Sat. Huge W.H. some vintage,
barter! Like Ragfinders/no min.
Vogue Fabrics
621 W. Roosevelt Rd. (312) 829-2505
Evanston (better selection)
718 Main St. (773) 272-2025
www.voguefabricsstores.com
Second to none remnant table in the city
MENSWEAR
George Greene
49 E. Oak St. (312) 654-2490
Fine menswear
Jake on Rush
939 N. Rush St. (312) 664-5553
Jake on Southport
3741 N. Southport Ave. (773) 929-5253
www.shopjake.com
Designer boutique/designer jeans $$$
Mark Shale
900 N. Michigan Ave. (312) 440-0720
Magnificent Mile
Robertos
214 South State Street (312) 786-1531
Mens and boys clothing
BOUTIQUES
Blake
2448 N. Lincoln Ave. (773) 477-3364
Very designer. $$$
Florodora
330 S. Dearborn (312) 212-8860
Carries independent & local designers
Ikram
873 N. Rush St. at Chestnut Ave.
(312) 587-1000
Avante-garde. Beautiful selection. $$$
Store B
1472 N. Milwaukee Ave. (773) 772-4296
Vintage, purses
P.45
1643 N. Damen Ave. (773) 862-4523
Fashiony womens
Untitled
2707 N. Clark St. (773) 342-0500
1941 W. North Ave.
Trendy young men/women
U.S. #1
1460 N. Milwaukee Ave. (773) 489-9428
Levis. Leather goods, engineer boots.
Some vintage denim. $$
VINTAGE & THRIFT
Brown ElephantClark
5404 N. Clark St. (773) 271-9382
Large, organized venue
Silver Moon Vintage
1755 W. North Ave. (773) 235-5410
1900s1960s. Most upscale, quality
Vintage in Chicago
Strange Cargo
3448 N. Clarks St. (773) 327-8090
www.strangecargo.com
Funky, trendy, novelty, 70s/80s.
Like Aardvarks
Una Maes Freak Boutique
1422 N. Milwaukee Ave. (773) 276-7002
The original one. Same partners as
Los Feliz
Village Discount Thrift
3301 W. Lawrence Ave. (708) 388-4772
4027 N. Kedzie
MALLS
Ashland/Belmont off the Red Line
North Side/Boys Town-Lakeview
Assortment of shops. Unisex, rave,
hipster, goth
Mega Mall
2500 Milwaukee Ave. (773) 489-2525
North Side/Logan Square
Ghetto bling
The Magnificent Mile
Michigan Ave. between the Chicago River
and Oak St. between the Loop and the
Gold Coast
Neimans, Bloomies, Nordstrom, Macys,
Lord & Taylor,Burberry,Hugo Boss,H&M,etc.
North & Clybourn Intersection off the
Red Line
North Side/Lincoln Park
Victorias Secret, Gap, Banana Republic
Oak Street Shopping
Oak St. between Michigan Ave. & Rush St.
www.oakstreetchicago.com/
Designer, Chanel, Barneys, Hermes, Bang
& Olufsen
location, location, location:
IN FOCUS
Old Orchard Mall
66 Old Orchard Shopping Center
Skokie, IL (847) 674-7070
North Suburbs/Skokie
State Street Shopping off the Red Line
Sears, Macys, Mens Wearhouse, Carson
Prarie Scott, TJ Maxx, Nordstrom Rack
GOOD E ATS
Ann Sather (pancakes, brunch)
929 W. Belmont Ave. (773) 348-2378
Amazing eggs and the advise-giving guru
Green Dolphin Street (international fusion)
2200 N. Ashland Ave (773) 395-0066
www.jazzitup.com
Retro dinner club, live music, dancing.
Reservations
Giordanos
730 N. Rush St. (312) 951-0747
Deep-dish pizza
Japonais (Japanese fusion)
600 W. Chicago Ave. (312) 822-9600
Asian fusion, fine dining and great
cocktails
Signature Room (American traditional)
Hancock Building, 875 N. Michigan Ave.
96th Floor (312) 787-9596
Cocktails & birds eye view of the city
$$$
Sushi Samba Rio
504 N. Wells St. (312) 595-2300
Sushi hot spot
Tavern on Rush (burgers, American)
1031 N. Rush St. (312) 664-9600
Rush St. dining compound lovingly
dubbed Martini Park
Victorys Banner (vegetarian)
2100 W. Roscoe Village (773) 665-0227
Vegetarian caf that serves up sugar
packets with inspirational sayings
Volo Restaurant (wine bar)
2008 W. Roscoe St. at Damen
(773) 348-4600
Wine flights & food bites
Walnut RoomMacys 7th floor
(American traditional)
111 N. State St. (312) 781-3125
Chicago landmark restaurant with
traditional fare
R&R
SPAS
Kaya Day Spa
112 N. May St. (312) 243-5292
Great staff, friendly
Elizabeth Arden Red Door Salon & Spa
919 N. Michigan Ave. (312) 988-9191
Affordable spa & massage
MUSEUMS
Art Institute of Chicago
111 S. Michigan Ave. (312) 443-3600
www.artic.edu
Museum of Contemporary Art
220 E. Chicago Ave. (312) 280-2660
www.mcachicago.org
MISC.
Blick Art Supply
1574 N. Kingsbury St. (312) 573-0110
North Ave. Shopping District
36 S. State St. (312) 920-0300
The Loop
Fantasy Headquarters
4065 N. Milwaukee Ave. (773) 777-0222
Halloween novelty/walkabouts, Krylon,
Ben Nye, adhesives, wigs
Kane County Flea Market
Randall Rd. between Rte. 64 & Rte. 38
(630) 377-2252
www.kanecountyfleamarket.com
Pearl Art Supply & Craft
225 W. Chicago Ave. (312) 915-0200
Compiled by
Chicago native J.R. Hawbaker
jrhawbaker@gmail.com
ADDITIONAL CONTRIBUTORS
Deena Appel, Tanis Alexander, Sharon Day,
Roseanne Fiedler, Lisa Marie Harris,
Joyce Kim Lee
HEIRESS
J E W E L R Y C O L L E C T I O N
THE
As Featured In . . .
ACCESSORIZE
WITH
ONE-OF-A-KIND
VINTAGE COUTURE
602.684.6133 www.HeiressVault.com
F O R R E N TA L & P U R C H A S E
S A N T A M O N I C A N E W Y O R K L O N D O N
Handcrafted
custom designs
Amy Cousin
www.sirius7jewelry.com
amy@sirius7jewelry.com
1120 India Hook Road
Rock Hill, SC 29732
803-448-6431
skype: amycousin
Sirius
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Jewelry
BOLDFACE NAMES
BOLDFACE AT WORK
CD Ileane Meltzer is back to work designing Monk, now in
its seventh season. Tricia Gray is Costume Designer for the
Broken Lizard comedy The Slammin Salmon, shooting in
Los Angeles, starring Michael Clarke Duncan and Bill Paxton.
Jacqueline Saint Anne designed the 1915 period costumes
of Tennessee Williams play Summer and Smoke. The USC
Opera opened on April 25 at the Bing Theater. Also in and
around town is CD Julia Schklair-Schultz with the CBS
drama pilot The Mentalist, starring Simon Baker and Robin
Tunney. Judy Ruskin-Howell is designing the untitled
Wayans Brothers comedy project in Los Angeles with Laura
Frecon working as her Assistant. ACD Olivia Miles joins the
latest season of Entourage for returning CD Amy Westcott.
CD Audrey Fisher is currently designing Alan Balls HBO
show True Blood, debuting this fall. Based on Charlaine
Harris gothic novels, the hour-long episodic features vam-
pires living side by side with humans in small-town
Louisiana. Marie France is designing with CDG member Pat
Welch supervising, the new NBC comedy pilot Zip. Steven
Weber stars as a single dad living in Beverly Hills running
cons to provide for his three kids. Melina Root is happy to
be joining the crew of ABCs Brothers & Sisters as the
Costume Designer for the second & third seasons. Valerie
Laven-Cooper, longtime designer and stylist for Tim Allen,
wrapped up his latest comedy Crazy on the Outside. Allens
directorial debut, shot in Los Angeles stars Allen, Sigourney
Weaver, Kelsey Grammer, Ray Liotta, and Jeanne Tripplehorn.
Keri Smith has begun her second season of My Boys on
TBS. CD Frank Helmer is de signing the dark romantic com-
edy Barry Munday, starring Patrick Wilson and Chlo Sevigny.
Wilson, a consummate ladies man, wakes up to discover hes
lost the family jewels in addition to being named in a pater-
nity suit. CD Abram Waterhouse is back for the third season
of Showtimes hit series Dexter. Magali Guidasci designed
the pilot 1%. Shay
Cunliffe is in town, design-
ing the Nick Cassavetes
film My Sisters Keeper,
starring Cameron Diaz and
Abigail Breslin. Daniel
Orlandi is back on design
duty for Ron Howards
Angels & Demons after the
writers strike put the film
on hold. Liuba Randolph
designed Brittany Murphys
costumes for the feature
thriller Across the Hall.
Phillip Boutte illustrated for
designer Bobbie Mannixs
Kelloggs spots.
CD Aggie Rodgers just wrapped the indie feature
Mission Street Rhapsody in her backyard of San Fran, star-
ring Benjamin Bratt. The film chronicles a former gangbanger
Latino father in San Franciscos Mission District who discov-
ers and comes to terms with his sons homosexuality.
Shawnelle Cherry is designing Without a Paddle 2 in
Portland, Oregon, with CD Kevin Ackerman working with
her as her costumer. CD Caroline B. Marx is currently
shooting Disneys High School Musical 3: Senior Year, the
last film of the multi-billion-dollar franchise. Caroline is re-
creating the look for the big screen. Artist and newcomer to
the Guild, Karen Yan, is the Illustrator for HSM3, shooting
in Salt Lake, Utah. Dana Campbell is back from Charleston,
South Carolina, where she designed the thriller The New
Daughter, starring Kevin Costner as a divorced father whose
daughter starts to exhibit ominous behavior. Campbell also
designed a trio of Tennessee Williams one-act plays discov-
ered after his death that are running in Los Angeles at the
Davidson/Valentini Theater through June 8. Michael
Dennison is designing W., the Oliver Stone biopic of George
W., starring Josh Brolin and Elizabeth Banks as Mr. and Mrs.
Bush, shooting in Shreveport, Louisiana.
CD Christopher Lawrence is on his way to Nashville to
design The Hannah Montana Movie. He is excited to be
designing the complete wardrobe for Miley Cyrus, even if it
becomes a line for a discount store! Deborah Ferguson is
the designer for Billy Ray Cyrus hosting duties on Nashville
Star 08. She plans to change his look and style for this NBC
prime-time show airing in June. ACD Monique Long tackled
her fifth year designing the Academy of Country Music
Awards live from Las Vegas, Nevada (May 18). CD Nancy
Steiner is designing Youth in Revolt in the Detroit area with
director Miguel Arteta, starring Michael Cera. CD Molly
Maginnis headed back to Pittsburgh, Pennsylvania (did her
masters at Carnegie Mellon), to design DreamWorks roman-
tic comedy Shes Out of My Leagueabout an average guy
IN FOCUS
Allen and CD Laven-Cooper
Brittany Murphy
in Across the Hall
meeting the girl of his dreams. CD Ann Major is shooting a
direct-to-video adventure feature for MGM titled The Reef,
filming in Hawaii. Major is also designing the CGI heavy,
Internet show Gemini Division consisting of 50 three-
minute webisodes, starring Rosario Dawson. CD Johnetta
Boones latest project Cadillac Records is a period piece set
in 1950s Chicago that chronicles the rise and fall of Chess
Records which launched the careers of the legendary Etta
James, Muddy Waters, and Chuck Berry. It stars Adrien Brody
and Beyonce Knowles as Etta James.
Susan Lyalls current design project with Uma
Thurman is Motherhood, a comedy with Thurman playing a
bohemian west village writer with two small children trying
to navigate a particular day in May. Juliet Polcsa is design-
ing the new film Brooklyns Finest, shooting in where else?
Brooklyn, New York!, starring Richard Gere, Don Cheadle,
Ethan Hawke, Wesley Snipes and Ellen Barkin. CD Albert
Wolksy collaborated with director Mike Nichols again, for
the Broadway play The Country Girl, written by Clifford
Odets. ACD Susan Kowarsh Hall worked with Wolsky from
Los Angeles to create the 1950s classic with Morgan
Freeman, Frances McDormand and Peter Gallagher which
opened on April 27 at the Bernard N. Jacobs Theatre. April
Ferry is off to Boston for the second time in a row to design
the futuristic actioner The Surrogates with Bruce Willis.
Shes hoping the weather is better than it was this winter.
Designer Marie-Sylvie Deveau and ACD Anita Cabada are
on the David O. Russell, Kristin Gore (yes that Gore) film
Nailed, starring Jessica Biel, James Marsden, Jake Gyllenhaal
and Catherine Keener and shooting on location in
Connecticut & South Carolina. Ariyela Wald-Cohain just
wrapped the kids pilot The Cousins Clubhouse. The main
character is Mother Earth
and her puppet animal
friends live in her garden.
CD Julie Weiss and
ACD Michael Crow are in
China filming the 1940s
romantic drama Shanghai,
starring John Cusack as an
expat who returns to
Shanghai in the months
before Pearl Harbor. Erin
Lareau returned from
styling a live show in
Shanghai with 215 perform-
ers presenting Nike designs
for the U.S.A. and Chinas
Olympic team uniforms.
Lareau has also been busy
styling commercials for
Direct TV directed by
Christopher Guest, starring
The Cousins Clubhouse,
Mother Earth
Ed Begley Jr. and John Michael Higgins, and the What
Happens in Vegas Stays in Vegas campaign. Karyn Wagner
just returned from work out of the country and headed
straight to Chicago to design Formosa, which will continue
filming in Taiwan. Kasia Walicka Maimone is on location in
Toronto designing the Mira Nair feature Amelia, starring
Hilary Swank. Penny Rose is back in England for the big-
budget action adventure Prince of Persia: Sands of Time,
based on the video game. Laura Goldsmith just finished
designing a trio of feature films: Push (shot in Hong Kong),
Group Sex (Los Angeles) and A Perfect Getaway (Puerto
Rico).
BOLDFACE PRESS
CD Randall Christensen, now designing Season 6 of
Dancing With the Stars, was featured in Us Weekly maga-
zines Hot Hollywood edition with a piece featuringtug of
war with celebs Kristi Yamaguchi, Marlee Matlin and Cheryl
Burke. Access Hollywood also followed Christensen and his
ACD team of Steven Lee and Daniela Gschwendtner
downtown and in fittings (aired
April 15). Oksana Nedavniayas
illustrations are featured in the book
The Chronicles of Narnia: Prince
Caspian: The Official Illustrated
Movie Companion, along with a dis-
cussion with CD Isis Mussenden,
who enlightens readers with the
intricacies involved in designing the
film. The website Style Spy pro-
claimed CD Janie Bryant the most
influential person in fashion right
now for her me ticulously assem-
bled wardrobe for AMCs Mad Men.
CD Ann Major was interviewed on
beaconstreetgirls.com for creating
the look for Hannah Montanas
Ann Major on
the set
NBC Universal
818.777.3000
800.892.1979
818.840.4724
THE FILMMAKERS DESTINATION
WWW.NBCUNI.COM/STUDIO
Costume Rentals,
Manufacturing,
Alterations,
Alterations,
Fitting Rooms
& Offices
U
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COSTUME
BOLDFACE NAMES
BOLDFACE AT WORK
DWTS Randall Christensen
IN FOCUS
first season. It is current-
ly up on the website
designed for girls aged
712. The April issue of
W Magazine titled
Dressing the Part sin-
gles out CDs Mary
Zophres, Jacqueline
Durran and Karen
Patch with a discussion
about their character-
driven inspirations.
Oprah has gone behind the seams with CDG members
Patricia Fields and Bob Mackie. While the four Sex and the
City stars appeared to promote the upcoming feature film,
Fields gave a tour of the
department as the girls
gushed about the com-
plete trust they have in
Pats choices. On a sub-
sequent episode from
Chers new Las Vegas
show, Cher the
Colosseum (Caesars
Palace), Mackie dis-
played sketches and
costumes featuring
their latest and most
spectacular, crowd-
pleasing collaborations.
CD Tracy Tynans
home in Joshua Tree
was featured in The
New York Times. Speed
designer Kym Barrett
was interviewed in the LA
Times (Sunday Calendar,
May 11) about the great
lengths Barrett went to
to be true to the comic
character.
BOLDFACE HONORS
CD Catherine Cat Marie Thomas joins the ranks as New
Yorks 2008 Women in Film & Televsion Designing
Hollywood honoree. CD Dana Rebecca Woods was nomi-
nated for the 2007 San Francisco Bay Area Theater Critics
Circle Award for Best Costume Design in a Musical for her
work on Blues in the Night. CD Laura Angotti won the Best
Costume Design Award for her work on the short film Gator
Armstrong, at the Malibu Film Festival. Passions producers,
cast and crew attended Diana Edens farewell send-off cele-
bration at The Bridge as she moves to Las Vegas, where she
will be the Associate Designer on a big theatrical production
opening at the Venetian Hotel.
Cher and Mackie
Cher the Colosseum
Zophres, Durran & Patch in W.
Tynans Joshua Tree home
LABELS, LABELS, LABELS
Working on a future label cover?
Please submit your new labels
to the CDG office attn: Deena Appel
BOLDFACE FESTIVALS & EVENTS
Designer Cynthia Obsenares joined several production
designers speaking on the Digital Summit Design panel
hosted and moderated by ADG President Tom Walsh at the
NAB Conference in Las Vegas in April. The dialogue focused
on how HD and digital formats are impacting the role of
designers. Illustrator Derek Sullivan traveled to the Tribeca
Film Festival, where the independent thriller he designed,
From Within, made its debut. The Festival International
Cinema & Costume of Moulins-Sur-Allier, France, will award
Costume Designer Anthony Powell as their 2008 guest of
honor during opening ceremonies June 26. The festival will
also be screening Powells films Tess, Death on the Nile,
Indiana Jones and the Temple of Doom and Hook as well
as offering his masterclass. CD Deborah Landis will also be
on a panel with John Landis following screenings of The
Blues Brothers and Kentucky Fried Movie, which are
screening out of competition.
BOLDFACE ENTREPRENEURS
CD Tashiba Jones-Wilson
has launched (with sister
Zakiya), clothing line ZMJ
Denim, a mix of classic
chic- and street-couture
denim geared for the full-
figured junior and contem-
porary woman in sizes
ranging from 14 to 32. More
info available at www.
zmjdenim.com. Cynthia Obsenares has partnered up with
director/cinematographer Bruce Dickson to establish an inde-
pendent, multi-media production company called BCurious
Productions. They are in post-production on a documentary
on the roots of Afro-beat in Nigeria, obtaining the rights to a col-
lection of books and short stories by a Filipino novelist, and in
development on two projects. They are currently seeking
financing for an indie feature based on a novel by Harry Crews.
Rental offices include:
High-speed wireless internet access
with wireless printing and faxing
Digital camera and printing
to use with your fittings
Keyless 24-hour entry
In-office refrigerator and coffee maker
Full service workroom led by
master tailor Gilberto Guzman
818.982.3611
Fax: 818.982.1905
7243 Coldwater Canyon Ave.
North Hollywood, CA 91605
www.EasternCostume.com
COME CHECK OUT OUR NEWLY
IMPROVED RENTAL OFFICES AND
STAR FITTING ROOM
BOLDFACE NAMES
Tashiba Jones-Wilsons
jeans co.
L-R: ADG Pres. Tom Walsh, Yoojung Han,
Cynthia Obsenares, Elaine Maser, John Mott
Contact Cynthi a at
cobsenares@hotmail.com.
Alix Friedberg (along with
Local 705 member Kelly
Mijailovic), became increas-
ingly baffled by the lack of
simple, beautiful, well-made,
modern wedding and brides-
maids dresses, so theyve start-
ed a line called Alix & Kelly.
An exclusive line of wedding
gowns, an extensive line of
bridesmaids dresses, flower
girl dresses and neckties. Made
to order on short notice (of
course!). Theyre inviting
members to come check out
the showroom
www.alixkelly.com. Janie
Bryant recently designed the
uniforms for the exclusive invi-
tation only club The Doheny.
CD Astrid Brucker has a new line of
handbags and clothing. Her necklaces
were recently featured in Suze Yalof
Schwartzs online Glamour Magazine
blog titled How to Wear Huge
Necklaces. www.astridland.com.
Compiled by Suzanne Huntington
shuntington@costumedesigners
-guild.com

Bryants uniforms for The Doheny
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Swingtown
Costume Designer:
JILL OHANNESON
Assistant Designer:
JOYCE KIM LEE
Life
Costume Designer:
WENDY GREINER
Weeds
Costume Designer:
LINDA BASS
Miss Guided
Costume Designer:
JUDITH R. GELLMAN
Californication
Costume Designer:
PEGGY SCHNITZER
Tracey Ullman:
State of the Union
Costume Designer:
JANE RHUM
Eli Stone
Costume Designer:
VICTORIA AUTH
The Big Bang Theory
Costume Designer:
MARY T. QUIGLEY
Terminator:
The Sarah Connor
Chronicles
Costume Designer:
AMANDA FRIEDLAND
Unhitched
Costume Designer:
NICOLE GORSUCH
New Amsterdam
Costume Designer:
MARIE ABMA
In Plain Sight
Costume Designer::
MICHELE REDE
WHATS ON
Justice
Costume Designer:
KATHLEEN DETORO
The Life Before
Her Eyes
Costume Designer:
HALA BAHMET
Baby Mama
Costume Designer:
RENE EHRLICH
KALFUS
You Dont Mess
With the Zohan
Costume Designer:
ELLEN LUTTER
Superhero Movie
Costume Designer:
CAROL RAMSEY
Assistant Designer:
LOIS DE ARMOND
Indiana Jones and
the Kingdom of
the Crystal Skull
Costume Designer:
MARY ZOPHRES
Assistant Designer:
JENNY EAGAN
Leatherheads
Costume Designer:
LOUISE FROGLEY
Forgetting
Sarah Marshall
Costume Designer:
LEESA EVANS
Assistant Designer:
CHRISTINE WADA
Speed Racer
Costume Designer:
KYM BARRETT
Assistant Designers:
STACY CABALLERO,
MICHELE HARPER
Illustrator:
FELIPE SANCHEZ
What Happens
in Vegas
Costume Designer:
RENE EHRLICH
KALFUS
Assistant Designer:
ELIZABETH SHELTON
The Love Guru
Costume Designer::
KAREN PATCH
Illustrator:
THAO VU
Get Smart
Costume Designer:
DEBORAH LYNN
SCOTT
Assistant Designer:
THAO VU
WHATS OUT
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Sex and the City:
The Movie
Costume Designer:
PATRICIA FIELD
SCRAPBOOK
Madonna and Marlene Stewart Vogue, American Music Awards, 1991.
MUSIC & ENTERTAINMENT MEMORABILIA
WE ARE ALWAYS ACCEPTING CONSIGNMENTS IN THE FOLLOWING CATEGORIES:
Fine & Decorative Arts, Antiques, Rare Coins & Currency, Illustration Art, Comics & Comic Art, Civil War & Americana, American Indian Art, Rare Books & Manuscripts,
Entertainment Memorabilia, Jewelry & Timepieces, Natural History, Sports Collectibles, Vintage Movie Posters, and Stamps.
Annual Sales Exceeding $600 Million
350,000+ Online Registered Bidder-Members
To receive a complimentary book
or catalog of your choice, register
online at HA.com/CDG14736 or
call 866-835-3243 and mention
reference #CDG14736.
TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Scott Peterson 13256; Bob Merrill 13408; John Petty 13740; Mike Sadler 16129; Ed Grith 16343; Andrea Voss 16406; Jacob Walker 16413; Charlie Mead
16418; Eric Thomas 16421; Douglas Nyholm 16431; Ashley Taylor 16436. This auction is subject to a 19.5% Buyers Premium. 14736
CONSIGN NOW!
Doug Norwine, 800-872-6467 ext. 1452
(DougN@HA.com)
WE PAY FINDERS FEES!
3500 Maple Avenue
17th Floor
Dallas, Texas 75219
800-872-6467 HA.com
WE
AUCTION
HOLLYWOOD HISTORY
HERITAGE ACHIEVES STAR-STUDDED PRICES
for stage/screen-used clothing and costumes.
Contact us TODAY to consign your material to our next auction!
WHY DO SO MANY COLLECTORS CHOOSE HERITAGE AUCTIONS?
+Huge base of collectors in Music, Film & Television Memorabilia
+Low sellers fees
+Generous cash advances
+Over $5 million per year spent on marketing alone
+Entire collections bought outright
+Over $3 billion in collectibles sold since 1976
+35 years in business with the same owners
+Annual sales over $600 million
+Sellers paid on time every time
, , , , , , , , , ,
Prsrt Std
U.S. Postage
Paid
Santa Ana, CA
Permit No. 450
Costume Designers Guild
Local 892I.A.T.S.E.
11969 Ventura Blvd., First Floor
Studio City, CA 91604

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