The Costume Designer Fall 05

© 2005 UNIVERSAL STUDIOS

www.universalpicturesawards.com

F O R Y O U R C O N S I D E R A T I O NF O R Y O U R C O N S I D E R A T I O N

B E S T C O S T U M E D E S I G N

T E R R Y R Y A N


T E R R Y R Y A N

Fall 2005 The Costume Designer 3

features

departments

Collaborations . . . . . . . . . . . . . . . . . . . . . 22Nancy Meyers: Director, Writer, Producer Q&A with a distinguished collaborator

Awards Preview . . . . . . . . . . . . . . . . . . . 24Spotlight Award for Television and FilmDesigners of the Fifties Edith Head AwardProfiling: Colleen Atwood, Robert Blackman, Bill Thomas, Renie Conley, Bill Travilla, Anna Hill Johnstone

Editor’s Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9President’s LetterFrom the Desk of the Executive DirectorAssistant Executive Director’s Report

The Costume Department. . . . 29Meet the IllustratorsDesigners ExpressHistory of Dress A-Z

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34The Red CarpetBoldface Names

What’s On/What’s Out. . . . . . . . . . 36

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

vol. 1, issue 1

COVER: Marilyn Monroe, The Seven Year Itch,

Costume Designer William Travilla The Kobal Collection/

20th Century Fox/Sam Shaw

COSTUME DESIGNERS GUILD4730 Woodman Ave., Suite 430Sherman Oaks, CA 91423-2400

phone: 818.905.1557 fax: 818.905.1560email: [email protected]

F O R Y O U R C O N S I D E R A T I O N

BEST COSTUME DESIGNWilliam Ivey Long

© 2005 UNIVERSAL

STUDIOS

www.universalpicturesawards.com

an you hear that? It’s the sound of applause! Yes,ladies and gentlemen take your bows. Youdeserve them! We can exhale now and with

pride as we add razzle-dazzle to our media repertoireand announce The Costume Designer. This magazine isfor you!

The features were written by members of our Guild, the amazingimagery has been collected with the artful eye of our Photo EditorDeena Appel. We thank Kobal Images for their generous support andcontribution of the fabulous stills in The Costume Designer. OnFebruary 25, 2006, the 8th Annual Costume Designers Guild Awardswill be held at the Beverly Hilton Hotel with Presenting SponsorSwarovski. We will be honoring some of the brightest CostumeDesigners of the 1950s and spotlighting the meteoric careers of ColleenAtwood and Bob Blackman. In the following pages, you shall see a pre-view of our honorees in February. By the way, be sure to purchase yourseats in advance from our Event Producer, The jLINE Group310.601.3221 or at [email protected] year’s awards are going tobe standing room only! As you turn the pages of this delicious publica-tion you’ll find some old favorites like “Boldface Names” written byAlexandra Welker and Joe Tompkins’ interview with Theodora VanRunkle.Theodora is the Costume Designer who personally cut short thereign of the miniskirt with Faye Dunaway’s brilliant costumes as BonnieParker in Bonnie and Clyde. It was then, we embraced the maxi. Filmdoes influence fashion.

Betty Madden’s report in “Union Label” tells us how we can partici-pate in our community.Any political step you take,no matter how small,is a contribution toward a better life for workers. Maybe you’ll find aprecinct walk will lead right back to your own front door.“History of

Dress A–Z” is a new column fromKaryn Wagner and RobinRichesson.We know you’ll love thisdictionary of dress,starting with theletter A,because research is anotherpart of the dance and in this firstinstallment they are on pointe.

We thank the volunteer edito-rial staff: Wendy Greiner, DmitriSeth, Wendy Chuck, AlexandraWelker, Erin Lareau, JacquelineSaint Anne, and Isis Mussenden fortheir contributions to The CostumeDesigner. Read on, and enjoy!

In Solidarity,Sharon Day [email protected]

Editor’s Note

C

“When I amworking on a

problem I neverthink about beauty.I only think abouthow to solve the

problem. But whenI have finished, ifthe solution is notbeautiful, I know it

is wrong.


– Buckminster Fuller(1895–1983)

”

PRESIDENT Dr. Deborah N. Landis

[email protected]

VICE PRESIDENT Pamela Shaw

[email protected]

SECRETARYBarbara Inglehart

[email protected]

TREASURER Mary Rose

[email protected]

MEMBERS AT LARGEDeena Appel

[email protected] Hanafin

[email protected] Saint Anne

[email protected] Ramsey

[email protected]

BOARD ALTERNATESValerie Laura-Cooper

[email protected] Day

[email protected] Wagner

[email protected] Malin

[email protected]

REPRESENTATIVESASST. COSTUME DESIGNER REP

Anette [email protected]

COSTUME ILLUSTRATOR REPRobin Richesson

[email protected] COSTUME DESIGNER REP

Susan [email protected]

LABOR REPBetty Madden

[email protected] OF TRUSTEESPeter Flaherty, Chair

[email protected] Chally

[email protected] Mathews

[email protected] Cunliffe, Alternate

[email protected]

EXECUTIVESEXECUTIVE DIRECTOR

Cheryl [email protected]

ASST. EXECUTIVE DIRECTORRachael Stanley

[email protected]

MAGAZINE STAFF EDITORSharon Day

PHOTO EDITORDeena Appel

PUBLISHERThe Ingle Group

FOR ADVERTISING INQUIRIESCONTACT

Dan Dodd [email protected]

f o r y o u r c o n s i d e r a t i o n

walk the linewww.foxscreenings.comwww.walkthelinethemovie.com ©2005 Twentieth Century Fox

BEST COSTUME DESIGNERArianne Phillips

REVOLUTIONARY

©2005 FOCUS FEATURES. ALL RIGHTS RESERVED.

“A BIG, SWEEPING, AND RAPTUROUS HOLLYWOOD

LOVE STORY.Could turn out to be the most revolutionary movie

of the year. A film in which love feels almost as if it werebeing invented. It is also a rare crowd-pleaser with

the potential to change hearts and minds.”– Owen Gleiberman, ENTERTAINMENT WEEKLY

FOR UP-TO-THE-MINUTE SCREENING INFORMATION VISIT: www.focusfeaturesawards.com/screeningcalendar

Costume Design by Marit Allen

The New Film From Director Ang Lee

Dear Friends,

s of today, Local 892 will publish four magazines and four newsletters each year, a dazzlingaccomplishment for a San Fernando Valley Guild with 650+ members.

William Travilla’s pleated white silk halter dress for Marilyn Monroe in The Seven Year Itch (1955)graces this first-ever cover of The Costume Designer.Another stunning example of our contributionto world culture, this iconic image is emblematic of the Costume Designer’s art. Many of the arrestingimages in this issue, including the cover, are courtesy of our generous partners at the Kobal PictureDesk Photo Archive.Often anonymous and uncredited in the press,Costume Designers’credits will not be overlookedhere.Our title choice,The Costume Designer,was not an obvious one.Designers are perpetually confused with ourcolleagues—print stylists and costumers—both in industry and fashion publications. Local 892 deliberately seeks todelineate and define the role of the Costume Designer in motion pictures and television.We know what we do.

Our political strategy is education. Educate the industry, the press and the public about costume design, and ourstatus, prestige and salaries will be secure. If the press does recognize our work, it is usually as an extension of fash-ion,stuck in the style section of the newspaper … as if that’s our greatest contribution.Fashion writers grasp at trendsand predictions—it’s part of their job. Motion picture and television costume design is part of that cultural equation.We do create the “look” of a show. But creating a “look” and influencing fashion is not why we do it, nor is it a meas-ure of what designers consider a successful costume. But this is tough to explain to fashion journalists. CostumeDesigners help create characters—we are first and foremost, visual storytellers. Our work fits as properly in the fineart, business and book-review sections of the paper as it does in the entertainment and style section.

Local 892 holds a glamorous class in Costume Design every year at the Beverly Hilton Hotel, this year onFebruary 25, 2006. Our beautiful spokes-goddess Anjelica Huston will make our case passionately from the podium.The CDG will honor Designers of the Fifties: Renie, William Travilla, and Bill Thomas. Our Edith Head Hall of Fameinductee is Designer Anna Hill Johnstone.This winter we pay tribute to legendary designers Moss Mabry, Grady Huntand Michael Woulfe while revitalizing a great union tradition,Local 892 Gold Cards.Colleen Atwood and Bob Blackmanare receiving the first Spotlight Awards for Excellence. Courageous IATSE President Thomas C. Short will receive ourPresident’s Award. Creativity and vision is not limited to designers. Under President Short’s progressive policies, thewomen and men of the IATSE have flourished. Our union continues to expand and strengthen in an otherwise hostilelabor environment. Please join us at the 8th Annual Costume Designers Guild Awards to honor President Short,Colleen, Bob and all our CDG Award nominees. It is your participation that makes our Local strong.

In solidarity,Deborah [email protected]

A

OUR MEMBERSHIPCONTINUESTO GROWNew members: David Chick, Lisa Marie Harris, Aimee McCue, Lisa Davis, Laura Angotti, TamiEldridge, President Deborah Landis,Roemehl Hawkins, Okera Banks,Stephanie Miller.

President’s Letter

Character Building


We are proud to present the Costume Designers Guild’s firstholiday card designed by Illustrator member RobinRichesson. The CDG membership was invited to submitdesigns which were then voted on by all CDG membersattending the October General Membership Meeting.Robin’s design featuring IATSE snowflakes was selected.

Holiday Greetings, Everyone!

Swarovski is proud to announce its return for the secondconsecutive year as the Presenting Sponsor of the CostumeDesigners Guild Awards. We will also once again host an inspi-rational crystal application workshop for designers during twodates to best accommodate your busy schedules. These will takeplace in the week following the awards ceremony on February25—dates/venue/timing to be announced. We genuinely hopewe will see you all there, details and invitations to follow soon!

10 The Costume Designer Fall 2005

© 2005 Focus Features. All Rights Reserved.

For Your Consideration In All Categories Including

BESTT COSTUMEE DESIGNBESTT COSTUMEE DESIGNJacqueline Durran

For Your Consideration In All Categories Including

BESTT PICTUREBESTT PICTURE

For up-to-the-minute screening information visit: www.focusfeaturesawards.com/screeningcalendarFor up-to-the-minute screening information visit: www.focusfeaturesawards.com/screeningcalendar

The highly acclaimed new film of Jane Austen’s masterpiece.The highly acclaimed new film of Jane Austen’s masterpiece.

“SUPREMELY ENTERTAINING ANDLUSHLY ROMANTIC.. BEWITCHES

THE VIEWER COMPLETELYAND INCANDESCENTLY..

��.”- Claudia Puig, USA TODAY

“SUPREMELY ENTERTAINING ANDLUSHLY ROMANTIC.. BEWITCHES

THE VIEWER COMPLETELYAND INCANDESCENTLY..

��.”- Claudia Puig, USA TODAY

e’re launched! Ever since my arrival at the CDG,it’s been a major challenge to secure sufficientadvertising revenue to get out each CDG

newsletter. Not any more! From now on, AdvertisingDirector Dan Dodd and The Ingle Group, a publishingcompany that produces quarterly magazines for theDGA, SAG, PGA, and our sister, Local 706/Makeup Artists& Hairstylists, will make us look brilliant in every way,pro-fessionally, creatively and financially. We will continue to

produce a smaller newsletter, also four times a year, to stay in regulartouch with you,our membership. Know that these all will arrive in yourmailbox at almost NO cost to this Guild, underwritten by generousadvertising partners, whom we hope you will support!

Spirits were high at our General Membership Meeting on October17 as 28 new members were sworn in.Energy was also generated by anAFL-CIO representative who reminded members of the many benefitsthat Labor has negotiated long and hard to secure. Several of us fromLocal 892 contributed our time to serve on Phone Banks and PrecinctWalks, involving the CDG in protecting Labor’s voice during thisimportant election while raising the CDG’s profile. But the heart andsoul of the General Membership Meeting concerned the early IATSEnegotiations that will take place the first two weeks in Decemberfor a new contract beginning August 1,2006.Your CDG leadership knewwhat you confirmed in the surveys conducted earlier and at that meet-ing: it’s all about the money. Money means respect, respect commen-surate with our creative contribution.You can count on this being ourprimary concern in negotiations.

I look forward to your reactions to The Costume Designer, whichreflects the input of so many of our talented members who havenewly volunteered to lend a hand researching, interviewing, andwriting. The Costume Designer wouldn’t be in your hands withoutthem. Kudos and thanks to each of them. Watch for their namesthroughout this issue. More volunteers are welcome and needed;please call or email editor Sharon Day,[email protected], ormyself at the office.

I see this magazine as a symbol of thesignificant forward momentum at theCostume Designers Guild that reachesbeyond Los Angeles.We may not be a largeLocal, but we are making our cumulativemark. Our members influence world cul-ture, one design, and one show at a time.Take pride in yourselves and your work.

Stay in touch,[email protected]

WDear Designers, Assistant Designers and Illustrators, IATSE-Time

at Showtime—Overall Contract for IATSE Crewsfor Showtime DevelopmentCorporation Inked October 4, 2005

NEW YORK—The InternationalAlliance of Theatrical StageEmployees (IATSE) has signed a con-tract with the Showtime division ofViacom for exclusive use of IATSEcrews on original programming inthe United States and Canada.

The agreement with ShowtimeDevelopment Corporation, soughtby IATSE for 23 years, mirrors thearrangement IATSE has with HBOOriginal Programming and creates alevel playing field for both pay-cableproducers.

Wal-Mart’s UnionCommercialNovember 1, 2005

LOS ANGELES—Picture VisionPictures, Inc., a Nashville produc-tion house, signed with theInternational Alliance of TheatricalStage Employees (IATSE) for thefilming of a Wal-Mart TV commer-cial after an organizing drive and abrief work stoppage.

The significance of this organ-izing drive is that Wal-Mart hadpreviously filmed commercialsnonunion. Thanks to this contractsigning, a crew of 30 will receiveretroactive health and pensionbenefits. More importantly, PictureVision Pictures, Inc. is now a signa-tory to a national contract.


“ I see thismagazine as a symbol of

the significantforward

momentum at the CostumeDesigners Guild

that reaches beyond

Los Angeles.”

UNION LABELFrom the Desk of the

Executive Director

B E S T C O S T U M E D E S I G NJ E N N Y B E A VA N

B E S T C O S T U M E D E S I G NJ E N N Y B E A VA N

buenavistapicturesawards.com©Touchstone Pictures

F O R Y O U R C O N S I D E R A T I O NF O R Y O U R C O N S I D E R A T I O N


© 2005 Columbia Pictures Industries, Inc. and DreamWorks L.L.C.and Spyglass Entertainment Group, LLC. All Rights Reserved.



ou’ve finally got that job you’ve been waiting for.You had a wonderful crew on yourlast job and you would like to use them again. Did you know that there is a protocol

on the hiring of crew? Our costume crew consists of the design team from the Costume Designers Guild,Local 892,

and a wardrobe team from our sister local, Motion Picture Costumers, Local 705.The CostumeDesigner chooses his/her Assistant Costume Designer and Illustrator from the membership of Local 892.Choosing a Costume Supervisor from Local 705 is also generally left to the discretion of the Costume Designer.

The Costume Supervisor then hires the costume crew from the membership of Local 705. It is usually tothe benefit of the Costume Designer and the Costume Supervisor to consult on the choice of crew so that themost desirable, cohesive crew can be assembled. A Costume Designer cannot and should not hire SetCostumers or Alteration or Workroom crew prior to hiring a Costume Supervisor. This is a violation of contract.

It is important to determine if adequate staffing is in place to handle the workload the Designer andSupervisor determines the show will require.Each project must have a Costume Supervisor and that Supervisormust begin work once there are costumes to be handled, purchased, or rented. The Designer and Supervisorcan then collaborate on how the rest of the man-hours will be best utilized on the project.

The Designer may request that due to the nature of the project and the location of the work site that anon-site Alteration team be included in the budgeting of the crew. However, the actual hiring of that crew

Y

F O R Y O U R

C O N S I D E R A T I O N

BEST

COSTUME

DESIGN

SANDY

POWELL

Artwork © 2005 The Weinstein Company. All Rights Reserved.

Crewing Up

UNION LABELAssistant Executive

Director’s Report


comes under the jurisdiction of theSupervisor and Local 705. It is thejob of the Costume Supervisor todirect the Local 705 crew. However,the design team is under the super-vision of the Costume Designer.

The Assistant Costume Designeranswers directly to the CostumeDesigner and works closely withhim/her in all design areas of the proj-ect.The Asssistant Costume Designerdoes not work under the CostumeSupervisor and should not be direct-ed to perform any work by theSupervisor. When you are ready tocrew up on your next project,be sureto keep these guidelines in mind.

Maintaining a happy and pro-ductive Costume Department is anart that is made easier by knowingthe rules and established protocoland working within the parametersof the Basic Agreement.

Rachael [email protected]

FOR YOUR CONSIDERATION

IN ALL CATEGORIES INCLUDING:

BEST COSTUME DESIGN

DIEN VAN

STRAALEN

BRITISH INDEPENDENT FILM

AWARDS NOMINATIONS

INCLUDING

BEST BRITISH

FILM OF THE YEAR

8

Artwork © 2005 The Weinstein Company. All Rights Reserved.

Congratulations to the West Coast IATSEpolitical action organization andPresident Thomas Short, on giving all towin a victory in the California, November8, 2005 Special Election. When the timecame to stand up and be counted, theentertainment industry labor force did allit could to stop Propositions 74, 75, and76 from passage.The rally at IATSE Local80 was electrifying on the morning beforethe election. When the polling locations

were relocated,we started contacting all union workers in the private andpublic sectors to let them know about the change in their polling loca-tions. GOTV,“get out the vote,” started at 7 a.m. walking and calling ourbrothers and sisters until 8 p.m. when the polls closed.We were at ourassigned polling locations to make sure everyone who wanted to vote didvote. Union workers all over the state can feel a special pride in this vic-tory.When the Governator tried to silence the voice of organized labor,we said,“No.”

CDG Labor Representative Betty Pecha Madden

[email protected]

Labor ReportNOVEMBER 9, 2005


NOTEWORTHY EVENTS

December 2005–January 2006

COSTUME DESIGN CENTERCostume Rentals • Manufacturing • Prep Spaces

818.954.1297 • [email protected]

WARNER BROS. STUDIO FACILITIES4000 Warner Boulevard • Burbank, California 91522

© and ™ 2005 Warner Bros. Entertainment Inc. All rights reserved

WEDDING GOWNS, 1880–PRESENTKing Vintage Museum Vintage Clothing

and Lifestyle MuseumOakhurst, Calif.(559) 658-6999

Ongoing

18TH CENTURY RED VELVET MAN’S COURT SUIT

Legion of Honor, Lincoln Park, San Francisco, Calif.November 12, 2005, to May 14, 2006

JANE AUSTEN: FILM AND FASHIONMuseum of Costume

Bennett Street, Bath BA1 2QHTel. 44.0.1225.477789To December 31, 2005

TREASURES FROM THE ATTIC South San Francisco Historical Society Museum

Magnolia Senior CenterSouth San Francisco, Calif.

(650) 829-3825Ongoing

TAISHO CHIC: JAPANESE MODERNITY,NOSTALGIA AND DECO

University of California Art Museum Berkeley, Calif. (510) 642-0808

To December 23, 2005

STYLE AND SPLENDORQUEEN MAUD OF NORWAY’S WARDROBE

1895-1938Victoria and Albert Museum

London, SW 7Tel. 44.0.20.7942.2000

Through January 8, 2006

L.A. OPERA WORKSHOPOn January 4, the L.A. Opera and its CostumeDirector, Jenny Greene, are extending a generousinvitation to a small group of CDG members toobserve the Opera’s workshop in full work modethat Wednesday at 11 a.m. The first 10 membersto RSVP to the CDG at 818.905.1557, ext. “0”will be able to take this rare tour of the L.A.Opera’s costume shop and wardrobe stock. Markyour calendar and make your reservation ASAP!

©2005 FOCUS FEATURES. ALL RIGHTS RESERVED.

“��. A masterwork. Dazzles theeyes and engages the brain in a way that few recent films have come close to approaching.”–Claudia Puig,

BEST PICTUREFOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST COSTUME DESIGNOdile Dicks MireauxBEST COSTUME DESIGNOdile Dicks Mireaux

BEST PICTUREFOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

best costume design

Janty Yates

“The look of the film is astoundingly detailed, from the replica

of Jerusalem to the costumes of the combatants… It looks like

it means business, and it does.” Jeffrey Chen, ReelTalk

f there’s one thing Nancy Meyers knows, it’s strong women. From PrivateBenjamin to Baby Boom and I Love Trouble to What Women Want,Meyers has spent her career telling stories about complicated womenwho learn how to stand out in a man’s world. In 2003,Ms.Meyers gave thetraditional May-December relationship a long overdue fresh face with herhugely successful film Something’s Gotta Give and in the process, provedthat women can be as bankable at the box office as their counterparts.

In this first installment of questions posed to a distinguished collaborator, Iasked Nancy Meyers about the importance of contemporary Costume Design.

WHAT QUALITIES DO YOU LOOK FOR IN A COSTUME DESIGNER?The first thing I look for is a sense of style. I find almost everyone is starting tolook alike,young and old,male and female—so someone with a true sense of indi-viduality and style that they can impart to the characters is very valuable. I wantsomeone with a vision for the characters.

HOW DO YOU THINK COSTUME DESIGN CONTRIBUTES TO THE STORY, ACHARACTER AND EVEN THE ACTOR’S PERFORMANCE?By surprising the audience or by reinforcing character with costume,helps tell thestory. Something old, something too big, something sexy.A signature item. I lookfor ideas as well as collaboration from the Costume Designer in the area of story.

Character? Well, as Fitzgerald said,“character is action.” So doing the charac-ter right or enhancing it, continues to tell the story.

In Baby Boom, Susan Becker came up with the idea to belt all of DianeKeaton’s suits. I thought that idea gave Diane’s work look a real identity. She wasnot just the corporate woman in an Armani suit. I also thought it felt as if Dianewas wearing armor and I think it helped create her walk and her office persona.

AS A WRITER FIRST AND THEN A DIRECTOR, DID YOU HAVE A DIFFERENT PERCEPTION OF COSTUME DESIGN AS YOUR CAREER EVOLVED?Yes. Right away, on my first film I realized how the wrong costume could reallyaffect a scene and the right one could enhance everything.Each new outfit is likesomeone else is adding dialogue to my scene. Letting it enhance but not letting itintrude or misdirect is a tough balancing act.

HOW DO YOU WEIGH TALENT VS. BUDGET, CONSCIOUSNESS VS. PERSONAL-ITY, IN HIRING/WORKING WITH A COSTUME DESIGNER?Good question.Talent is everything.Well almost. A difficult personality can ruin that,right? So, I guess a talented, collaborative person is what I look for. But if I had tochoose the most important characteristic, I’d pick talent.Always.

WITH THE ACTORS IN THE CENTER OF EVERY FRAME, WHERE DO YOU SEETHE COSTUME DESIGNER’S PLACE OF VALUE IN RELATION TO THE PRODUC-TION DESIGNER, CINEMATOGRAPHER AND EDITOR?You got it.The Costume Designer is right up there.Those are the big jobs.Those arethe people who control what we see on the screen.That’s the kitchen cabinet.

HOW IMPORTANT DO YOU FIND THE COLLABORATION BETWEEN THOSEDEPARTMENTS TO HELP REALIZE YOUR VISION?Essential.The more synergy the better.If someone shows up in a shirt the same coloras the wall they’re standing in front of ... that’s definitely a problem. I think theCostume Designer and Production Designer need to constantly talk.The way youlive and the way you dress are often similar, both suggest character and choices.

CollaborationsNancy Meyers: Director, Writer, Producer`

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YOU’RE KNOWN FOR WRITING AND DIRECTING CON-TEMPORARY FILMS. HOW ARE THEY TOUGH FOR THECOSTUME DESIGNER TO GET IT “RIGHT”?The hard job, the exciting job is to do a contemporaryfilm in an inventive way. It’s tough to get it right becauseit’s so easy to make it current with no individuality.Trendsare dangerous.

WHAT CONTEMPORARY FILMWAS MEMORABLE TO YOUBECAUSE OF THE DESIGNERS’USE OF COSTUMES?Remember that silly dress ShirleyMacLaine wore in Terms ofEndearment [Kristi Zea]? It wasso funny, and then when she gotwet in it, she was flopping around.It gave her so much to work with.

PERIOD FILM?How about Bonnie and Clyde[Theodora Van Runkle]? I betwhen Faye Dunaway dressed asBonnie Parker, she was halfwaythere with her character. Crime,sex and style. Very memorable. Ilove Roz Russell’s pin-striped suit

in His Girl Friday [Robert Kalloch] and that hat she worewhich she was never comfortable with. She used it as agreat prop to show her indecision.And how about AnnieHall [Ruth Morley]? A new kind of sexy was created. Icould go on and on.

WHAT DO YOU FIND TO BE THESINGLE BIGGEST CHALLENGEFOR YOU AS A DIRECTOR?Hmmmm. I suppose the biggestchallenge is always to listen tomy gut, every take, every scene,every day.

A long time ago, I read WilliamWellman who said a director “mustresist the temptation to be a goodfellow.” I understand that so well.

DO YOU THINK THAT THERE ARESTILL BARRIERS FOR WOMEN INTHIS INDUSTRY?Unfortunately, yes. But what elseis new?

By Deena Appeldappel@costumedesigners

guild.com


DIRECTOR, WRITER, PRODUCERHoliday 2006 [Marlene Stewart]Something’s Gotta Give 2003

[Suzanne McCabe]

DIRECTOR, PRODUCERWhat Women Want 2000 [Ellen Mirojnick]

DIRECTOR, WRITERThe Parent Trap 1998 [Penny Rose]

WRITER, PRODUCERFather of the Bride II 1995 [Enid Harris]

I Love Trouble 1994 [Susan Becker]Father of the Bride 1991 [Susan Becker]

Baby Boom 1987 [Susan Becker]Private Benjamin 1980 [Betsy Cox]

Credits

olleen Atwood has said of her impressive list of work that ranges from period, to contemporarydramas to futuristic stories, that she relishes the opportunities to create new worlds.“I feellike I’ve been lucky in the things I’ve gotten to work on because I’ve really been able to keepit fresh, always getting to do different kinds of things.”

With a fashion degree from Cornish School of Fine Arts in Seattle, Colleen Atwood beganher career as an assistant to Production Designer Patrizia van Brandenstein on the film Ragtime (1981). Herfirst solo credit as Costume Designer was on director Michael Apted’s Firstborn (1984). She next collaboratedwith renowned Production Designer Fernando Scarfiotti designing the costumes for the Sting concert filmBring on the Night (1985).

This early association with the performer resulted in Atwood’s designingthe costumes for Sting’s concerts and music videos. Award-winning CostumeDesigner Colleen Atwood has collaborated several times with directors TimBurton and Jonathan Demme and her subtle and versatile work was also seenin Jonathan Demme’s Philadelphia, The Silence of the Lambs and Married tothe Mob.The same year she received Academy Award and BAFTA nominationsfor Little Women,Atwood also created costumes for Wyatt Earp. She had previ-ously received a BAFTA nomination for her special contribution to Tim Burton’sEdward Scissorhands. More recently she designed the costumes for Burton’sMars Attacks and Big Fish.

In 2002, she collected an Oscar for her work on Chicago. She was previouslynominated for Sleepy Hollow, Beloved, and Little Women. Ms.Atwood won theCDG Award, BAFTA, and Golden Satellite Awards for Sleepy Hollow in 1999, andher second CDG Award again in 2004 for Lemony Snicket.Adding to her alreadyprestigious career are the soon-to-be-released Memoirs of a Geisha and MissionImpossible 3.

C

SPOTLIGHT IN FILM AWARD

Colleen Atwood

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Awards Preview


obert Blackman has designed cos-tumes for more than 600 hoursof episodic television—the vastmajority for the Star Trek fran-

chise. Bob became the Costume Designer for The NextGeneration at the beginning of its third season; he con-tinued through its seven-season run and designed thefollowing three series for their entire runs: Deep SpaceNine (seven seasons), Voyager (seven seasons), andEnterprise (four seasons).

During those 18 years at Paramount, Blackman wasable to experiment with costume in ways more com-mon to film than television. The producers supportedBlackman with a solely dedicated workroom under theremarkable supervision of Carol Kunz, and staffed by extraordinarilytalented Costumers and wardrobe artisans.At capacity, the workroomemployed a core staff of 14, which would often climb to 30.The back-ground action could consist of as many as 80 extras a day, each individ-ually pre-fitted and altered.

A typical episode would require manufacturing costumes fromleather,neoprene, spandex,metal,wool and chiffon—often in complex

combinations. Beyond the challenge of inventing centuries yetto be, each series left no period unexplored—Greek, Gothic,

Victorian, the American West, the 20th century (including anongoing tribute to 1930s), space genre, and even an hom-

age to Costume Designer William Ware Theiss’ original 1966Star Trek series uniforms.Blackman is completely indebt-

ed to those members of his team who realized, andoften improved upon what was originally sketched,repeatedly producing couture quality costumes inmere days.

Blackman won an Emmy Award in 1991–92 forStar Trek: The Next Generation and has receivednine nominations. His film work includes ’night,Mother, The Running Man, Stones for Ibarra, StarTrek VII: Generations and Star Trek X: Nemesis. Hisrecent theatrical work includes Costume Design forThe Lady With All the Answers at the Old Globe, TheRoyal Family at the Ahmanson Theatre (Ovation

nomination), Cat on a Hot Tin Roof and Uncle Vanyaat the Geffen Playhouse. Robert Blackman has an MFA

from the Yale School of Drama.

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RSPOTLIGHT IN TELEVISION AWARD


Bill Travilla was born on March 22,1920.With morethan 100 credits to his name spanning from the1940s until the 1980s, he is one of our most prolif-ic designers. Travilla, as he was known, became aHollywood star in his own right, thanks in largepart to his premier client, actress Marilyn Monroe.Best known for designing Monroe’s costumes ineight films—including Gentlemen Prefer Blondesand How to Marry a Millionaire—Travilla also litup the silver screen with Valley of the Dolls, BlackWidow, There’s No Business Like Show Business

and Bloodhounds of Broadway.When the Golden Era of Hollywood ended,Travilla focused on running his own couture-quality business. He also foundtime to freelance for television epics such as Evita, The Thorn Birds, andDallas. One Oscar and several Emmys later, it’s easy to recognize the legacyof this outstanding designer.

Renie, born Irene Brouillet and also known asRenie Conley, was born on July 31, 1901, inRepublic,Washington. Renie received an AcademyAward for Costume Design for Cleopatra and wasnominated for The Model and the MarriageBroker in 1951, The President’s Lady, The BigFisherman and Caravans in 1978. For more thanthree decades, Renie was a prominent HollywoodCostume Designer noted for clothing the stars insubtle, elegant outfits, as can be seen in the cos-tumes Ginger Rogers wore as the glamorous All-

American working girl in Kitty Foyle (1940). She got her start designing the-ater sets and then working as a sketch artist for Paramount. In 1937, shebecame a Costume Designer for RKO. She remained with the studio, attiringits biggest stars until the ’50s when she started freelancing. In addition tofilms, Renie’s work can also be seen on such TV series as Haywire.

Bill Thomas was born on October 13, 1921, inChicago, Illinois. He created costumes for morethan 300 films. After studying at USC and theChouinard Art Institute, Los Angeles, he served inthe Army Air Corps during World War II and pro-vided fashions for United Service Organizationsshows. After the war he was an apprentice design-er at Metro-Goldwyn-Mayer from 1947 to 1949and later worked for Universal Studios and WaltDisney Productions. Thomas and fellow designerValles shared the Oscar for Best Costume Design

for their work on Spartacus (1960). Among other films for which Thomasreceived Oscar nominations were Toys in the Attic (1963), Ship of Fools(1965), and Bedknobs and Broomsticks (1971).

Designers of the Fifties

Bill Thomas

Renie Conley

Bill Travilla


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Anna Hill JohnstoneAnna Hill Johnstone was born in Greenville, SouthCarolina, in 1913. For more than four decades shedesigned many classics from Splendor in the Grass toThe Godfather. She passed away on October 16, 1992.

In the ’50s she began her career designing Eastof Eden, A Face in the Crowd, Baby Doll and ThePawnbroker.

Moving into the ’60s you would know her for suchcult films as Fail-Safe and Alice’s Restaurant. In addition,The Subject Was Roses, The Swimmer, FrankensteinMeets the Space Monster and Trilogy.

Anna in the ’70s worked with some of the finestfilmmakers today. Starting with the aforementioned TheGodfather, the list is very impressive: The Last Tycoon,Dog Day Afternoon, Serpico, The Stepford Wives, Play ItAgain, Sam, Gordon’s War, King of the Gypsies, Goingin Style and many more.

In her fourth decade of designing costumes, Annagraced us with the beautiful Ragtime,Prince of the City,Daniel, and The Verdict. In her final film, A Night inHeaven, she not only costumed but also productiondesigned.

Isis [email protected]

THE COSTUME DEPARTMENT

Dmitri Seth is a Costume Illustrator from a musi-cally gifted Native American family in Idaho. After a

dancing career in New York, Dmitri,returned to school to study design, drap-ing, sewing and illustration and he gradu-ated with honors. In moving from creatingwith dance on stage to creating costumes

off stage, Dmitri has brought with him hislove of music. He MUST have music

when he works because silenceunnerves him.

At the TV Academy’s FamilyDay this year, Dmitri taught kidsto imbue character into the cos-tumes they draw. He facilitatestheir drawing skills by showingthem how to illustrate a wrin-kle, a fold or a textured fabric.Becoming a Local 892Illustrator is Dmitri’s entry

point to the world of costumesand the designers who createthem. Attending a CDG meeting

or stopping by the CDGoffice motivates him in his

career. Partnering withhis EBoard illustrator repre-sentative, Robin Richesson,he has created an Illustrator’sGallery Show at every GeneralMembership Meeting. Dmitriis motivated to share his talent,and has an abundance of skills,incentive and enthusiasm tobring to any project. Call (626) 296-0944 or email himat [email protected]

Jude Christian Orlando was born in Hawaiiwhere he grew up carefree, barefoot and joyous. He car-ried that joie de vivre with him here to California wherehe graduated from the Fashion Institute of Design andMerchandising (FIDM). After a study tour in Paris, Judereturned to Los Angeles where he began working in thefashion industry as an Associate Designer. Jude worked

with the late curator Maggie Murray at the FIDMMuseum doing fashion illustrations for the FIDM

website. Maggie introduced Jude toCostume Designer Jacqueline West,and she mentored him into Local 892as an Illustrator. Jude has illustrated

many films for Jacqueline including TheBanger Sisters and Lonely Hearts. Recently,

Jude has also illustrated Running WithScissors for Lou Eyrich.

Local 892 has been the gratefulrecipient of Jude’s generosity of spirit.He has volunteered tirelessly withSharon Day to create and launch ourCDG website, develop and edit ournewsletter and bring technologicaleducation to our membershipenabling them to post their portfoliosonline. Currently, Jude is on a briefhiatus from the industry—

returning to the world of fashion at theinvitation of Guess? Handbags.

Jude is rushing to finish his Spring2006 “Men’s Carry Wear” line

available in retail stores inJanuary 2006. Call (310)

922-7474 or email him [email protected]

Redfern Illustrated ByJUDE CHRISTIAN ORLANDO

Illustrated ByDMITRI SETH

MEET THE ILLUSTRATORS

Jacqueline K. Saint Anne jsaintanne@

costumedesignersguild.com


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heodora Van Runkle is easily one of the mostintriguing, wildly imaginative, and extraordinari-ly talented members of our Guild. She is alsoethereal and divinely quirky. All those definitions

of “artistic” seem to swirl around her in total abandon.Theodora has enjoyed an amazing career of diverse and“dream” projects. I’m using a lot of superlatives here, butyou cannot talk about Theodora without them.

Theodora grew up in Beverly Hills and San Marino,but as she says, “escaped early in Life.” She first dreamedof being a muralist, then a sculptor, then an illustrator. Bythe time she was 6, she envisioned her destiny, and “saw”herself with a portfolio under her arm. With two childrento support alone, going into the film business, and being

successful there, was a necessity. “Dorothy Jeakins gaveme my start, my first chance in films.” Her mentors? Allthe artists she had read about.

Among her favorite and most memorable careerexperiences was designing for Faye Dunaway. “I LOVED


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DESIGNERS EXPRESSJoe Tompkins Interviews Theodora Van Runkle

T


designing for Faye Dunaway! Who wouldn’t? She is sobeautiful and made for clothes—every inch perfect!”Another who provided her with her best designing expe-riences: “I loved and was appreciated by Colin Higginswho wrote Harold and Maude and directed The BestLittle Whorehouse in Texas—he was generous andfunny-quirky and he ‘got’ me.”

Asked about worst career experiences: Theodora hasnever minced words and is very outspoken—she NAMESnames. So maybe we’d best just move along here.

Now Theodora describes herself as an Ardent Recluse,who fills her busy days with writing and illustrating sto-ries, beautifying a constantly expanding garden, reading,studying, painting and traveling. She rewards herself with“a stroll through the garden at twilight,” and gets hergreatest pleasure from “difficult jobs well done. I believein the virtue and rewards of hard work enjoyed—and inenvisioning results.”

Her favorite word: Surrender. Her most despisedword: Hate. Her favorite sounds: Footsteps on gravel, andChopin. Least favorite sounds: Auto horns in traffic. Herfavorite curse word: [the lady-like] Merde!

Theodora’s Words of Wisdom to the new andupcoming designer generation: “Inform yourself, and beeducated in every aspect of the job—the business, the

management, the exactitude of the experience—not justthe inspiration and visionary parts. Be sure to have a crewand assistants who are stable, trustworthy, and on yourside. You will probably have to earn their respect and loy-alty, [which is] not an easy task.”

When Theodora gets to the Pearly Gates, she wouldmost like to hear St. Peter say, “Baby, you overcame it all,rose above it, and outwitted all that lousy karma.”

Joe Tompkins [email protected]

“ I believe in the virtueand rewards of hard workenjoyed—

and inenvisioning

results. ”



Aba, abba, abaya: Simple tunic from Africa,Turkey, The Middle East. A length of cloth foldedover with openings left for head and arms, may beused as a cloak or blanket. Most often made ofwool, (camel or goat) plain or striped. Upper class-es may wear silk.

Acca: A medieval fabric woven of silk mixed withgold threads. It was probably named for Acre, theSyrian seaport that was central to the Crusades.

Aigrette: Upright plumes or tufts of feathers fromthe egret or heron. They were often used forwomen’s headdress, or hat trimming and were verypopular in the ’20s.

Alb or alba: A secular tunic with its origin inancient Rome worn up to the ninth century. Long-sleeved and full-length, it was white and usuallyembroidered. The alb is now exclusively worn as aliturgical garment.

All-in-one: Combination brassiere and corset,often including panties or a girdle. It first appearedin the ’20s using steel instead of the whalebone usedin earlier corsets. By the ’30s, steel had beenreplaced by a two-way stretch fabric called Latex.

Argyle: A multi-colored diamond pattern in socks,sweaters and scarves. Argyll is the name of the clanwhose tartan is imitated in this kind of knitting.

Ascot: A broad neck scarf, usuallydouble. It is tied so that both ends comehorizontally on each side of the knot,then cross diagonally. A doubled scarfthat is informally looped under the chinmay also be referred to by this term. Itis named after the famous Britishhorse races at Ascot Heath.

Attifet: A heart-shaped headdressworn by ladies in the 16th century. The front edgeswere wired to hold the shape which dipped to apoint over the forehead and curved up and back inan arc on either side. The headdress was usuallywhite, or silk or linen, and was embroidered andtrimmed with lace edging. Mary Queen of Scotsfavored this headdress, while Catherine de’Medicifavored a black version in her widowhood.

HISTORYOF

DRESSA-Z

By Karyn [email protected]

Illustrations by Robin Richesson

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The Costume Designers Guild, Local 892, recently turned out instyle to congratulate IATSE President Thomas Short, who was hon-ored at Local 871’s five-year anniversary celebration in Studio Cityhosted by the remarkable Local 871 Business Agent Lainie Miller.Pictured with President Short are Local 892 Officers, Executives andEboard members Deborah Nadoolman-Landis, Cheryl Downey,Sharon Day, Jacqueline Saint Anne, Karyn Wagner, ValerieLaven-Cooper, Barbara Inglehart and Jude Orlando.

Spoylt Lingerie’s fundraiser for the Susan G. Komen BreastCancer Foundation,“Design for the Cure 2005,” a cocktail party andfashion show spotlighting the Emmy-nominated Costume Designers.Catherine Adair, Janie Bryant, Laura Goldsmith, ChrisiKarvonides Dushenko and Jill Ohanneson mixed costumes fromtheir respective series with Spoylt’s sexy intimates for an alluring run-way show. The first-time event was a huge success, raising $10,000.

In a gala ceremony at the Beverly Hills Hilton, Colleen Atwoodreceived the “Hollywood Costume Designer of the Year” award at theHollywood Film Festival in October. Colleen’s Memoirs of aGeisha graces the December issue of Vogue, a special fantasy issuealso featuring Tilda Swinton as the White Witch of The Lion, theWitch and the Wardrobe, which showcases designer IsisMussenden’s dramatic costumes.

Janie Bryant’s Deadwood is featured in the New York TimesTravel Magazine’s November 20 issue, which profiles Deadwood,South Dakota, as a travel destination—exploring the impact thatDeadwood has had capturing tourists’ imagination.

On November 22, at Christie’s New York, Bob Mackie is auc-tioning costumes from The Carol Burnett Show and The Sonny &Cher Comedy Hour, red-carpet gowns and costume sketches.Covering his 40-year career in Hollywood, “Mackie: Costume andCouture From the Private Archives of Bob Mackie” includes WhoopiGoldberg’s “Queen Elizabeth I” from the 1999 Academy Awardsand Elton John’s “Donald Duck” costume from his 1975 tour. A por-tion of the sale benefits the Elton John AIDS Foundation.Two ofBob’s fabulous costumes from Once Upon a Mattress are on displayat the Museum of Radio and Television in Beverly Hills.

In December, Costume Designer Erin Lareau pulls off the cos-tumes for a lavish, contemporary Latin music extravaganza airing on

PBS. Nights of Fire stars Benise, a flamencoguitarist on a musical journey throughsamba, salsa, and carnival music. By the way,the Fowler Museum at UCLA begins theirexhibition on Carnival later this month.

At our 8th Annual CDG Awards onFebruary 25, legendary designers MossMabry, Michael Woulfe and Grady Huntwill be honored for their contribution to theart of Costume Design and their long-stand-ing membership in the Costume DesignersGuild, Local 892. See you there!

Alexandra Welker [email protected]

Congratulations President Short

THE RED CARPETSpoylt Lingerie threw a September fundraiser for the SusanG. Komen Breast Cancer Foundation with Design for theCure 2005, a cocktail party and fashion show spotlightingthe Emmy-nominated Costume Designers CatherineAdair, Janie Bryant, Laura Goldsmith, ChrisiKarvonides Dushenko and Jill Ohanneson. InNovember, Premiere magazine and Hamilton Watches part-nered in the third annual Timeless Style Awards saluting theimpact of Costume Design on film, honoring Marit Allen,Deena Appel, Betsy Heimann, Jeffrey Kurland,Arianne Phillips, Rita Ryack, Anna B. Shepard, NancySteiner and Mary Zophres. Paul Turcotte, Premiere maga-zine’s Vice President and Publisher, describes the awards as“the perfect vehicle to salute the big screen’s style makersand to continue to support the film industry.” HamiltonWatches U.S.General Manager Patric Zingg said,“We believethat the spirit of the movies is created by the CostumeDesigners, who bring the characters that we watch to lifeevery day.”

IN FOCUS

BOLDFACE NAMES

By Alexandra [email protected]

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Timeless Style Awards from left: Betsy Heimann, Deena Appel,Nancy Steiner, Arianne Phillips, Rita Ryack

SpoyIt Lingerie for Susan G. Komen from left: Janie Bryant, Laura Goldsmith, Betty Rodriquez, Cate Adair, Jill Ohanneson

WARDROBEC L O T H I N G R E N T A L S E R V I C E

An Open Invitation to Join Us

for a Cocktail and a Viewing of Our Collection

2 1 2 4 3 0 5 0 8 3 • 9 1 7 3 6 5 7 0 9 96 0 9 G R E E N W I C H S T. S E V E N T H F L O O R N Y C 1 0 0 1 4

W W W. WA R D R O B E - N Y C . C O M • I N F O @ WA R D R O B E - N Y C . C O M

Wardrobe carries a range of designer wear that includes, but is not limit-ed to: gowns, cocktail dresses, suits, jackets, blouses, shirts, sweaters, t-

shirts, jeans, swimwear, handbags, shoes, and sunglasses.Wardrobe is the only company that has built designer relationships facil-itating receiving merchandise at the same time as department stores. We

rent at approximately 10% of retail pricing.

WHAT’S ONBig Love

Costume Designer:CHRIS

KARVONIDES

Criminal MindsCostume Designer:CATHERINE

THOMAS

How I MetYour Mother

Costume Designer:SUSANNA PUISTO

My Name Is EarlCostume Designer:GIOVANNA

OTTOBRE-MELTON

E-Ring Costume Designer:

MAGALI GUIDASCIAssistant Designer:

YASMINE ABRAHAM

Commander in Chief

Costume Designer:VICKI SANCHEZ

InvasionCostume Designer:CHRISTINE

PETERS

Ghost WhispererCostume Designer:

JOSEPH PORRO

RomeCostume Designer:

APRIL FERRY

Everybody Hates Chris

Costume Designer:DARRYLEJOHNSON

Bones Costume Designer:

BOBBIE READ


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Aeon FluxCostume Designer:

BEATRIX ARUNAPASZTOR

Assistant Designer:ALEXIS SCOTT

The Family StoneCostume Designer:

SHAY CUNLIFFE

Rent (1980’s) CostumeDesigner:

AGGIE RODGERS

Fun With Dick and JaneCostume Designer:JULIE WEISSAssistant Designer: JOHN PRAY

The Chronicles of Narnia

Costume Designer:ISIS MUSSENDEN

Assistant Designer: KIMBERLY ADAMS

Memoirs of a Geisha

Costume Designer:COLLEEN ATWOOD

Assistant Designer: FELIPE SANCHEZ

Jarhead Costume Designer:

ALBERT WOLSKY

Assistant Designer: GEORGE LITTLE

Rumor Has ItCostume Designer:

KYM BARRETT Assistant Designer:

HOLLY DAVIS

The New WorldCostume Designer:JACQUELINE

WEST

Walk the LineCostume Designer:

ARIANNE PHILLIPS

Assistant Designer: CARLOS ROSARIO

BrokebackMountain

Costume Designer:MARIT ALLEN

WHAT’S OUT


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Above: Designer Irene Sharaff (left) with Lily Fondafitting a gown for Elizabeth Taylor in Cleopatra

SCRAPBOOK

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buenavistapicturesawards.com© Buena Vista Pictures Distribution and Hyde Park Entertainment, Inc.

for your consideration

______________________

BEST COSTUME DESIGN______________________

Nancy Steiner

“...‘Shopgirl,’ which is both funny and sweetly sad,aims for something other than salaciousness or

sentimentality. It is partly about how the specter of lovecan give ordinary life a feeling of risk and enchantment,

a process that Mr. Tucker discreetly recapitulates onscreen...Claire Danes’ performance is flawless.”

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The Costume Designer Fall 05