The Costume Designer Spring 12

Spring 2012 The Costume Designer 3
COSTUME DESIGNERS GUILD

11969 Ventura Blvd., First Floor
Studio City, CA 91604
phone: 818.752.2400 fax: 818.752.2402
costumedesignersguild.com
GENERAL CDG CORRESPONDENCE
cdgia@costumedesignersguild.com
COVER
CD Carol Ramseys gown for Vera Evans (Olga
Kurylenko) in Magic City. Built by Mary Ellen Fields
at Bill Hargate Costumes. Photo: Greg Williams,
2011 Starz Entertainment, LLC. All rights reserved.
Editors Note . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Presidents Letter
Executive Director
Labor Report
The Costume Department . . . . . . . . . . . . . . . 12
Meet the Illustrators
History of Dress
In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Location: Shreveport
Boldface Names
Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
DEPARTMENTS
FEATURES
Past Perfect . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Interest in period costuming is at an all-time high;
we examine what is driving the trend.
Not So Far, Far Away . . . . . . . . . . . . . . . . . . 22
A peek inside the CDGs growth at Comic-Con from 2005 to present.
vol. 8, issue 2
16 16 22
Above, center: Illustration by ACD and
Illustrator Lois DeArmond
4 The Costume Designer Spring 2012
EDITORS NOTE
EDITOR-AT-LARGE
Anna Wyckoff
ASSOCIATE EDITOR
Bonnie Nipar
PRESIDENT
Mary Rose
mrose@cdgia.com
VICE PRESIDENT
Van Broughton Ramsey
vramsey@cdgia.com
SECRETARY
Beth Pasternak
bpasternak@cdgia.com
TREASURER
Marilyn Matthews
mmatthews@cdgia.com
EXECUTIVE BOARD
Deena Appel
dappel@cdgia.com
April Ferry
aferry@cdgia.com
Salvador Perez
sperez@cdgia.com
Cliff Chally
cchally@cdgia.com
Brigitta Romanov (ACD)
bromanov@cdgia.com
Felipe Sanchez (Illustrators)
fsanchez@cdgia.com
BOARD ALTERNATES
Robert Blackman
rblackman@cdgia.com
Julie Weiss
jweiss@cdgia.com
Mark Bridges
mbridges@cdgia.com
Sharon Day
sday@cdgia.com
BOARD OF TRUSTEES
Peter Flaherty
pflaherty@cdgia.com
Jacqueline Saint Anne
jsaintanne@cdgia.com
Karyn Wagner
kwagner@cdgia.com
EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@cdgia.com
MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington
shuntington@cdgia.com
RECEPTIONIST/SECRETARY
Cheryl Marshall
cmarshall@cdgia.com
PUBLISHER
IngleDodd Publishing
ADVERTISING DIRECTOR
Dan Dodd 310.207.4410 x236
Advertising@IngleDodd.com
hen I was asked to edit our
spring issue, the first thought
that came to mind is that
this is a great time to be a
Costume Designer.
I am tickled by the opinions buzzing
around mesnippets of conversation and
dialogue drifting through offices and coffee
houses, argued in articles, idolized in maga-
zines, and dissected on blogs. At no other
time that I can think of has Costume Design sparked such
fervent opinions.
Costumes can convey mood and personality in a few
frames, or through the luxurious development of a character
over several seasons.
The public wants in. Their appetite is whet. They sud-
denly realize they are no longer limited by the familiar visual
vocabulary of t-shirts and jeans.
They have inspiration and aspiration. They can deliberate
over Joan Harriss ticking bombshell barely concealed in snug
sweaters and pencil skirts in Mad Men, or the demure snooti-
ness of Lady Mary Crawleys lavishly detailed, empire-waisted
frocks in Downton Abbey.
Nor are men immune to options like Chalkys brassy
three-piece suits in Boardwalk Empire, or Ike Evans elegant
nod to the Rat Pack by way of Marcello Mastroianni in Magic
City. Is it any wonder that for the first time in decades men
are sporting mustaches and hats? Viewers seem invested in
the past, but interestingly, not as an end unto itself, but as a
prism to more deeply appreciate the present time and their
own lives.
Nostalgia is, of course, not their only option. Because we
are Costume Designers, the future is as fertile a field for inspi-
ration as the past. This issue also marks the expansion of our
presence in the kaleidoscopic circus that is Comic-Con, where
equally ardent supporters are vividly enthusiastic.
Across the board, the question I have tried to answer is,
Why? While a sea of factors have certainly converged to
foment the latest trends, the answer is likely something sim-
ple: Audiences are passionate because you are passionate, and
that my dear readers, is something to celebrate.
Anna Wyckoff
fashionpirate@aol.com
W
STACY ELLEN RICH
(Co-Contributor to Boldface Names)
Stacy Ellen Rich joined the CDG in
2005 and is thrilled to be involved with
the magazine. Her design career began
with study in Florence, Italy, and flour-
ished within the sphere of Chicago
Theater, which catapulted her into the
world of film. The journey has seen her
through many amazing experiences in
medias as varied as film, performance
art and music video. Additionally,
Richs designs have been on view in
the Whitney Museum of American Art
in New York City and the Tate Modern
in London. It is her pleasure to assist in
compiling the fantastic array of acco-
lades earned by our Guild members.
Contributors
BONNIE NIPAR
(Associate Editor, Nominees)
Joined the Guild in 1997 and
works as a Costume Designer
for television. Born and raised
in Pittsburgh, she was an art
student at Carnegie Mellon
before moving to Los Angeles
and entering the industry. A
huge fan of the CDG maga-
zine, Nipar happily took over
four recurring columns. With
her sense of wanderlust, Nipar
enjoys searching for the trea-
sures of Locations, and also
finds Its a treat to honor the
latest accomplishments of our
peers.
ROBIN RICHESSON
(History of Dress, Illustrator)
Joined the Guild in 1992 and
works currently as a costume
illustrator, a storyboard artist,
and an educator. I trained
to work as an illustrator for
print (publishing) so when
the CDG began the magazine,
I was pleased to be asked to
illustrate for it. I love work-
ing in film, but I have to
admit, I missed seeing my
work in print! The History of
Dress column is a great way
for me to learn more about
clothing and participate in
this publication.
MARCY FROEHLICH
(History of Dress, text)
Joined the Guild in 1992
fresh from New York and
Broadway. Her designs have
run the gamut from theater
and opera to film and TV,
from Waiting for Godot to
the Miss America Pageant!
She is also a co-author (with
Barbara Inglehart and Pamela
Shaw) of Shopping LA: The
Insiders Sourcebook for Film
& Fashion. Froehlich has long
had an interest in historical
costume and research, so she
is delighted to contribute to
the magazine in this way.
JACQUELINE SAINT ANNE
(Not So Far, Far Away) The
Emmy Award-wnning Costume
Designer, and former President
of the CDG, continues to
serve the Guild as a Trustee.
Born in Panama and educat-
ed in Europe and the United
States, she earned her masters
from The Ring Theatre at the
University of Miami. She has
designed for film, video, tele-
vision, webisodes and mobi-
sodes, ballet, IMAX, opera
and theater. Chronicling our
Illustrator members since the
very first issue, Saint Anne is
always a welcome contributor.
BRYAN KOPP
(Meet the Illustrators) Has a background
in theater, which lead to a Bachelors
in Fashion Design and Marketing from
IADT in Tampa, FL. In 2008, he made
the transition from working in fashion
in NYC to Costume Design in LA and
hasnt looked back. A busy illustrator,
Kopp aspires to eventually work up
the ladder to CD. I love that in the
short time Ive been in 892, Ive been
able to sketch many worlds and styles,
from period to present, alongside great
CDsexpressing their point of view and
taking my illustrating to a new level with
every character. He is honored to be
asked to contribute to his unions maga-
zine to spotlight his fellow illustrators.
Our newest contributors:

Dear Friends and Colleagues,
Perhaps you will remember when Deena Appel, the longtime Board member and passionately dedicated
editor of the CDG magazine The Costume Designer, could no longer continue as editor of our beloved
publication. Since Deenas departure, our magazine has undergone several changes. Our last issue was
guest-edited by then-CDG Communications Director Gina Silverstein, who helped make sure the issue
lived up to the high standards set by Deena, our Board, and our members. We thank herand her hus-
band Steven, who did some great pro bono photographyfor their valuable contribution. You may have
noticed the spring issue you are reading includes contributions from a group of members who stepped in
as volunteers and got the issue out on time, at a level that makes our Guild proud. I want to thank those
members whose hard work ensured we met our deadline; their loyal gestures did not go unnoticed or
unappreciated. In the near future, we would like to have a permanent editor, who may even come from
that group of volunteers. I could name all of them, but prefer you please read the credits carefully to see
who has written what. If you have any suggestions or comments, please let us know.
Speaking of volunteers, we really are blessed with so many members giving their time. Without their
generous service, I doubt the CDG could function as we donot only with the magazine, but also with
many events were involved in. For instance, this years Comic-Con Committee had trouble finding a
replacement for its Chair, who couldnt continue when she landed a big job ... when Marianne Parker and
Genevieve Tyrrell heard the news, they came forward to take over as Co-Chairs, another demonstration
of our members dedication. Another great example: Sal Perezs career has kept him so busy that he was
unable to tend to our directory, which would have gone unpublished until Christine Cover Ferro stepped
in as editor. We werent the only ones thrilled. IngleDodd Publishing, who puts out our magazine, news-
letter and directory, was happy to say the least, since they had already sold ads for the directory and were
becoming quite concerned about the situation.
Unlike the Annual Motion Picture Costume Exhibition, where the FIDM Archive staff do a wonderful job meticulously
dressing the mannequins for the exhibition, the joint FIDM/ATAS 6th Annual Outstanding Art of Television Costume Design
Exhibition, which I created and am a guest curator of, could never have been done without the tremendous hard work of
Costume Designers and costumers who offered their services. All mannequins were chosen by our designers and dressed
by the volunteer designers with love. For pre-production
this year, I enjoyed the perk of having two volunteer assis-
tants, Kim Ngo and Araceli Gomez, help out. I havent
enjoyed that luxury since I stopped working on shows a
long time ago.
The FIDM/ATAS Joint Evite for this exhibition will be
sent out by the middle of June. I have a great feeling that
of the last five, this exhibition will be the best. Special
thanks to the hard work of FIDM Creative Director
Horacio Avila and his crew for meeting my wishes,
demands, and big requests. He certainly lives up to his
title, and I would like to express my gratitude here.
See you all at opening gala
Mary Rose
mrose@cdgia.com
PRESIDENTS LETTER
union label
WE APPRECIATE THE ONGOING
SUPPORT OF OUR CORPORATE SPONSORS
DIAMOND LEVEL
SAPPHIRE LEVEL
RUBY LEVEL
Dear Members,
As we approach the beginning of summer, the calendar is filling up with exciting events.
We kick off the season with our District No. 2 Convention in Reno, Nev., June 2224, where your elected
delegates will meet with other delegates from Nevada, Arizona and Hawaii to conduct the business of the
District.
This summer also holds a trip to the General Executive Board Meetings in Vancouver, Canada, for me and
CDG President Mary Rose. The business of the International Alliance is done at these gatherings, and it is always
good to meet with so many other dedicated union leaders.
In late June and July, the new fall TV series gets rolling and film production goes into high gear. This year,
many more of our members will be working, as production returns to full schedules after several challenging
economic years.
But its not all work and no play.
The Guild will once again participate with FIDM and ATAS in the spectacular 6th Annual Outstanding Art
of Television Costume Design Exhibition, opening July 28 at FIDM. The event will be kicked off with a gala,
invitation-only Emmy Nominee Reception, then open to the public beginning July 31. Dont miss this opportu-
nity to view your favorite TV costumes up close.
The Costume Designers Guild will also be present again this year at Comic-Con in San Diego July 1214. Our
panels will include film and TV designers discussing the Art of Costume Design in the sci-fi and fantasy genres. You
can look forward to seeing members of the Guild circulating in the Grand Hall of the Convention Center, awarding
ribbons to surprised and grateful fans with outstanding costumes.
The Guild will also be attending the Comic-Con Masquerade Ball on the night of Saturday the 14th, and present-
ing our CDG Award for Excellence.
I hope that with your busy personal summer schedules you will be able to join us in participating in a celebra-
tion of Costume Design at these events.
Travel safely and wisely during these summer months, wherever your travels take you ...
Best wishes,
Rachael Stanley
rstanley@cdgia.com
EXECUTIVE DIRECTOR
union label
BOLDFACE NAMES
2012 CALENDAR
June
9 UCLA Design Showcase West
18 General Membership Meeting
22-24 Distict 2 Convention in Reno,
Nevada
July
4 Union holiday
12-14 Comic-Con Convention
19 Emmy nominations announced
28 FIDM/ATAS Outstanding Art
of Television Costume Design
Exhibition
31 FIDM/ATAS exhibit open to
public thru Oct. 20
1890s: A Labor Struggle That
Became IATSE
In 1893, show business was
confined almost entirely to the
stage. Organizing began with
the first strike, which resulted
in the victory of $1 a day wages
for the workers of Local One.
During the next 20 years, stage
carpenters, property men and
electricians pioneered a drive for union recog-
nition in the theatreand finally established
their craft as one of the highest paid and most
respected in America. The first Canadian local
was admitted in 1898, and we were re-designat-
ed as an international union. Beginning in 1908,
soon after the birth of the film industry, projec-
tionists throughout the continent were brought
into the I.A. fold; again, a battle for recogni-
tion was fought and won. Later, in the 1920s,
union benefits were extended to Hollywood
studios and the vast network of film exchanges
throughout the United States and Canada. And
finally, as soon as commercial television got a
start, the I.A. assumed its natural place in this
newest field of visual entertainment.
Today, in legitimate theatres, concert halls,
art and cultural centers, auditoriums, arenas and
other similar facilities, not to mention shows that
travel from one city to another including indus-
trial productions, I.A. members play an essential
role. They serve backstage as lighting techni-
cians, carpenters, special effects technicians,
riggers, prop handlers, audiovisual technicians,
wardrobe personnel, makeup artists and hairstyl-
ists. Front-of-the-house roles include ushers, tick-
et-takers, doormen and maintenance employees.
I.A. members are also integral to the pro-
duction, distribution and exhibition of film and
video. Among the classifications of workers we
represent in this field are art directors, story ana-
lysts, animators, set designers and set decorators,
scenic artists, graphic artists, set painters, grips,
electricians, property persons, set builders,
teachers, costumers, makeup artists, hairstylists,
motion picture and still camerapersons, sound
technicians, editors, script supervisors, labora-
tory technicians, projectionists, utility workers,
first aid employees, inspection, shipping, book-
ing and other distribution employees.
This is an excerpt taken from the I.A.T.S.E.
website, where you can also find a historical
timeline with archival images depicting its his-
tory. Also elaborating on the early days of our
Local One are powerful images of how it all
came to be.
In Solidarity,
Betty Madden
bmadden@cdgia.com
LABOR REPORT
union label
THE COSTUME DEPARTMENT
MEET THE
ILLUSTRATORS
MARIANO AGUSTINO DIAZ may be one of the newest
Illustrators in the CDG, but he has been active in cinema for nearly
two decades.
Born in Mendoza, a winemaking town in the Andes foothills
of Argentina, Diaz began teaching himself various forms of artistic
expression at the age of 3. His dedication and persistence have
paid off handsomely. After arriving in Los Angeles, Diazs formi-
dable talents in drawing, painting, and sculpting secured him a
four-year apprenticeship with the Warner Bros. Art Department.
At 20, Diaz became the youngest illustrator inducted into
IATSE. This led to a nine-film collaboration with CD Bob Ringwood.
Diaz notes, I have two styles: raw pencil sketches and fin-
ished Photoshopped concepts. When working digitally, he pre-
fers using a large Wacom tablet for increased fluidity and realism.
A conceptual artist at heart, Diaz delights in writing and
directing his own projects when working outside of costume.
marianoadiaz@gmail.com + http://marianoagustinodiaz.com
Revolution/CD Ha Nguyen (2012)
Doctor Strange/Brad Peytons Strange Warner Bros. (2011)
LUCAS CULSHAW blends talent with almost military disci-
pline in support of the Costume Designer.
Raised in what he calls the quiet farmland, Culshaw
escaped into the world of comic books during his childhood and
eventually transformed his hobby into a career. First, he studied
at the Joe Kubert School of Cartoon and Graphic Art, where he
forged his personal motto: Draw all the time. All. The. Time.
Culshaw later moved to Los Angeles and transitioned into
Costume Illustration. CD Karen Mann says, ... shoots are a whirl-
wind ... I have sent notes to Lucas at 10 p.m. and he has managed
to create sensational illustrations by 5 a.m.
Resourceful as well as adaptable, Culshaw embraces the
computer-based illustration movement, enjoying the efficiency of
mixing paper and tablet media.
He spends his free time hiking and making short and feature
length films. Among his projects is the 2011 science fiction adven-
ture Wasteland.
lucasculshaw@gmail.com + www.lucasculshaw.com
CONSTANTINE SEKERIS hails from Greece, where
he began sketching under his grandfathers tutelage. At 7, his
father relocated his family to Los Angeles.
This pivotal move enabled Sekeris to attend Art Center
College of Design. There he discovered a proclivity for crea-
ture design and came to the attention of Quantum Creation
FX Studios. They introduced Sekeris to his specialty, costume
design illustration.
Observing Sekeris work, one recognizes a wink to artist
Drew Struzan coupled with a distinctive drama created by
lifelike textures and an edgy mood. He uses Photoshop and
ZBrush to provide complete wardrobe visuals before the first
stitch is sewn.
CD Christine Bieselin Clark comments, Constantine has
a comprehension of function which elevates his illustrations
beyond conceptual. They can be also used to inform pattern-
ing and details for the workroom.
In July, he is releasing a book published by Design
Studio Press entitled MetamorFX: Art of Constantine Sekeris.
csconstantine1@gmail.com
Bryan Kopp
brynn921@gmail.com
G.I. Joe: Retaliation/CD Louise Mingenbach
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the 510 in Black at wholesale pricing, contact: Tom Tanno, ttanno1@aol.
com, 818-907-9950 (o) 818-515-8079 (mobile), Blundstone, USA.
It is the brands DNA.
Blundstone: Tough by Nature.
It is no accident that these boots were made
to be tough on the outside but soft on the
inside, they were developed this way over the
last one hundred and forty years in response
to the Australian environment.
HISTORY OF DRESS 1840 1850
MITTS: Fingerless gloves often made of net, varying in
length from wrist to mid-arm.
PALETOT: A unisex French term referring to a
short overcoat with side seams, often without a
back vent. For women the garment developed in
response to skirts growing ever fuller. It can also
refer to a cloak with three capes and arm slits.
RAILROAD TROUSERS: Vertically striped
pants. (See Chesterfield for picture)
SWISS BELT: A belt wider in the center
front and pointed at the top and bottom.
TARLATAN: A thin and heavily sized
plain weave cotton fabric resembling stiff
cheesecloth.
VICTORIA SLEEVE: A fitted sleeve with a
puff at the elbow.
WELLINGTON HAT: A top hat that bells out at the
crown tip. In the 1800s, top hats often mirrored the shape of
womens skirts.

ADELAIDE BOOT: A flat,
side-laced ankle boot, some-
times with a patent toe and
heel. Named after
Adelaide of Saxe-Coburg (the Queen
Consort of William IV), it modestly covered a wom-
ans ankle when the crinoline hoop skirts that
came into style tipped up unexpectedly.
BERTHA: A wide collar on a dropped shoulder,
often with lace ruffles, or other decorations, cov-
ering the top of the sleeves. Originally named
after Charlemagnes mother, who was said to
be demure.
CHESTERFIELD: An overcoat named
after the Earl of Chesterfield that has no
waist seam, but can be shaped at the sides.
Either single- or double-breasted, other fea-
tures include a short back vent and often a
velvet collar.
ELIAS HOWE: Obtained the first U.S. patent for a sew-
ing machine with a lockstitch design in 1846. Isaac Singer
copied his invention and eventually paid Howe royalties
following a court ruling.
JEANNETTE: A choker necklace of velvet or hair, with a
cross or heart at the center front.
MACINTOSH: A short frock-style coat without seams
made of a waterproof India rubber cloth. In early versions,
the fabric smelled foul and
was unfavorably comment-
ed upon in public places.
Other liabilities included
a tendency to melt in
hot weather until the
1840s, when the rub-
ber was vulcanized.
The style is named after
Charles Macintosh, who
carried the patent and
first manufactured the
waterproof fabric.
Illustrations by Robin Richesson
rrichesson@cdgia.com
Text by Marcy Froehlich
mfroehlich@cdgia.com
THE COSTUME DEPARTMENT
Earn a BFA in Fashion Design Study Costume Design as
a minor Choose millinery, shoe, and handbag design as
electives Research costume history in the 6,000-piece
Fashion Study Collection Cross disciplinary boundaries to
psychology, communication, graphic design, and animation.
Join the fashion revolution: mcd.woodbury.edu/fashiondesign
Alter
fashion
world!
t
h
e
Gown by: Stephen Ferradino, Class of 2010
Photo by: Volker Correll
Shameless/Courtesy Showtime
Mad Men
CD Janie Bryant
Summer 2011 The Costume Designer 17
PERFECT
A
survey of the decades Oscar costume
winners suggests that period films
have long been shrouded in cachet,
even when box-office numbers were
abysmal. In the not-so-distant past,
our cultural canons seemed set: reality television
ruled, costume budgets were scanty, and histori-
cal dramaswhile highly respectedwere musty,
fussy, and despite the corsets, rather unsexy. They
might fill any number of small art house theaters,
but general audiences and their eyeballs, in the
land that matters between the coasts, would never
watch.
At what point did the tide change? How did
we go from Jersey Shore to Boardwalk Empire?
Perhaps it has something to do with the surprising
number of young men, a highly desirable marketing
demographic, who first responded to the strong
male leads of HBOs episodic Rome, which debuted
in 2005, then Showtimes 2007 retort, The Tudors.
CD April Ferry says Rome audiences had long
found the period fascinating, but writer/producer
Bruno Hellers scope expanded to include the
common man, and that technique became a new
way of looking at history. Another key component
is described by CD Joan Bergin of The Tudors on
the website clothesonfilm.com. I had been work-
ing quite a bit on what the Americans call making
period costumes foxy.
It is perhaps the oldest adage: sex sells. But
when money talks, producers listen, and when
producers listen, advertisers spend.
Then came Mad Men.
CD Janie Bryant is a force. She is unabashed,
and that is part of her charm. She has been design-
ing sumptuously sleek ensembles for AMCs Mad
Men since 2007, and her work has come to epito-
mize successful Costume Design.
It is accompanied by public rec-
ognition and extends to ancillary
clothing lineslike her collections
for QVC, Banana Republic and a
capsule for Maidenform. But most
importantly, her design has infiltrat-
ed the hearts of the public. Bryant
offers several theories why.
When describing the clothing
of the period in which Mad Men
is set, the 1960s, Bryant calls the look, American iconic clas-
sic silhouettes. Enveloped by Kennedys Camelot and the
glamorous aura it cast, she feels it represents the country at
its best, and that audiences have responded to the positivity
the era radiates. Also, because casual clothing is presently
inescapable, Bryant feels Mad Men became a visual education
in style, and has inspired younger people to dress up for the
first time and older people to dress up again. Vintage clothing
no longer seemed dingy because Mad Mens clothes exude a
mood both hip and fresh.
The proliferation of online information and interest has
also helped inform audiencesfrom articles, to blogs, to fan
websites that focus entirely on interpreting costume design.
Bryant comments that because the silhouettes in Mad Men are
still used in mens and womens fashion today, the shapes are
not incomprehensible to the modern eye. It didnt hurt that
the garments hailed from the not-so-distant past, or that fash-
ion designers caught the ball lobbed at them and ran with it,
sending Mad Meninspired looks down runways from Paris to
New York. Bryant remarks that Costume Design and fashion
design go hand in hand. One feeds the other and vice versa.
With the popularity of Mad Men, period costume entered
the mainstream but was not yet fully realized. Enter HBOs
John Adams, the 2008 miniseries designed by CD Donna
Zakowska. With an effect not to be underestimatedespecial-
ly upon those with the power to greenlightthis miniseries
wild card was met with surprising yet unequivocal success.
But in 2010 when director Martin Scorsese signed on as
executive producer of the HBO series Boardwalk Empire,
naysayers noticed. His name carried with it a certain gravitas.
It set the bar very high, says CD Lisa Padovani who co-
designs the celebrated series with CD John Dunn. Dunn and
Padovani, have been lauded, applauded, and awarded. In the
midst of their third season, they feel they are on the next leg
of a 24-hour feature film.
Dunn describes the cultural landscape that has embraced
their efforts as an intensely technological era.... I think
Americans are troubled and at times like this, they
like to look back and see where they came from and
what theyre made of. Thats a large part of the rea-
son the writers are interested in period pieces right
now, because theres a sort of confusion about where
were supposed to fit in and move forward to.
Padovani is less cerebral. I actually feel its a
little more about dollars and cents. She views the
boom in historical programming as a trend; which
once proved profitable was immediately adopted
by the mainstream. The following year was epic,
P
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BY ANNA WYCKOFF
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with a flood of period offerings. Standouts included The Borgias
(CD Gabriella Pescucci) and Mildred Pierce (CD Ann Roth.) 2011
was punctuated by the unmitigated success of Downton Abbey
(CD Susannah Buxton then CD Rosalind Ebbutt); when the British
costume drama exploded onto American shores, it confirmed the
trend had legs.
CD Carol Ramsey, whose show Magic City on Starz is the latest
historic drama to capture the spotlight, further explains the phe-
nomenon. Ramsey feels the public has always had an appetite for
period films and television, but Hollywood is cyclical. She believes
great shows are the scripts, the acting, the directing, and the visu-
als combined, and cable networks have led the way because they
are willing to take risks with content and spend money.
CD and part-time assistant professor at Parsons/The New
School for Design Mimi Maxmen has an additional thought. Now
characters get undressed all the time. So, we see the insides of
garments...and that is something new. I
think that appeals to this culture as well.
Undergarments are sexy, theyre pretty,
and theyre different ... and people want to
see it. Thats how things are written now.
High definition and the ability to see all the
details have made this more possible.
Perhaps another force behind the
enthusiasm surrounding historical shows
is that audiences have become more accus-
tomed to the way period programs look.
18 The Costume Designer Summer 2011
Magic City
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Summer 2011 The Costume Designer 19
Helen Uffner, owner of the namesake New York costume house,
is convinced the audiences eye has become more sophisticated.
When we started, Uffner says, there was no eBay, and there
werent as many online stores...but now you have flea markets
and vintage shows. I think its a little bit easier, but albeit more
expensive [to buy period clothing] and its more acceptable to
wear it. Additionally, she suggests that amidst the daily tsunami
of electronics we interface with, vintage clothing carries with it
a personable air of nostalgia.
In the days of the leaning boards when CD Adrian designed
the gowns for Garbo in Queen Christina or Norma Shearer in
Marie Antoinette, fabulousness, not accuracy, reigned supreme.
This approach continued for decades until the early 1950s,
when the Neo-realist movement advocated visual accuracy
to help actors more completely inhabit a character. CD Piero
Tosis costumes for Viscontis The Leopard in 1963 and Death
in Venice in 1971 exemplify the apotheosis of this aesthetic, as
does 1975s Barry Lyndon, designed by CD Milena Canonero,
whose panniers and cutaway coats are considered a touchtone
of costume veracity to this day.
Boardwalk Empires CD John Dunn says he and CD Lisa
Padovani work hard to give each character a distinct look so
audiences can easily track and follow their stories. Padovani
explains, We are very aware of the color and all the detail, it
photographs well. I think people respond to beauty and become
emotionally invested in the show if its a feast for the eyes.
Dunn feels the way the 1920s silhouette is worn and fits the
body is also approachable to contemporary audiences.
On the other hand, CD Carol Ramsey says the detail of
Magic Citys wardrobe is important, but its really more about
creating the large structure of the show, the grand concepts.
What is the arc of the characters and the arc of the whole
series? Ramsey, like the other designers, is not only trying to
Boardwalk Empire
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CD John Dunn
evoke a specific time but also a place, in her instance
Miami Beachs Miramar Playa Hotel in 1959. She designs
and builds costumes for most of the lead actors but also
mixes in historical garments. Were still in a time where
we can use a lot of the real thing. When you have a good
mix of new construction and real vintage garments, it gives
it an authentic feel, and an important part of my process is
deciding on that mix and how thats going to work.
Period Costume Design demands a delicate balance
between fact and fiction. Dunn and Padovani address
this tension by building garments and trying to bring
them down a bit so they dont stand out as too crisp and new in a
sea of vintage clothes.
However, in a distinctly modern mash up of synthesis, savvy,
and strategy, there is also a neat addendum: the technique of com-
bining several periods to define a character.
When CD Jacqueline Durran designed the now-renowned green
dress Kiera Knightley wears in 2007s Atonement, she knew it would
figure prominently in the film because it was important in the book.
But she never imagined the response she would receive. Director Joe
Wright had asked her to create period clothing for the modern eye.
She in turn took all aspects of the dress required by the scripta bare
back and a sweeping hem, and combined them in a way that prob-
ably would never have been done in the 1930s. It was a conscious
decision to not do it in a truly period way, Durran explains.
Working with the same director on 2012s Anna Karenina, also
starring Kiera Knightley, Durran says that this time he wanted the
1870s mixed with the aesthetic of the New Look. Joe wanted me to
take away all of the 1870s detailing and concentrate instead on the
silhouette. I combined the strength and clearness of 1950s lines with
the 1870s, and made the two meet in the middle. She
describes the charge as ... a new kind of framework
that dictates your choices. Ultimately, the director
hopes that the costumes are appealing to a modern
sensibility and the audience wouldnt necessarily know
why, but they feel as though they are connected.
Between elevating a projects prestige and more
deeply investing the public in both feature films and
television, Costume Design has suddenly become
topical. But despite the digital revolution, there are
still few shortcuts. Costume Design, particularly
when historically based, remains a needle and thread game.
CD Colleen Atwood feels that studios and networks are sim-
ply serving the material that audiences want. Doing good work is
what is most important, she says, The recognition for Costume
has increased with all the new media, and people are more inter-
ested than they were even five years ago. Accompanying that
interest and discourse is a more visible presence of our craft. CD
Isis Mussenden feels that it is necessary for CDs to insist on writ-
ten credit when our designs are being highlighted in a magazine or
newspaper. One would think this is automatic, but as many of us
have learned the hard way, it is not.
Many Costume Designers are content to sit just outside of
the spotlight and let their work speak for them, but in this age
of omnipresent technology, shyness may be detrimental to their
career, and Costume Design as a whole. Stepping up and taking
credit may be anathema to some, but it is a vital component of not
only being properly credited for ones work, but also being appro-
priately compensated. Perhaps we can exploit this new golden age
of media where accuracy and fabulousness coexist.
Anna Karenina
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CD Jacqueline Durran
THANK YOU TO JUDIANNA MAKOVSKY FOR ASKING ME
TO MAKE THE MOCKINGJAY PIN FOR THE HUNGER GAMES

DANA SCHNEIDER
www.danaschneider.com
310-435-6694
Thats the visual music for fans of Comic-Con, a four-day event
held annually at the San Diego Convention Center. What began as
a small gathering of comics and graphic novel enthusiasts is now a
juggernaut which encompasses everything from anime and manga
to video games, webcomics, fantasy novels, and film/television pro-
duction, to name a few. Today, this collision of superheroes, vam-
pires, and every other imaginable creature is the largest convention
in the Americas, and fourth largest in the world, with attendance
hitting 130,000 in 2010.
The Costume Designers Guild began participating at Comic-
Con in 2006 when former CDG President, Dr. Deborah Nadoolman
Landis, recognized both the fans passion for Costume Design and
the opportunity for CDG Designers and Illustrators to put a face to
their work. To date, more than 100 CDG members have spoken
and presented their work at Comic-Con.
CDs Mary Malin and Susan Nininger of the Executive Board
were appointed by Landis to initiate our presence there, a posi-
tion which Nininger continued to champion through 2011. In
2005, Landis negotiated Sony Pictures sponsorship of CD James
Acheson, whose Spiderman costumes were the subject of an
enthusiastic Q&A with fans. Encouraged by his warm reception,
Nininger and her colleagues cultivated the CDG presence until
it expanded from a single designer event to three costume pan-
els which focus on numerous aspects of Costume Design and
Illustration. Their popularity has consistently attracted audiences
of up to 300 people for each panel, after which panelists can be
found signing autographs for fans. CDG Costume Design panel
attendees tend to be eccentric, colorful, and thrilled to be in the
same room with the Costume Designers and Illustrators who have
brought their favorite characters to life. Every year while walking
through the halls, Landis is swarmed like a rock star by Indiana
Jones fans, known as Indyfans. Each subsequent years participa-
tion at Comic-Con has required the joint efforts of about 40 Guild
members.
The CDG Hall Costume Awards stir great excitement among
convention goers: from Thursday through Saturday of the show,
POW! ZAP* ZING# BOFF % ZOWIE!
NOT SO FAR, FAR AWAY
by Jacqueline Saint Anne
Backstage with the CDG Favorite Costume Award winners, entry title, Amaterasu, Where Are You? Comprised of a group of friends
from across the country. CDG members L to R: Rita Ryack (seated), Deborah Landis, Mary Malin, Mona May, Liuba Randolph,
Susan Nininger (seated), Aimee McCue, and Mary Vogt. (2007)
CDG Member-Delegates roam the halls seeking their personal
favorites among the self-costumed fans. These original out-
fits are awarded the highly sought-after CDG Hall Costume
Award and are also celebrated on the CDG website.
A Masquerade is held on the final night of the Convention,
and allows fans to reenact scenes on stage while wearing
their personal designs. The CDG also judges the Conventions
coveted Best Costume Award, and a statuette and prize
sponsored by International Silks and Woolens is presented to
the winner before an audience of 3,000 fans.
Costume Illustrator Phillip Boutte Jr., who served as
Co-Chair of the CDG Committee from 2009 to 2011, contends
that Comic-Con is a great educational experience for CDG
members, providing a true glimpse into pop culture trends
and a visual feast for hardcore people watchers. CD Sanja
Hays notes that the atmosphere at Comic-Con is a revealing
way to observe the continuum of film at all stagesfrom ini-
tial announcement to final impact on an audience.
The CDG has established its presence at Comic-Con
in an effort to raise awareness of our work, maintain our
claim in the creative process, and to demonstrate how we
are key contributors and filmmakers. In 2012, we welcome
CDs Marianne Parker and Genevieve Tyrrell as the new
Co-Chairs of our Comic-Con Committee. They have fantastic
shoes to fill.
This years Comic-Con will be held July 12-15, 2012.
Left: CD Deborah Landis with Indyfans.
(2007)
Above: CD Ha Nguyen bestows a fan with the
CDG Hall Costume Award for his self-made
superhero costume with a cape made out of
slips of paper. (2010)
Below: Two fans receive CDG Hall Costume
Awards for their self-made costumes and
character portrayal from CD Susan Nininger.
(2010)
1430 Broadway, 20th Floor, New York, New York 10018
Tel: 212.730.1770 Fax: 212.730.7809
www.iatse-intl.org
Matthew D. Loeb
I NTE RNATI O NA L PRE S I D E NT
Ti mot hy Magee
F I R ST V I C E P R E S I D E NT
Mi chael Barnes
SECOND VI CE PRESI DENT
J. Wal t er Cahi l l
THI RD VI CE PRESI DENT
Thom Davi s
FOURTH VI CE PRESI DENT
Ant hony DePaul o
FI FTH VI CE PRESI DENT
Dami an Pet t i
SI XTH VI CE PRESI DENT
James B. Wood
G E N E RA L S E CRETA RY-TRE A S U RE R
Bri an J. Lawl or
SEVENTH VI CE PRESI DENT
Mi chael F. Mi l l er, Jr.
EI GHTH VI CE PRESI DENT
John T. Beckman, Jr.
NI NTH VI CE PRESI DENT
Dani el E. Di Tol l a
TENTH VI CE PRESI DENT
John Ford
EL EVENTH VI CE PRESI DENT
John M. Lewi s
TWEL FTH VI CE PRESI DENT
C. Faye Harper
I NTERNATI ONAL TRUSTEE
George Pal azzo
Kel l y Moon
CL C DEL EGATE
Thomas J. Cl ear y
Crai g Carl son
THI RTEENTH VI CE PRESI DENT
MALLS
Louisiana Boardwalk
540 Boardwalk Blvd., Bossier City, LA 71111
(318) 752-1455
Outlet stores include Banana Republic, Gap,
Guess, Lane Bryant, and Nike. For one-stop
shopping, its hard to beat the Bass Pro
Shop.
Mall St. Vincent
1133 St. Vincent Ave, Shreveport, LA 71104
(318) 227-9880
Anchored by Dillards and Sears, this higher
end local mall is still on the small side. Gap
and Banana Republic offer studio shopping
with restocking fees.
Pierre Bossier Mall
2950 East Texas St., Bossier City, LA 71111
(318) 747-5700
Anchor stores are Dillards, JCPenney, and
Sears.
Shoppes at Bellemead
6535 Youree Dr., Shreveport, LA 71105
(318) 222-2244
Ann Taylor Loft, Altard States, Coldwater
Creek, JoS. A. Banks, Talbots, and Talbots
Women are among the choices here.
University Place Shopping Center
7080 Youree Dr. (at E. 70th St.)
Shreveport, LA 71105
Bed, Bath and Beyond, Dicks, Dress Barn,
Payless Shoes, Kohls, DSW, Super Target,
and T.J. Maxx are this malls main vendors.
BOUTIQUES
Absolutely Abigails
(318) 219-0788
Eclectic art-driven apparel with many
one-of-a-kind items.
Cactus Trading Co.
(318) 524-2141
Chez Rivage
6012 Line Ave., Shreveport, LA 71106
(318) 869-2439
Best local designer boutique, with personal
services available.
Couleur Lingerie
855 Pierremont Rd., Shreveport, LA 71106
(318) 868-5851
A little bit of everything, including surgical
prosthesis and bras.
location, location, location:
in focus
Heart and Soul
107 E. Kings Hwy., Shreveport, LA 71104
(318) 865-1070
A unique shop with great denim lines;
film-friendly.
Imeldas Fine Shoes
(318) 865-0175
Stocks casual to evening shoes.
Knox Goodmans Boutique
714 Azalea Dr., Shreveport, LA 71106
(318) 861-3044
Ask for Knox, the perfectly coiffed owner,
or James, the delightful manager.
Rachelli
(318) 868-4788
Zos Boutique
(318) 670-3079
A newly remodeled shop with both
inexpensive and fashionable clothes.
MENSWEAR
Davis Big & Tall
2907 E. Texas St., Bossier City, LA 71111
(318) 742-2660
John Pickens
(318) 629-2080
Mens suits: ask for Steve Laurant, who will
meet you at this film-friendly shop during
off hours in a pinch.
JoS. A. Bank Clothiers
(318) 798-6811
Popes
748 Azalea Dr., Shreveport, LA 71106
(318) 868-1804
Best high-end business clothes in town. Like
a tiny, less moneyed Carroll and Co. Some
athletic-fit suiting is also available.
CHILDRENS
STORES
La Bambolina
(318) 861-1616
Stocks a range of childrens lines from classic
to fashion forward.
Moppet Shoppe
(318) 865-7655
Infant and childrens clothing with a tradition-
al Southern flair; monogramming available.
WESTERN WEAR
Cavenders Boot City
2340 Airline Dr., Bossier City, LA 71111
(318) 742-2323
Boots and clothing; film-friendly.
Ranchland
3025 Bert Kouns Industrial Loop
(318) 688-4291
Owner John Woodson is very film-friendly.

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Topps World of Western
3003 Tops Trail, Bossier City, LA 71112
(318) 746-1836
Film-friendly.
RESALE SHOPS
There are no vintage shops in Shreveport as
we know them, but several Goodwill stores.
The Goodwill at 8100 Jump Run has an
attached Unique Shoppe that sells new
clothing closeouts donated from local stores.
Contact manager Jacqueline Mason at
(318) 222-4342.
SPECIALTY
STORES
The Fun Shop
9434 Mansfield Rd., Shreveport, LA 71118
(318) 688-2482
Similar to Hollywood Toys & Costumes, but
with an X-rated room.
Hobby Lobby
1750 E. 70th St., Shreveport, LA 71105
(318) 797-7843
An amazing store with arts, crafts, and fabrics.
Closed Sun.
FABRIC STORES
Best Fabrics
2380 Barksdale Hwy., Bossier, LA 71112
(318) 549-0515
Primarily upholstery fabric and trim;
not film-friendly.
Hancock Fabrics
215 E. Kings Hwy., Shreveport, LA 71104
(318) 868-9635
RESTAURANTS/
BARS
2Johns Steak & Seafood
2151 Airline Dr., Bossier City, LA 71111
(318) 841-5646
Bossier Citys best steak, with a nightly
piano bar.
Athena Greek and Lebanese Grill
(318) 869-4260
Biscottis
(318) 865-4606
Open Monday through Saturday for lunch
only. Takeout and desserts are yummy.
Blind Tiger
120 Texas St., Shreveport, LA 71101
(318) 226-8747
Features Cajun specialties and huge stock of
Louisiana beers and good drinks.
Chianti
(318) 868-8866
Classic Italian food with a romantic
ambiance.
Columbia Caf
3030 Creswell Ave., Shreveport, LA 71104
(318) 425-3862
Excellent!
Copelands
1665 E. Burt Kouns Industrial Loop
(318) 797-0143
New Orleans-style cuisine.
Counter Culture
(13 locations)
Frozen yogurt.
Dahns Garden
(318) 865-5358
Vietnamese/Thai; low on atmosphere but
tasty food.
Indias Restaurant
(318) 868-7761
Good Indian fare; takeout available.
Noble Savage Tavern
417 Texas St., Shreveport, LA 71105
(318) 221-1781
Downtown bar with great food; a fun place
to go with a group.
Olive Street Bistro
1027 Olive St., Shreveport, LA 71101
(318) 221-4517
Italian cuisine; closed Sun.
Ristorante Giuseppe
(318) 869-4548
Tasty Italian food in a lovely setting; try the
delicious crabmeat tortino.
Rockin Rodeo
1003 Gould Dr., Bossier City, LA 71111
(318) 742-7888
Western bar/dance club that is a gold mine
for researching characters;
not to be missed.
Rollin in the Dough
1333 Captain Shreve Dr.
(318) 868-6836
Juicy burgers with homemade buns.
IN FOCUS
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Sake Sushi
(318) 795-8084
One of the few local sushi bars serving sake.
Southfield Grill
315 Southfield Rd., Shreveport, LA 71105
(318) 219-4148
Daily specials; breakfast served all day.
Superior Bar & Grill
(318) 869-3243
Mexican food; the best margaritas in town.
Superior Steakhouse
855 Pierremont Rd., Shreveport, LA 71106
(318) 219-4123
Fine dining; known for steaks and swanky
atmosphere.
Wine Country
(318) 629-9463
Good bistro fare with wine store and
gourmet cheese shop attached.
Live music Tue.-Thu.
Yeero Yeero
(318) 219-0027
Greek food; dine in or takeout.
MARKETS
Cushs Grocer & Market
9535 Ellerbe Rd., Shreveport, LA 71106
(318) 795-9006
Lunch available.
Fairfield Grocery and Market Caf
(318) 797-8134
Eat in or takeout; highly recommended.
Maxwells
4861 Line Ave. (at Pierremont),
(318) 865-3315
Small retail grocery store with the
best deli in town.
Sunshine Health Foods
(318) 219-4080
Mon.-Sat.: 9 a.m.-6 p.m. Closed Sun.
MISC.
Dr. Morreale, Podiatrist
The Foot Institute
1400 E. Bert Kouns Industrial Loop, Ste. 105
(318) 797-3668
Takes motion picture insurance.

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Hollywood Branch
817 N. Vine Street, Suite 200
Hollywood, CA 90038
Toll Free: 800 / 393-3833
Phone: 323 / 462-6447
Fax: 323 / 462-4411
Studio City Branch
11440 Ventura Blvd, Suite 101
Toll Free: 800 / 393-3833
Phone: 818 / 763-7005
Fax: 818 / 505-8407
Designing stylish...
Products and Services.
That make banking just a little easier!
For DETAILS, call us toll free at
1-800-393-3833 or visit us online at
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side show, by finding ways to bring you simple banking.
* Bill Pay - Convenient Money Management
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cards with REWARDS.
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For DETAILS, call us toll free at
1-800-393-3833 or visit us online at
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IN FOCUS
Leones Shoe Repair
(318) 221-0723
Very good and fast.
Manicures by Je at Spa Blu (in Sams Town Hotel)
315 Clyde Fant Pkwy., Shreveport, LA 71101
(318) 424-5616
Very good, works weekends.
Medical Massage Therapy by Amy Lowrey
Weight No More
1953 E. 70th St., Shreveport, LA 71105
Cell: (318) 655-3159
Fantastic. Available Sat. and Sun. by appointment.
Porters Dry Cleaners
(Several locations)
(318) 861-6161
Roadrunner Car Wash
(318) 861-7660
Mon.-Sat.: 8 a.m.-5 p.m. Closed Sun.
Sedona Day Spa at the Horseshoe Casino
711 Horseshoe Blvd., Bossier City, LA 71111
(318) 742-0711
Toni Gutman, Gutman Properties
Cell: (318) 349-9922
Goes the extra mile to find short-term rental homes.
Yongs Alterations
(318) 861-6400
Tue.-Fri.: 8 a.m.-6 p.m.; Sat.: 10 a.m.-5 p.m.
COSTUME/RACK RENTAL
Studio Ops Rental
2154 Midway St., Shreveport, LA 71108
(318) 635-6794
Contact: Wade Marshall. Cell: (318) 751-9453
Shreveports only rental house is really a prop house with limited
clothing options. Owned by Millennium Pictures, with their stock.
Wardrobe Wenches
4921 Jefferson Hwy., New Orleans, LA 70121
Contact: Jillian. Cell: (504) 782-4353
CONTRIBUTORS NOTE: Shopping options in Shreveport are
limited so do as much prep as possible in Los Angeles.
Some nearby cities for higher end designer shopping:
Dallas (3 hr), Baton Rouge (4 hr), and New Orleans (5 hr).
Compiled by
Bonnie Nipar, bnipar@cdgia.com
With special thanks to our contributors:
Sara Markowitz, Mary McLeod, Kimberly Adams,
Susanna Puisto, and Mary Davis
MOTION PICTURE COSTUME CO.
3811 VALHALLA DR.
BURBANK CA 91505
P. 818-557-1247 / F. 818-557-1695
WWW.MPCCWARDROBE.COM
IN FOCUS

IN FOCUS
BOLDFACE AT WORK
Pilot season has kept work at a steady pace, with CD Deena
Appel having just wrapped Malibu Country for ABCa show al-
ready generating buzz. CD Terry Gordon joined Appel for the
project to design her longtime client, Reba McEntire. Lily Tomlin
and Sara Rue join McEntire to star in the beach-set story of a newly
divorced singer who transplants her family from Nashville to Malibu
and strives to reignite her career while helping her three kids adjust
to their new life. CD Blair Levin just completed the VH1 pilot
Bounce, starring Dean Cain, Charlotte Ross and Kimberly Elise, with
ACD Lindsey Tervo-Clemmens assisting Levin in the new lo-
cally shot scripted series. CD Bonnie Nipar just wrapped the NBC
pilot Downwardly Mobile, reuniting Rosanne Barr and John Good-
man in a story about the residents of a mobile home park in Arizona
challenged by the economic downturn. CD Marissa Borsetto
just finished her sitcom pilot Super Fun Night for CBS, about three
nerdy girls trying to inject a little excitement into their lives. The
locally shot comedy stars Rebel Wilson (Bridesmaids) and is pro-
duced by Conan OBrien.
ILL Gina Flanagan illustrated the design inspirations for CD Mi-
chelle Coles new sitcom The Soul Man, with Cedric the Enter-
tainer for TV Land. Flanagan was happy to hold down the fort for ILL
Felipe Sanchez on his most current illustration project with CD
Ellen Lutter in the follow-up feature Grown Ups 2, filming on the
East Coast. After putting a season of Dr. Phil to bed, CD Dina Cer-
chione is now designing the new Fox/Fremantle dating show Take
Me Out, which launched in May. The American version of the popu-
lar, live program incorporates a pinch of The Dating Game as each
episode hosts 33 real women dressed up and vying for a date with a
few handsome bachelors, but with some veto power on both sides.
Hilarious fun! CDs Dorothy Amos and Barbara Inglehart as
supervisor teamed up with Jennifer Love Hewitt (Ghost Whisperer)
again for the new Lifetime series The Client List, also featuring Cybill
Shepherd. The one-hour drama is set in Texas and answers the ques-
tion of what one woman is willing to do to keep a roof over her
family. Last April, CD Debra McGuire finished her first season
of New Girl and Touch, both for Fox. McGuire then launched into
The Exes for TV Land, with enough time to wrap two pilotsNBCs
1600 Penn, with Jenna Elfman and The Kids for the Fox network.
CD Hope Hanan and ACD Hannah Jacobs just wrapped
Aaron Sorkins new HBO series The Newsroom, shot locally and set
to air on June 24, featuring Jeff Daniels, Emily Mortimer, and Sam
Waterston.
Recently, the design team of CD Julia Schklair and ACD Court-
ney Stern has been making their mark with the TNT series Percep-
tion, starring Eric McCormack and Rachael Leigh Cook. The two
also enjoyed working on the ABC pilot Devious Maids. While wait-
ing to hear the fate of their pilot, they have returned to their ABC
Family show Switched at Birth for the first seasons final episodes.
CD Salvador Perez has been
scouring the country for vin-
tage clothing for his latest de-
sign project, Liz & Dick. The
TV movie chronicles the love
story of Elizabeth Taylor and
Richard Burton, and stars Lind-
say Lohan and Grant Bowler
(True Blood). CD Dahlia
Schuette joins Perez to su-
pervise the Lifetime original
movie. CD Rodney Muoz
is proud to design his 10th sea-
son of Jimmy Kimmel Live!
for ABC. The year-round pro-
duction kicked off in 2002
thats longevity!
CD Alexandra Welker has
taken up residence in Portland
for the fantasy-themed drama
Grimm. She took great delight
in accentuating a fire dancers
costume with real copper dur-
ing a recent episode. Welker
is enjoying the switch from
chipmunks (Alvin & gang) to
an altogether different kind of
fantasy for this crime drama.
CD Kathleen Detoro is no
stranger to work in New Mex-
ico, and returned for the James
Mangold-directed and Nicholas
Pileggi-written TV pilot Vegas,
starring Dennis Quaid, Carrie-Anne Moss, and Michael Chiklis. The
story is based on the real-life Lamb, a former rodeo cowboy turned
sheriff for almost two decades in Vegas. With ranchers, cowboys,
gangsters, showgirls, and casinos, Detoro enthuses that she and her
team (supervisors Mary Lane and Fran Allgood) had a great time
shooting in Santa Fe and Vegas on the project.
As soon as new CD Lorraine Carson joined us, she headed off to
production hot spot Atlanta in order to design the TV drama Single
BOLDFACE NAMES
Jimmy Kimmel Live!
Single Ladies (above left) & Paula Patton
CD Welker for Grimm
Ladies for VH1, a Sex and the City-style show set
in the South. CD Ane Crabtree is working on
the Sundance Channels first hour-long scripted
series, Rectify, in Griffin, Ga. The legal drama
focuses on a man newly released from death
row after being wrongly convicted and how he
adjusts to life outside the prison in his home-
town. CD Susie DeSanto recently completed
the ABC pilot Nashville in the town and on the
stage of the Grand Ole Opry. Connie Britton and
Hayden Panettiere star in the new drama written and produced by
Callie Khouri (Thelma & Louise).
CD Florence-Isabelle Megginson has been working in New
York on a new six-episode sitcom, Best Friends Forever, which
shot in both Los Angeles & New York. Designing collaborations
abound, and the dynamic tag team of CDs Steven Lee and Dani-
ella Gschwendtner have moved from Los Angeles to the Big
Apple for their next season of Americas Got Talent.
ILL Phillip Boutte Jr. collaborated with CD Arianne Phil-
lips again for the 2012-13 Madonna World Tour and new album,
MDNA. The team, including ACD Terry Anderson and ACD
Laura Morgan, prepped in New York, with the show unveiling
last month in Israel.
In the world of the big screen this June, CD Frank Helmer is
in town designing the urban high school dance comedy School
Dance, written and directed by Nick Cannon, featuring music and
dance sensation The Rangers, along with supporting roles from
music industry heavyweights. CD Leah Butler just put the final
touches on the tightly budgeted feature, Mocking Bird, here in
Los Angeles. This month, CD Francine Lecoultre has launched
into her latest feature The Possession of Michael King, written and
directed by David Jung.
In addition to television shows, there are a number of features
shooting in Atlanta, with CD Johnetta Boone designing the
remake of Steel Magnolias. Queen Latifah, Phylicia Rashad, Alfre
Woodard, Jill Scott, and Condola Rashad star in the feature di-
rected by Kenny Leon (A Raisin in the Sun). Boone reports that
the Magnolias experience was incredible. CD Ruth Carter
has dovetailed from TV to features on three recent projects:
wrapping a recent Disney MOW, Teen Beach Musical, then de-
signing the TV movie Being Mary Jane, with Gabrielle Union
for BET in Atlanta. Currently, Carter is in New Orleans through
Labor Day for the Sony feature The Butler, based on the story
of Eugene Allen, the White House butler who served eight U.S.
Presidents for three decades. CD Carol Ramsey isnt resting
on her Magic City laurels, but is engrossed in her latest film,
Identity Thief, shooting through June. The Universal feature
stars Melissa McCarthy, Jason Bateman, Amanda Peet, and Ellie
Kemper (McCarthys Bridesmaids co-star) in a cross-country,
road-trip comedy, with ACD Christine Jordan and ACD/ILL
Lois DeArmond rounding out Ramseys team. CD Wendy
Chuck is in Winston-Salem, North Carolina, also coincidently,
designing a comedy revolving around a road trip that is sure to
be a madcap adventure: You Are Here, starring Owen Wilson,
Zach Galifianakis, and Amy Poehler, with
producer Matthew Weiner (Mad Men).
CD Laura Jean Shannon and her ACDs,
Tabitha Johnson and Andrea Sweet, are
in New Orleans for the action feature 2 Guns,
which c enters on a DEA agent and an under-
cover naval intelligence officer tasked with in-
vestigating one another, only to discover the
ruse to be a mob setup. CD Christopher
Lawrence is back in Louisiana, this time in Baton Rouge, working
with director Wayne Kramer (The Cooler) on Pawn Shop Chroni-
cles, starring Paul Walker and Matt Dillon in a comedy about a miss-
ing wedding ring and a wild-goose chase involving meth addicts,
skinheads, and an Elvis impersonator.
At the moment, CD Danny Glicker is deftly orchestrating the de-
sign of two features: The End of the World, filming in New Orleans
with CD Shawna Trpcic assisting, and Labor Day, filming in New
England with ACD Jennifer Starzyk assisting. Evan Goldberg and
Seth Rogen direct and star in the comedy with James Franco, Jonah
Hill, Danny McBride, Jay Baruchel (all playing themselves) as ce-
lebrities at a party facing the apocalypse. Glickers second film is a
Jason Reitman adaptation of the novel Labor Day by Joyce Maynard.
Starring Kate Winslet and Josh Brolin, its about a single mom who
harbors, then falls for, an escaped convict over an eventful Labor
Day weekend. CD Caroline B. Marx is in New Orleans and enjoy-
ing putting the final touches on the whimsical film Barefoot. Evan
Rachel Wood, Scott Speedman, J.K. Simmons, Kate Burton and Treat
Williams star in the comedy that centers around a female psych pa-
tient who falls in love with her doctor.
CD Juliet Polcsa is in the Pittsburgh area shooting Promised Land
for Focus Features. The film reunites the Good Will Hunting team of
director Gus Van Sant and writer/actor Matt Damon. John Krasinski
is co-writer and stars alongside Matt and Frances McDormand. CD
Olivia Miles and ACD Brigitta Romanov traveled to Baltimore
earlier this year to design the indie feature Jamesy Boy, with Mary-
Louise Parker, Spencer Lofranco, Ving Rhames, and James Woods.
The two report eating record amounts of crab cakes, crab chowder,
Ane Crabtree
Jamesy Boy crew: L to R: ACD Brigitta Romanov, Eric Brecka,
CD Olivia Miles, Breanne Hardwick, Sister Daniels, Kim Chewning
IN FOCUS


and more. With studios digging back into history for their latest
programming, designers are required to adjust budgets and use in-
genious techniques to get the job done.
CD Debra McGuire recently hosted The Vault, a new show for
HSN that showcases an exclusive line of jewelry inspired from Uni-
versal Pictures most iconic films. On a recent ABC webisode, CD
Susanna Puisto discussed the Costume Design decisions she
faced weekly for the actresses in the series Body of Proof. While
she loves to indulge in high fashion for her leading ladies which
include guest star Rita Wilson, Puisto reins it in to fully realize the
characters.
Corrections:
CD Marylou Lim was omitted as Co-Designer in the last issue in
Boldface Names for the comedy feature Casa de mi Padre. Lim
shared design credit with CD Trayce Gigi Field.
BOLDFACE ENTREPRENEURS
CD Allison Leach designed British Invasion-inspired uniforms
for the new Gordon Ramsay Steakhouse at the Paris Hotel & Casino
in Las Vegas. Allison joined forces with local L.A. uniform manufac-
turer Mandel to create a custom line for the high-profile Ramsay
venture with Caesars Entertainment that opened last May. The line
features classic British banker stripes and adjustable suspenders for
the men, and 007-inspired, black turtleneck dresses for the hostesses.
IN FOCUS
and oysters. They are now back in town, shooting the second part
of Jane by Designs first season, which aired earlier this month
on ABC Family. Dead Man Down, a dark revenge thriller has had
CD Renee Ehrlich Kalfus in New York and Philadelphia de-
signing through June for a cast that includes Colin Farrell, Noomi
Rapace, Dominic Cooper, Terrance Howard, and Armand Assante.
CD Kristin Burke has just wrapped The Conjuring, a spooky
New Line/Warner Bros. feature set in 1970s Rhode Island. The bio
film is based on a true account from Ed and Lorraine Warren, the
preeminent ghost hunters of our time. Burke stated that meeting
Lorraine herself and the real family traumatized by ghosts in their
home was scarier than making the movie, and she hopes the pro-
duction did them proud.
CD Mark Bridges is currently designing the film Captain Phil-
lips for Sony/Columbia Pictures, starring Tom Hanks as an Ameri-
can cargo ship captain taken hostage by Somali pirates. The film,
based on actual events from 2009, is now shooting in Malta, Mo-
rocco, the United Kingdom, and the United States, and is helmed
by British director Paul Greengrass. CD Sanja M. Hays with ACD
Irena Stepic Rendulic and ILL Christian Cordella are work-
ing on the sixth installment of the Fast and Furious franchise,
with Hays and Stepic Rendulic having teamed up for every F and F
release to date. The entire cast has returned, including Vin Diesel,
Paul Walker, Jordana Brewster, Michelle Rodriguez, Tyrese Gibson,
and Ludacris. Shooting commences this July in the UK and Canary
Islands; production wraps in the fall.
BOLDFACE PRESS
While the explosion of period pieces in television has become
a beloved niche for viewers, it has also presented many creative
challenges for the Costume Designers tasked with the job of
where to source, rent, buy,
and in many cases, build
from scratch, the designs re-
quired to evoke the period.
A recent Wall Street Journal
article, Get Me Wardrobe,
sheds light on these creative
dilemmas and the financial
ramifications that arise for the
Costume Designers who work
their magic weekly: CD Carol
Ramsey for Starzs Magic
City, CDs John Dunn and
Lisa Padovani for HBOs
Boardwalk Empire, CD Ane
Crabtree for Pan Am, and
CD Delphine White for the
upcoming TV drama Copper,
BOLDFACE NAMES
John Dunn
BOLDFACE AT WORK
L-R: Allison Leach, Kami Manouchehri,
Joey Lugassy of Mandell Uniforms and staff
YOUR ONE STOP SHOP FOR ALL
YOUR DESIGNING NEEDS
Civilian Costumes for Men, Women and Children
Period and Western Costumes
Uniforms: Police, Fire, Paramedics, Airline, Trade,
Service, School & all US and Foreign Military
Patches and Badges - exisng or made to order
On-site 6-head Embroidery Machine
Designers O ce and Trailer Supplies
Research Library and Color Copier
Show Packaging and Episodic Packaging Deals
Tailoring Shop/Made to Order
Producon O ces with 24/7 access, internet ready
Cages open 24/7 with trailer access
VIP Fi ng Rooms and Laundry Room
Domesc and Internaonal packing and shipping
Costume Rentals Corporation
11149 Vanowen St., No. Hollywood, CA 91605
Contact: Mel Sabino, Linda Allegro
Tel (818)753-3700 Fax (818)753-3737
crcresearch@hughes.net
www.costumerentalscorp.com
IN FOCUS
IN FOCUS

Weekend Lovers is a co-venture between CD Agata Maszkiewicz
and her sister Karolina.
This one-stop shop for unconventionally chic brands like Michel
Berandi, Wren, and Capture is punctuated by an edgy array of ac-
cessories by Lumi, Bones and Feathers Collective. The menswear
by Riff Atelier and Darker strikes a similar tone.
Exquisite reproductions of Empire and Biedermeier furniture by
Vienna Woods provide a luxe backdrop that can also be purchased.
CDs will find the studio and stylist policy both savvy and accom-
modating.
Weekend Lovers
351 South La Brea Avenue
Los Angeles, CA 90036
info@shopweekendlovers.com
Weekend Lovers
BOLDFACE NAMES
BOLDFACE ENTREPRENEURS

On Saturday, May 5, at 12 p.m. PST,
CD Luke Reichle launched his Web
series Secrets of the Red Carpet: Style
From the Inside Out.
With 25 years experience in pre-cam-
era prep, Reichle knows that beauty
begins below the surface. His internal
exercises quiet the critic and instill as
much confidence as his time-tested
styling secrets. Positivity pervades as
personal style becomes something ac-
cessible and adaptable.
Streaming live on emPOWERme.tv
BOLDFACE HONORS
Congratulations to CD Mark
Bridges, the 2012 recipient of
the Academy Award in Best Cos-
tume Design for the multiple Os-
car-winning film The Artist.
Bravo to CD Karen Patch who was nominated for the David di
Donatello Awardthe Italian equivalent of the Oscarfor Best Cos-
tume Design for the film This Must Be the Place, starring Sean Penn
and Frances McDormand.
Mark Bridges
Karen Patch and Michael Alba
Sean Penn
Luke Reichle
IN FOCUS

On May 10, Boardwalk Empire CDs John Dunn, Lisa Pado-
vani and their team received the Variety Ensemble Award at the
annual Designing Women Gala hosted by New York Women in Film
and Television.
CD Bernie Pollack was honored with The Star Award at the Dal-
las International Film Festival celebrating his storied career on April
20, 2012. Actors Harrison Ford and Robert Redford sent videos con-
gratulating Mr. Pollack for this honor. Pollack is now in his 48th
year of designing for film and television.
CD Caroline B. Marx had an all-star film release of Jewtopia at
the opening of the Newport Beach Film Festival on April 26, 2012.
Jewtopia is based on the hit off-Broadway play of the same name. It
follows the travails of two friends, one Jewish, the other Gentile, nav-
igating the wilderness of dating, love, and marriage. The ensemble
cast includes Jennifer Love Hewitt, Wendie Malick, Rita Wilson, Jon
Lovitz, Peter Stormare, Camryn Manheim, and Nicollette Sheridan.
CD Kim H. Ngo was invited to attend the 55th Annual San Fran-
cisco International Film Festival to be present at the screening of the
film she designed, Somebody Up There Likes Me.
In Daytime Emmy news for Outstanding Achievement in Costume
Design/Styling, CD Joyce Kim Lee (Costume Design) and CD
Kiki Garwood (Styling) and team were nominated for the Nick-
elodeon show The Fresh Beat Band.
CD Karen Patch, Luisa Abel (makeup),
Kim Santanio (hair) for the lm,
This Must Be the Place
Jewtopia
Bollywood Beats
CD Bernie Pollack (right)
BOLDFACE NAMES
BOLDFACE HONORS
Compiled and written by:
Suzanne Huntington, shuntington@cdgia.com
Stacy Ellen Rich, lastace@mac.com
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New research shows that staying active and eating healthy
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SCRAPBOOK
In the 1992 film Orlando, CD Sandy Powell
takes a tour de force gallop through costume
history re-imagining Tilda Swinton, first as
a man, then a woman, arraying her in time
periods from Elizabethan to present day
with an emphasis on decadence. Swinton is
shown here in a Robe la Franaise.
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borrowed. Additional rates, starting as low as 2.49% APR, and terms may apply, call 888.800.3328 for details. Rate of 1.99% APR is for used (maximum
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Costume Designers Guild
Local 892I.A.T.S.E.
11969 Ventura Blvd., First Floor
The Official Magazine of the Costume Designers Guild
Non-Profit Org.
U.S. Postage
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Spring 2012 The Costume Designer 3

COSTUME DESIGNERS GUILD

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