The Costume Designer Spring 06

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FEATURE

DEPARTMENTS

The Immortal Costume . . . . . . . . . . . . . . . . 12

Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Union Label . . . . . . . . . . . . . . . . . . . . . . . . . . . 6President’s Letter

From the Desk of the Executive Director

Assistant Executive Director’s Report

The Costume Department. . . . . . . . . . . . . . . . 16Designers Express

New Technology

Meet the Illustrators

From the East

History of Dress A-Z

What’s On / What’s Out . . . . . . . . . . . . . . . . . 26

In Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Boldface Names

Scrapbook . . . . . . . . . . . . . . . . . . . . . . . . . . 30

vol. 2, issue 2

COVER:

A glorious patchwork of labels by

Costume Designers for their original

designs.

COSTUME DESIGNERS GUILD

4730 Woodman Ave., Suite 430

Sherman Oaks, CA 91423-2400

phone: 818.905.1557 fax: 818.905.1560

email: [email protected]

GENERAL MEMBERSHIPMEETING:

Monday, June 19, at 7 p.m.at the Studio City Library,

12511 Moorpark St.at the corner of Whitsett.

Spring 2006 The Costume Designer 3



4 The Costume Designer Spring 2006

EDITOR-IN-CHIEFDr. Deborah N. Landis

EDITORSharon Day

ASSOCIATE/PHOTO EDITORDeena Appel

MANAGING EDITORCheryl Downey

PRESIDENTDr. Deborah N. Landis

[email protected]

VICE PRESIDENTPamela Shaw

vicepresident@costumedesignersguild

SECRETARYBarbara Inglehart

[email protected]

TREASURERMary Rose

[email protected]

MEMBERS AT LARGEDeena Appel

[email protected] Hanafin

[email protected] Saint Anne

JSaintAnne@costumedesignersguildCarol Ramsey

[email protected]

BOARD ALTERNATES Valerie Laura-Cooper

[email protected] Day

[email protected] Wagner

[email protected] Malin

[email protected]

ASST. COSTUME DESIGNER REP Anette Czagany

Asst.CostumeRep@costumedesignersguCOSTUME ILLUSTRATOR REP

Robin RichessonIllustratorRep@costumedesignersguildCOMMERCIAL COSTUME DESIGNER

Susan NiningerCommercialRep@costumedesignersgui

LABOR REPBetty Madden

[email protected]

BOARD OF TRUSTEESPeter Flaherty, Chair

[email protected] Chally

[email protected] Mathews

MMathews@costumedesignersguild.

Shay Cunliffe, [email protected]

EXECUTIVE DIRECTORCheryl Downey

[email protected]

ASST. EXECUTIVE DIRECTORRachael Stanley

[email protected]

PUBLISHERThe Ingle Group

FOR ADVERTISING INQUIRIESCONTACT

Dan Dodd 818.556.6300

[email protected]

o you love to ponder? I do. Here’s a good one.Suppose

your work is part of a retrospective on costume in

film. No one can substantiate that the designs and cos-

tumes are yours. How can you be included or credited?

Historically, a sign, mark, or signature, authenticates and

imports value to an object. An author is a person who creates

something and brings it into existence.

Let us say, that your work is so unique that it becomes legendary; how can that be

proven? How can your heirs protect your estate? Another artist, very successful in the

world of architecture, told me,“Your name is the touchstone of your identity, something

you hold precious throughout your life. Signifying and adding your name endorses and

gives value.”

• Sign your work

• Establish authorship

• Authenticate your designs

In Solidarity,

Sharon Day

[email protected]

EDITOR’S NOTE

D

I am easily

satisfied by thevery best.-Winston Churchill

“”

In our continued effort to raise the profile of Costume Designers in the public

eye, to educate our industry to the contribution of Costume Designers as

storytellers first and to combat the misconception of “fashion in film,” the

Costume Designers Guild has hired Lisa Taback Consulting to be our publicistduring this non-Awards season.

It is our hope to draw attention to upcoming events that include a panel of

designers participating in COMIC-CON International, the first-ever FIDM

Television Costume Design exhibit and the Emmy-nominated designers who are

often not as publicized as their Oscar counterparts.

Please feel free to contact Lisa or her colleague, Candice Grabois if you have

any current or upcoming work that you feel would be “press worthy.” We espe-

cially need you to communicate with us about any upcoming television projects

on your radar as we often have more difficulty gaining information from the net-

work PR machines.

Remember, we can’t promote it, if we don’t know about it. Take this oppor-

tunity. This is for all of us.

Contact: Lisa and Candice at:

[email protected] Office: (310) 274-3880

[email protected] Fax: (310) 274-3990

Deena Appel, Publicity Committee Chair

[email protected]

CDG Hires New Publicist, Lisa Taback



Our Label Not Theirs

Dear Friends,

Fashion Designers’ value lies entirely in their name and label; and throughout their career they are inthe service of the BRAND.This brand has a style or a look which must be instantly identifiable to the

buyer and codified;whether it’s Juicy Couture or Chanel —whether the trademark is a camellia or a bam-

boo toggle.That brand is marketed by the licensee and the more successful with the public, the quicker the banks

are repaid.These signature design elements are readily copied by lesser priced brands without license, and by

fakes.The value of any copy is in the exact replication of a recognizable brand.Fashion Designers need to fore-

cast or predict trends years/seasons ahead.This is foreign to Costume Designers.Accuracy in “trend prediction”is

crucial for the fashion business. They must second-guess the public’s future desires. Sometimes, they are even

inspired by the costumes in movies and shows we design.Fashion Designers build their brand in exactly the same way Kellogg’s,

General Motors, or Hallmark build their brands; with a logo, marketing, testing, and trend research. Advertising budgets do the

rest.Then, in a moment that is just like the release of a movie,Fashion Designers wait for the public to show up and buy the col-

lection,or not.The clothes must sell or the label will die. It’s a daunting prospect.

As Costume Designers, we must subsume our individual style to the demands of the story and the vision of the director.If

we are lucky, we move through our career having the opportunity to collaborate with many different directors and design in amultiplicity of genre.For modern productions, successful costumes mean invisible costumes,disappearing into the narrative and

the composition of the frame. It’s the character the public should remember; not the clothes. A Costume Designer’s work

must have no signature and no identifiable style. Because we serve the story, and not ourselves, a recognizable style would be as

destructive to the character as it would be to the career of the Costume Designer. We deliberately design “style neutral”so as not

to date our modern project when the production is released or aired. We are not the stars of any production;we don’t take the

bow on center stage. The public (and Fashion Designers) do not know our name. And, we make it all look so easy … like we

were never there.We have not benefited from our shyness. Our reti-

cence has cost us plenty.

Costume Designers are so proficient at this disappearing

act and so modest about taking credit, that the public and the indus-

try believe that costumes design themselves.We were on the brink of

self-obliteration and redundancy.No contracts in Live TV ,no credit in

newspaper billing blocks, low scale, insult added to injury. Fashion

Designers take credit for designing modern films if one single jacket

is used as part of a costume. But the public wants to see actors do

what they do best—transform themselves into other people

Glamour and celebrity are powerful sales tools, but a fashion show

does not make a movie. This is the moment to change both the indus-

try and public’s perception that COSTUME means “fancy dress” and

the rest is just product placement. We create Characters not Clothes.

Costume Design is Film; not Fashion. Creating a label is an act of

pride and of hope that our name and our work will endure. The well

bred may be anonymous and invisible,but this strategy ain’t worked

for Costume Designers. Take Credit for your work .Be on the DVD.

A collection lasts one season—a movie (and reruns) lasts

forever.

In Solidarity,

Deborah Landis

[email protected]

PRESIDENT’S LETTER

UNION LABEL

COSTUME DESIGN CENTERCostume Rentals • Manufacturing • Prep Spaces

818.954.1297 • [email protected]

WARNER BROS. STUDIO FACILITIES

4000 Warner Boulevard • Burbank, California 91522

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

A

Condolences to Shana Targoszwho recently lost her brother through a tragic car accident.




Dear Designers All,

our Executive Board spent all day, Saturday, April 29,working on a long-term strategic plan and a business

plan for the future of the CDG.We can’t be a force in the future, without defining our realities today.Some goals are already in progress. Last year at this time we invited Assistant Costume Designers and

Illustrators to participate in a forum at the Guild.At this frank discussion, members revealed their dire

straights,including insufficient work to qualify for the pension/health plans. As a direct consequence,The Costume

Designer will continue to introduce the portfolios and credentials of CDG Illustrators in each edition. Many

Illustrators have the background to function as an Assistant Costume Designer. In this manner, members can gain

weekly employment and spread their wings.We encourage Illustrators to leave sketch samples in the Illustrator’s

Notebook available to every Designer who visits the CDG office. Illustrators are encouraged to display their work

at every General Membership Meeting to familiarize Designers with their style. Designers, even if your budget

allows days and not weeks for your illustrating needs,hire our talented Illustrators.

Designers have been heeding the logic of hiring an Assistant Costume Designer on heavy design shows.When the Costume

Designer is adequately supported and staffed, the 705 crew gains support as well.Thoughtful initial evaluation assessing the

design needs of a production, coupled with creative shifting of budget so that the bottom line remains the same, can result in

the hiring of an ACD. Success stories of Designers, who never hired ACDs before (especially in television),have materialized.This

is an education process for producers, studios, and production managers, as well as our own members.

CDG jurisdiction must be carefully followed to avoid misunderstandings. ACDs are part of our Local 892 design team and

hence can do no Local 705 work. ACDs report to the Designer and not to the Supervisor . Once a Designer has convinced pro-

duction to bring on an ACD, it’s

vital the ACD return this loyalty by

remaining on the production.

Quitting is not a choice in this

freelance industry, especially for a

hard-fought position. While con-

tractually most of us only have a

week-to-week contract from pro-

ducers, the industry expectation isthat when we sign on for a pro-

duction, we will stay through to

completion of photography.

Building industry support for the

Assistant Designer position, which

is de rigueur in New York, is a

commitment Local 892 has made

to our membership.

Please give me a call if you

need an ACD on your next project.

Perhaps I can help you get the

support you desperately need.

About half of our new members join as Assistants; let’s get them

working with us!

With high regard for the Design

Team,

Cheryl

[email protected]

Y

UNION LABEL

From the Desk of the Executive Director

Democracy at its best. On

March 8, 2006, we participated at

the Labor Council’s COPE

(Committee On Political

Education) Convention toendorse candidates running for

election this June.The candidates

were screened by committee

prior to the convention, and now

face the task of getting endorse-

ments from delegates of more

than 100 locals. There was a larg-

er than usual crowd of delegates

wanting to participate in this vote with so much riding on this election. These candidates

need to win, and then we need to hold them accountable.There was much passion and

debate over some of the recommended candidates,with some locals expressing both pos-

itive and negative experiences with many of the candidates. Finally, the vote was called.

It became clear why we were endorsing these particular men and women.What empow-

erment we felt, and what a great day it was for grass-roots democracy. We are now pre-

pared for the June 2006 election with dedicated professionals as our leaders.

Remember, go to the polls. It is our responsibility to vote our conscience.

One vote. One voice.

For a list of the endorsed candidates for the 2006 Primary Election:

www.launionaflcio.org/yourvote.html

Betty Madden

CDG Labor Representative

[email protected]

Labor ReportMay 2006

L to R: Joanne Sanders, IATSE International Representative, Brian Lawlor, IATSE 10th Vice President, Deborah Landis, President,CDG Local 892, Pamela Shaw, Vice President, CDG Local 892,Cecelia Fredericks, Business Representative, United Scenic Artists

Local 829.




sing a union shop should

never be cons i d e r e d a

luxury. When a producer has

signed a contract with the

IATSE, they have agreed to use

union labor. There should be no

question that your alterations and

MO work will be done in a union

costume shop where members are

protected under the agreements of the contract and

guaranteed health and pension benefits.By support-

ing union shops you are helping to provide jobs for other union members and helping the pension and

health plans which are funded by union productions

to stay vital.As a member of Local 892, it is your obli-

gation to support your sister unions within the

IATSE. Local 705 costume shops have been provid-

ing services to the industry since 1937 and offer

experienced cutters, fitters, seamstresses, and tailors

that will help to realize your designs.There are cur-

rently 15 signatory costume shops available in the

Los Angeles area and there is even a traveling union

workroom that can come to you on location to meet

your alteration and MO needs.

Remember that any lost union job is a loss to all

of us. Support your brothers and sisters and stand

firm in solidarity. Work union and use union

labor .

Rachael Stanley

[email protected]

Assistant ExecutiveDirector’s Report

U

Alter Your Thinking on Alteration


[email protected]

1-800-652-2357

YOUR PERFECT

SOURCE FOR

CUSTOM-MADE

WOVEN LABELS

YOUR DESIGN, YOUR COLOR, YOUR SIZE

HANDLED WITH EASE ONLINE OR BY PHONE

Our recent Costume Designer clients include:

Deena Appel

Colleen Atwood

Katherine Jane Bryant “Deadwood”

Sharon DayLaura Goldsmith “Alias”

Hope Hanafin

Mona May

Ellen Mirojnick

Erica E. PhillipsVicki Sanchez

UNION LABEL



Saturday, June 3, 10:30 a.m. to 12 p.m.

Below the Line Expo . The much-lauded team of artists,

including Isis Mussenden, CDG member, from The

Chronicles of Narnia: The Lion, the Witch and the Wardrobe

reveals the secret weapons used to create the seamless world

of Narnia.

Raleigh Studios Hollywood, 5300 Melrose Ave.

No charge for panels. www.btlnews.com

Saturday, June 10, 10 a.m. to 1 p.m.

Motion Picture Costumers Job Faire , Local 705

Costume Rental Corporation, 11149 Vanowen St.,

N. Hollywood

Local 892 members are encouraged to display (and sell) their

talents. Call Paul De Lucca at (818) 487-5655 to reserve your

table.

Saturday, June 10, 2 to 5 p.m. & Sunday, June 11,

11 a.m. to 2 p.m.

Design Showcase West , UCLA, Macgowan Hall.

Top national university design students in costume, set, sound

and lighting will exhibit their portfolios. All CDG members

are encouraged to attend. www.tft.ucla.edu/dsw

Monday, June 19, 7 p.m.CDG General Membership Meeting

Studio City Library, 12511 Moorpark, corner Whitsett.

Raffle, refreshments, available at 6:30. Come learn what our

new affiliation with the Musicians Interguild Credit Union can

do for you. See you there!

July 10–Sept. 9

The Outstanding Art of Television Costume Design

Saturday, July 8, Opening Cocktail Party for CDG members.

FIDM, 919 So. Grand Ave., L.A. 2005–2006 Emmy nomina-

tions for Costume Design … and more than 100 costumes

celebrating 40 years of Television Design will be featured.

Monday through Saturday 10 a.m.–4 p.m. Free.

Thursday–Saturday, July 20–22

Comic-Con International Convention, San Diego Convention

Center.

The CDG goes direct to 250,000 fans at the largest comic-

book convention in the world. Each day, the CDG will

present a 90-minute panel of member-designers before 500

admirers. Come join the fun. www.comic-con.org

Mondays: June 5, Aug. 7, Sept. 11

Executive Board meetings at the CDG offices 7 p.m.

DESIGNERS’ CALENDARNBC Universal

818.777.3000 • 800.892.1979 • 818.840.4724

THE FILMMAKERS DESTINATION

WWW.NBCUNI.COM/STUDIO

Costume Rentals,

Manufacturing,

Alterations,

Alterations,

Fitting Rooms

& Offices

U N I V E R S A L

S T U D I O S

•

N B C

B U R B A N K

•

U N I V E R S A L

S T U D I O S

•

N B C

B U R B A N K

•

U N I V E R S A L

S T U D I O S

•

N B C

B U R B A N K

COSTUME



Ifirst became aware of collectors while prepping

Austin Powers in Goldmember . I wanted torepeat Austin’s gold satin robe from the first film,

but where had it gone? New Line doesn’t have a

costume department, so I imagined it had been

auctioned off on the New Line website along with

the rest of Austin’s made-to-order costumes and

hundreds more that were built for the three installments.

That’s how I met Doug Haase. A collector living in

Arkansas,he has amassed a vast group of costumes from the

Austin Powers trilogy but alas,he was not the collector who

currently owned the robe I needed to “borrow” back.The

robe was later

tracked by the studioto yet another collec-

tor, but the experi-

ence opened my eyes

to this growing indus-

try and the afterlife of

our costumes.

Mr. Haase’s hold-

ings are so extensive that he was called upon to loan one of Austin’s suits to the

AMPAS 50 Designers/50 Costumes exhibit. Haase is not in the film business. He’s a

marketing consultant, husband,and father whose memories of the 1960s were so

vivid that when Austin Powers came along,he wanted to own a part of it.He has

since expanded his collection to include costumes from a spectrum of films asdiverse as The Cell [Eiko] and Little Nicky [Ellen Lutter].

Haase regularly displays a rotating group of 22 costumes at his home, keep-

ing the rest in climate-controlled storage.When he’s not loaning his costumes to

museums and exhibits,he puts his passion to work for charity. By showcasing his

costumes,he has raised $100,000 for the American Diabetes Association and con-

tributed to a fundraiser for his local children’s art school while “providing a for-

mat where beauty and craftsmanship can be appreciated.”

You may have read about Tom Gregory in People magazine.Gregory, an actor

and gay activist, paid $100,100.51 on eBay for two shirts from Brokeback

THE

IMMORTAL

“As the value of

the costume sketch

increases, so will

the perception of

Costume Design as

a true art form …

the experienceopened my eyes

to this growing

industry and

the afterlife of our

costumes.

”



Mountain [Marit Allen] that were pivotal to the story line. He

believes “They are the ruby slippers of our time.”Speaking of the ruby slippers from The Wizard of Oz

[Adrian], there are four pair that were known to be worn by

Judy Garland.One of which was auctioned off at Christie’s in

May of 2000 for $666,000 to movie memorabilia collector,

David Elkouby. Another pair makes its home at the

Smithsonian’s National Museum of American History. Curator

Dwight Blocker Bowers says,“They are the most requested

item by visitors to the museum.” Also on display at the

Smithsonian is the Seinfeld “puffy shirt” [Charmaine

Simmons], Captain Kangaroo’s iconic jacket [Bill Griffin] and

the red sequined gown worn by Dustin Hoffman on the

poster for Tootsie [Ruth Morley].Mr. Bowers says his missionfor the Smithsonian is to “preserve the history and legacy of

these artifacts that tell the stories.” With a budget that is

dependent on the “kindness of strangers,” he looks for “cos-

tumes that influence American culture or that document and

define an era in film and television.”

Sotheby’s Leila Dunbar held a costume and prop auction

in 2001 in conjunction with Planet Hollywood that brought

in a staggering $1 million in sales.The famous pale silk negli-

gee worn by Vivien Leigh in A Streetcar Named Desire

[Lucinda Ballard], a purple robe with gold bullion appliqué

from The King and I [Irene Sharaff], a dress worn by Julie

Andrews in The Sound of Music [Dorothy Jeakins] and cos-tumes from countless contemporary films and television

shows such as Rain Man [Bernie Pollack], and Urban

Cowboy [Gloria Gresham] were included in the auction.

Julien’s Auctions in West Hollywood presents high-endentertainment memorabilia in a live auction format. Darren

Julien offered the hugely successful “Her Name Is Barbra”auc-tion.Ms. Streisand understood the historical and financial value

of her costumes when she auctioned more than 400 itemsfrom her personal collection in 2004. All proceeds went to

AUTHOR! AUTHOR!With the value of our costumes clearly detailed by oneexample after another—you’d almost be lulled intobelieving that Costume Designers have earned a place inhistory. Unfortunately, the plethora of collectors whomake it their business or pleasure to own a piece ofHollywood often have no idea who designed the object oftheir passion.

Why aren’t Costume Designers credited in auction cata-logues or in gallery exhibits? Because the thousands ofcostumes that are displayed, and that earn millions ofdollars as they are repeatedly sold and traded, are notlabeled. How can a curator know who designed a garmentif there isn’t a label or a credit in the costume?

Every collector, curator and auction house I spoke with,told me that what they value most about the costumes istheir history. Dwight Blocker Bowers of the Smithsoniansays, “There is never enough information about a cos-tume to satisfy a historian.” Leila Dunbar of Sotheby’s

would love to give Costume Designers recognition, ifonly she knew whom to credit. Donelle Dadigan, presi-

dent of the Hollywood Museum, feels she has a “uniqueopportunity to tell the story, of the costumes sheexhibits and would like to give credit to the artists whocreate them.”

Carrie Williams, director of the New Line auction site,warns, “It’s important to be recognized because you neverknow where your costume will end up.” Bill Quereshi, aprivate collector, feels that “Costumes create a sense ofauthenticity and can be a character in themselves.” Avidcollector, Doug Haase, believes “More people will enjoythis art form if we associate the designer’s name with thepassion. It’s like the lotto, you can’t win unless you play,play and be part of the conversation.”

Labeling provides a way for us to claim authorship of ourdesigns. The first step toward making the industry andthe world acknowledge the designer behind every cos-tume is to put a designer’s name in every costume.

Consider the fate of your designs:• Do the stars, under standing the historic al value of

costumes they have worn, contractually keep those

costumes to sell or donate to a charity auction?

• Do the studios, understanding the monetary value of

costumes, immediately put them up for auction to the

highest bidder?

• Do the co stume rental h ouses, understand ing the

continuing life and value of costumes, add them to

their racks to be rented out to the next show?

These common practices make it seem as if everyoneunderstands the intrinsic value of our costumes but us. Ina climate where most of our industry believes costumesfall out of the sky, labeling, is one thing we can do now topreserve our place in history.

Consider this at an auction held at Christie’s in October1999, a costume worn by Marilyn Monroe in Let’s Make

Love [Dorothy Jeakins] sold for $79,500 and twounsigned sketches sold for $6,325 each. These items,sold 40 years after they were seen on screen, were notattributed to Ms. Jeakins because there was no label inthe garment, and no signature on the sketches.

P r i s o n u n i f o r m f r o m P a p i l l o n / C o r o n a / A l l i e d A r t i s t s / K o b a l .

COSTUME


Continued on page 14




Profiles in History ’s August 2003 auc-tion fetched $129,800 for an originalSuperman suit from the ’50’s TVseries. A black suit worn by SeanYoung in Blade Runner [MichaelKaplan] went for $25,000. Profiles in

History will always include the design-er’s name at auction, unless there isno label. These costumes were notlabeled.

To date, New Line Cinema’s in-houseauction website has earned well over$200,000 in sales of costumes fromthe Austin Powers trilogy, designed byDeena Appel. None of these costumeswere labeled.

Our costumes will change hands overand over, assuredly living long after wedo. Embrace the example set by thepioneers on the cover of this magazine.Keep our history alive by crediting your-self as the designer with labels that bearyour name in all made-to-order cos-tumes. We must take ourselves serious-ly if we expect the business to do the

same. Looking for credit has become atiresome, competitive sport inHollywood. The truth is, for the CostumeDesigner it’s not about vanity, it’s abouthistory.


humanitarian and environmental causes through The Streisand Foundation.Included was the black sheer teddy and pants featured on the poster for The Owl

and the Pussycat [Ann Roth],which sold for $15,600. Joe Maddalena,CEO of Profiles in History, a dealer of original historical auto-

graphs, letters and documents for the past 20 years, began holding regular Hollywood memorabilia auctions five years ago.While his March 2006 auction of

nearly 600 collectibles saw tremendous sales from their offered costumes,Maddalena feels most excited about the growing interest in collecting CostumeDesign sketches. He says, “When I first started, 20 years ago, a costume sketch

wouldn’t sell for $50.”An original Walter Plunkett sketch for Vivien Leigh in GoneWith the Wind sold in 2005 for $35,400. He hopes that “as the value of the costume

sketch increases, so will the perception of Costume Design as a true art form.”So why are films and television shows typecast as either “a costume drama”

or “not a costume movie”? Clearly there’s a very large industry that sees the value in collecting Alice’s uniform from The Brady Bunch (sold for more than$2,000, 37 years after the show first aired) or Dustin Hoffman’s prison uniform

from Papillon ($3,595), Gilligan’s signature red tee shirt ($28,750), the leather jacket from Terminator 2 ($46,000), or Spock’s tunic from the original Star Trek

series ($132,250).When is a costume a costume, and when does it have value? ALWAYS.

Deena Appel

[email protected]

We will continue to collect labels and showcase them in upcoming

issues so please send your samples to Deena Appel c/o the Guild office.




Congratulations

Colleen Atwood

Michael Keller and Jim Vandernoth

Keller Vandernoth

1133 Broadway

Suite 911

New York, NY 10010

On winning the Oscar ® for

Achievement in Costume Design

f or the film

“Memoirs of a Geisha”

in the 78th

Academy Awards ®

705 SIGNATORY COSTUME HOUSES

American Costume Co.(818) 764-2239

Artistic Costumes by Accardi(818) 842-4288

Bill Hargate Costumes(323) 876-4432

C & J Custom Tailoring Inc.(818) 765-0191

Costume Detail West(310) 314-9659

Costume Rentals Corporation(818) 753-3700

Dennis Kim Inc.(213) 387-1935

Dominic Gherardi Costumes(323) 933-7500 or

(323) 933-7537

Eastern Costume Inc.

(818) 982-3611

Elizabeth Courtney(818) 506-7695 or

(818) 763-8615

John David Ridge(601) 859-3090

Lenis Prorsum Custom Tailoring

(213) 427-9909Marilyn Madsen(626) 798-8448

Motion Picture Costume Co.(818) 557-1247

Muto-Little Inc.(323) 469-1618

Pae and Kim Custom Tailoring(818) 508-1772

Western Costume Company(818) 760-0902

STUDIO COSTUME DEPARTMENTS

ABC. . . . . . . . . . . . . . . . . . . . . . . . . . . . (323) 671-4737

CBS . . . . . . . . . . . . . . . . . . . . . . . . . . . (323) 575-2666

NBC . . . . . . . . . . . . . . . . . . . . . . . . . . . (818) 840-3016

Sony Pictures . . . . . . . . . . . . . . . . . . . . . (310) 244-5995

20th Century Fox . . . . . . . . . . . . . . . . . . (310) 369-1897

Universal Studios . . . . . . . . . . . . . . . . . . (818) 777-2722

Walt Disney Studios . . . . . . . . . . . . . . . . (818) 553-4800

Warner Bros. Studios . . . . . . . . . . . . . . . . (818) 954-1297



uth Myers: “I was brought up in a very grey, post-

World War II, Manchester,England.At an early age my par-

ents took me to see a production of Brigadoon at the

Manchester Opera House,and from the moment the cur-tain went up and I saw this blast of vividly colored kilts, my career

was chosen.After that, all I did was dream of being able to design

costumes. I trained at St. Martin’s School of Art in London, and then

I went to work at the Royal Court Theatre on a student grant.At that

point, the idea of working on films never entered my mind; I was in

love with the theatre. My very first professional assignment was

sewing sequins all night on costumes for the great Designer

Anthony Powell and sleeping on his floor.We both still have fond

memories of this.

Around this time,I was lucky enough to work as assistant to the

legendary Sophie Devine, who as ‘Motley’ had created the costumes

for many of the early English classic films including director DavidLean’s Great Expectations. Her inspiration has been with me ever

since.I almost always look at my drawings after I have finished them

and wonder what Sophie would have added to them.What she real-

ly taught me—was that nothing was too small (to be ignored), no

effort was too great (to be expended), and anything could be

achieved. She also taught me that it was perfectly all right to be

funny.With her encouragement,I started to design in the theatre and

then on small low-budget English films. From the moment I walked

on a film set the theatre became secondary. I realized that the cam-

era captures all sorts of nuances that get lost in a larger format.The

first film that I designed was Smashing Time now famous for [itsmod look]. This was the beginning of what has proved to be an

incredibly rewarding and passionate pursuit. I have loved almost

every film I have ever worked on … but there have been some amaz-

ing highlights; Ruling Class, Addams Family, Emma, and probably

my most favorite, L.A.Confidential .This year I was in China design-

ing gorgeous, ’20’s costumes for The Painted Veil , the very first

American/Chinese co-production—it was the adventure of a life-

time.

Our niche in the film industry has very much changed in the

course of my 35-year career and roughly 70 films that I have

designed. I still have enormous passion for what I do but at times

the pressures of budgets, less prep time and answering to a studio

as opposed to a director can compromise the designer’s freedom.

Even so, there are very few highs in life like seeing your design real-

ized on the screen!”

Ruth Myers is one of the most distinguished Costume

Designers working in our field today. The Academy of Motion

Picture Arts and Sciences has recognized her talents with two Oscar

nominations; the first for The Addams Family (1991), and the sec-

ond for Emma (1996). Ruth garnered nominations for two BAFTA

Awards for Isadora (1968) and L.A. Confidential (1997). For her

superb contribution to the pilot design of the hit series Carnivale

she won a CDG Award and an Emmy the same year 2004, both

shared with Costume Designer Terry Dresbach. Ruth lives her cre-

ative life in London, Los Angeles and locations around the globe.

Joe Tompkins

[email protected]


THE COSTUME DEPARTMENT

DESIGNERS EXPRESSRUTH MYERS

R






y

y

W e are all affected by the world of new technology.

There was a time when a pager was the new gizmo

on a production. My crew would create little codes,

0000 meant “come back to set” or 3333—“call off

the search.”Today cell phones are necessary and Blackberries are

not far behind,Polaroids have been replaced by the digital camera.

The other day an Assistant Designer asked if I could receive an

image on my phone so she could click a photo at the store to

show me something. Crazy? Yes.The Age of Information is in full

swing and Costume Designers must accept it—like it or not.

From large budget effect-laden films such as The Lion, the

Witch and the Wardrobe, to the NBC pilot I just finished—visual

effects and “doing it in post” is common on many projects.On onesmall production we built a green screen tie, put it on the bored

businessman at his desk, and then changed the pattern/color of

the tie to show the passage of time.We changed it in ‘post’ that is.

Who decides what that tie should look like—in ‘post’? On a much

larger project,we required a 5,000-strong army of people and crea-

NEW TECHNOLOGY COSTUME’S EXPANDING UNIVERSE

A satyr, while filming the battle sequence from Narnia, wearing green screen pants with motion-capture florescent dots.






tures, and we had only 200 extras.Who decides what they will

wear? Who designs the practical costumes and who designs the

digital costumes? The Costume Designer does.

Visual effects have evolved from the blue screen to green

screen, to motion capture and more, and each has different

requirements for computer-generated images. I began my jour-ney into CGI when I was brought on to design Shrek.The ani-

mators needed to know about the look, feel and manufacture of

garments, to feed this information into software that was being

produced. The technology was young and everything was new.

I was learning about the parameters of digital clothing and the

animators were learning about drape and cut. An exciting part-

nership was born.

With the Production Designer and the Cinematographer;

Visual Effects Producers and Supervisors are our most recent

collaborators in shaping the look of a film. Although they can

alter our work in post production without our knowledge;

there are ways to maintain our vision through the final cut,

while simultaneously aiding the post-production process.Effects Supervisors have enough to do without “redesigning”or

“making up new looks” for the character; designing the cos-

tumes is still our job.

The most definitive way to protect your vision is to share

it. Creating a Visual Effects Bible is one of the best ways to

document your intent.This tool should contain ideas for the

multiplication of characters, samples of the textiles for color,

texture, scale of pattern, weave and movement. And photo-

graphs of actual clothes are a good visual aid.The choices may

seem obvious to a Costume Designer but they are not to the

effects house. All this information helps the VFX to produce

something real and believable,hence, a better-looking product.Sometimes,asking the right question is the key,but knowing

what to ask can be tricky. What is the visualization for the

sequence with ALL the new elements? How many images are

going to be manipulated? What elements are going to be added

to the live action characters? Where is that ‘blend’ going to start?

The answers to these questions are vital,because by incorporat-

ing this information in our work; we can make certain that our

design is not compromised later.

New technology challenges us daily and understanding

how Costume Design fits into this equation is essential. The

design process is still the same:story breakdown,color palettes,

silhouette, details in textile and character. The foundation of

our job has not changed and using new technology to our advantage is exciting. After all, I did use a Polaroid just yester-

day … there’s nothing like an instant picture.

Isis Mussenden

[email protected]

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K aren Schultz is one of our most versatile

Illustrators. Karen learned to draw at 3 years

old, her mom being a professional graphic

designer. Karen received a BFA in Fashion

with a concentration in Costume Design from the

Massachusetts College of Art and returned to Los

Angeles in 1999. Karen’s been designing two theatrical

fashion collections; Lip Service Los Angeles, a club/rock

’n’ roll inspired line, and Blacklist , a romantic, gothic,

Victoriana-inspired line.Between fashion gigs, Karen has

been f ree lanc ing a s a Cos tumeIllustrator. Her career began when she

was fortunate enough to work with Ruth

Carter on Serenity (2005). The film

was later organized by the IATSE,

which allowed Karen the

opportunity to join

Local 892.

Karen is posi-

tioned to utilize all

her experience and

artistic ability by com-

bining old and new

technology to create

innovative illustration

techniques. Il l ust rat ion

is Karen’s first love, and

she’s eager for the next

c h a l l e n g e ! Karen

Schultz nowhere -

[email protected]

E. J.Krisor is a fine artist, illustrator, andfilmmaker. After receiving a master’s degree

from New York University,E.J.took New York by storm with multiple gallery and museum

shows and delighted a list of portrait clients.Hoping to continue his success as an artist,E.J.moved to L.A.where

a friend introduced him to Costume Designer Marlene Stewart. He

approached the illustrations for Oliver Stone’s Alexander as portraiture

and sought to capture the presence of the character on the page. Since

becoming a CDG Illustrator, E.J. has collaborated with many distin-

guished designers on high-profile projects including James Acheson for

Spiderman 3, Colleen Atwood for Believe It or Not , Jeffrey Kurland for

I Dream of Jeannie, Louise Mingenbach for Superman Returns,Ellen Lutter for The Longest Yard , L.J. Shannon for Zathura: A Space

Adventure and Louise Frogley for Constantine.

From high school graduation,when he received a recruitment letter

from Disney Animation, E.J. has always wanted to tell stories through

illustrations. His chief interest has always been the character.

“Revealing the character through a great story is what it’s all about.”

[email protected]

Jacqueline Saint Anne

[email protected]

MEET THE

ILLUSTRATORS

Illustrated ByKaren Schultz

Illustrated ByE.J. Krisor





E very year, Costume Design Awards in New York and Los Angeles give Costume Designers a chance to mingle,meet

and congratulate each another. Designers giving Designers

the recognition for their merit, talent, and achievement,

reminds us that we are part of a select and honored art. Whether

designing for a film or a dance concert, an opera or a TV show, or

whether a Designer works in NY or LA; the process of creating char-

acters through costume remains the same.

Every project and every city generates a different design and

logistical challenge. New York can inspire and thwart any Designer

at the same time.Recently, I spoke with a handful of New York film

and television Designers about how they ply their craft in the Big

Apple;under the jurisdiction of United Scenic Artists Local 829,of

course!

The density and compactness of New York is one of the over- whelming reasons these Designers love to work here. Everything

you need exists within a few square miles: fabric and trims, studio

services,costume rentals,costume and tailoring shops,retail stores,

fashion houses and actors. William Ivey Long was reported to have

chastised an assistant for returning empty handed by saying,“It’s

New York.It exists.”Add subway accessibility,and you’ve got a recipe

FROM THE EAST(EAST COAST MEMBERS AND THEN SOME...)

Juliet Polcsa with Tim Van Patten & David Chase on the set of The Sopranos

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A full collection of tailored clothing & sportswear in shorter sizes.

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and denim jeans in a true short rise (not a regular low rise)

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

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Leather Jackets, Overcoats, Trench Coats, Sweaters, Camp Shirts, Polos,

Casual Jackets, Silk Ties, Knits and Socks in Proportioned Shorter Sizes

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S O N Y P I C T U R E S S T U D I O S C O S T U M E S

1 0 2 0 2 W E S T W A S H I N G T O N B O U L E V A R D , C U L V E R C I T Y , C A 9 0 2 3 2

N i c k P o l l a c k , M a n a g e r • W W W . S O N Y P I C T U R E S S T U D I O S . C O M

W A R E H O U S E :

3 1 0 . 2 4 4 . 5 9 9 5

• Modern and upscale contemporary clothes

• Ethnic costumes• Selections from various eras

• Accessories

S T U D I O L O T :

3 1 0 . 2 4 4 . 7 2 6 0

• Full service workroom

• Made to order, fittings and alterations• Washers, dryers, dyeing facilities• Fitting rooms

for efficiency and with prep times getting shorter, efficiency counts.

Sarah Edwards,finishing Michael Clayton with George Clooney, agrees,

“Everything in New York is so central;you can cover all your studio serv-

ice shopping in one day. The logistics of the city are manageable.”

Of course, New York is not without its challenges.Minimal num-

bers of studios mean minimal available office space.I must reinvent the

wheel on every show, often starting from scratch in a raw space.

Precious design time is taken away by the need to set up a fitting room

and order racks. Available office space is even harder to come by when

the city is busy.Due to a combination of pilot season AND the New York

State tax incentives program, NYC productions are pressured with ashortage of office space, locations and parking. A busy city means the

stores that offer studio services get busy. Then,add the challenge of try-

ing to find a crew! Pilot season will come to an end, but hopefully the

Tax Incentive Bill will survive well into the future.

Shooting a period film in NY, the logistics can be challenging.The

cost of NYC real estate prohibits the existence of many would-be cos-

tume rental houses.While some excellent rental resources for period

clothing exist; a trip to Europe, North Carolina or LA is sometimes a

necessity. Sourcing new vendors for vintage clothing is incredibly

rewarding but time-consuming.John Dunn,currently designing a 1950’s

pilot called Madmen, feels that “budgets need to be increased for that

additional sourcing.”“We constantly have to innovate, so the work is

then more innovative,”says Ellen Lutter,now designing a pilot called Six

Degrees. Because New York is one of the world’s fashion capitals, itkeeps the efficiency quota ‘up’for a modern dress show.Fashion design-

ers from around the world have showrooms and shops in NYC.Patricia

Field,designing the pilot Ugly Betty with Salma Hayek,knows that “fash-

ion house accessibility”is a key element to modern design in New York.

A busy New York means more work for Costume Designers.It also

means more work for Assistant Costume Designers, a key member of

our crew. “The Assistant Costume Designer has greater respect in NY,”

says Sarah Edwards,“they are allowed to grow toward being a designer.”

That training holds some weight, as many of the Designers, myself

included,were once hard-working Assistant Costume Designers.

There is no better design inspiration than the citizens of NYC

itself; the multicultural and multi-economic environment continues to

awe and inspire.It filters into one’s designs. “By the time I’ve taken the

subway into work,I’ve already heard five different languages … inspira-

tion is everywhere,” says Ellen Lutter. “The streets are my laboratory,”

says John Dunn.We know the hard work of a Costume Designer never

stops. For all the hard work, and for the innovation and talent we pos-sess,we deserve to congratulate ourselves.

Juliet Polcsa

[email protected]

Designer Ellen Lutter and her Assistant Designer Barbara Presar




Calash: Large articulated hood made

on padded and ruched silk covered

hoops, worn outdoors to protect high

coiffures and especially popular from

1773–1783. This could be pulled up or

pushed down as weather and environ-ment required in the manner of an

old-fashioned baby carriage or pram.

It is named after a Slavic carriage

with the same kind of hood.

Calcei: Strapped,cut out

and laced sandals worn by

ancient Romans on the street.

Cassock (or Soutine): Starting in the

16th and 17th century, the cassock was

worn by soldiers and horsemen and

was originally a long coat or cloak. Itis now primarily ecclesiastical dress.

Usually full length with long sleeves and a stand-up collar,it buttons

down the front worn with or without a belt or sash.

Cavalier dress: The term cavalier was applied to the follow-

ers of the royalist cause of Charles I of

England in the 1630s–1640s. The

dress worn by the cavalier was the

same as that of the aristocrat or

well-to-do man in western

Europe. It included a matching

jacket and breeches in brightly

colored silk,satin or velvet.The

jacket had full, long, slashed

sleeves and both garments

were heavily decorated with

braid; wide-lace collars, cuffs

and a boot hose tops where

extravagant and the look

was completed with a cloak;

a plumed swashbuckling hat;

gloves; cane;and soft-leather buck-

et-top boots with heels and butterfly bows.The

shirt was of fine white silk or linen and vis-

ible only if the jacket was open.

Chadar, chadri, carsaf,

burka, izar: Various names fromdifferent languages to denote the all

enveloping covering worn by

Moslem women on

top of their other

garments to

appear in public.

The Koran provides

guidelines on the subject

of women’s behavior and attire, rather than

rigid, dogmatic rules. According to that

guidance, women are taught to preserve

their chastity but they are not instructed

to veil their faces so that they may not beseen. Each Moslem society has interpreted

the Koran according to its traditions.

Chaparajos: Worn by cowboys as protection

against brush and thorns.The nickname is Chaps.

Chopine: Originally a Turkish invention to

increase the appearance of height, the chopine

became an overshoe slipped on over elegant

slippered footwear for use in the mud or dirt of the

street.A 16th- and 17th-century version became especially fashion-

able in Venice, Italy. They were usually

made of cork or wood and decorated;covered in leather, velvet, silk or bro-

cade and ornamented with lace and

embroidery. At their most popular, they

reached ridiculous heights of as much as 21 ⁄ 2

feet.This made walking so difficult that it was

almost impossible to progress without assis-

tance and courtesans and wealthy ladies

required a servant to lean upon.

Cuirass: Piece of close-fitting defensive

armor covering the upper body. It usually consists of a matching

breast and back plate, but may be a breastplate alone.

Is there some arcane costume accessory you’ve always

wondered about? Write us and we’ll include it in a future

article.

Karyn Wagner

[email protected]

Illustrations by Robin Richesson

[email protected]


HISTORY

OFDRESS A-Z




WHAT’S ON

Hannah Montana

Costume Designer: ANN SOMERS

MAJOR

What About Brian

Costume Designer:DEBRA MCGUIRE

The Loop

Costume Designer: ANITA CABADA

Sons and Daughters

Costume Designer:MARY-KATE KILLILEA

Pepper Dennis

Costume Designer:EDUARDO CASTRO

The Unit

Costume Designer:DARRYL LEVINE

The Sopranos

Costume Designer: JULIET POLCSA

The New Adventuresof Old Christine

Costume Designer:

ROBERTA HAZE

Modern Men

Costume Designer: ALLYSON FANGER

Courting Alex

Costume Designer:LINDA BASS for

Jenna Elfman

Teachers

Costume Designer:FLORENCE

KEMPER-BUNZEL



WHAT’S OUT


W a r n e r B r o s . P i c t u r e s / P e t e r S o r e l , P o s e i d o n W a r n e r B r o s . P i c t u r e s , M y S u p e r E x - G i r l f r i e n d T w e n t i e t h C e n t u r y F o x / M y l e s A r o n o w i t z , L i t t l e M i s s S u n s h i n e F o x S e a r c h l i g h t , S u p e r m a n R e t u r n s W a

r n e r B r o s . P i c t u r e s /

D a v i d J a m e s ,

X - M e n : T h e L a s t S t a n d T w e n t

i e t h C e n t u r y F o x / N e l s I s r a e l s o n ,

L a d y i n t h e W a t

e r W a r n e r B r o s . P i c t u r e s / F r a n k M a s i .

Charlotte’s Web

Costume Designer:RITA RYACK

Assistant Designers:

MARIA TORTU &KATRINA PICKERING

The Devil Wears Prada

Costume Designer:

PATRICIA FIELDAssociate Designer:

MOLLY ROGERSAssistant Designers:

WENDY STEFANELLI& TRACEY COX

Poseidon

Costume Designer:ERICA E. PHILLIPS

Just My Luck

Costume Designer:GARY JONES

Assistant Designer:SUE GANDY

Illustrator:PABLO BORGES

Little Miss Sunshine

Costume Designer:NANCY STEINER Assistant Designer:

JENNIFER STARZYK

My Super Ex-Girlfriend

Costume Designer:

LAURA JEANSHANNON

Associate Designer:LIZ SHELTON

The Da Vinci Code

Costume Designer:DANIEL ORLANDI

Assistant Designer: ANDREA CRIPPS

Lady in the Water

Costume Designer:BETSY HEIMANN

Assistant Designer: AUTUMN SAVILLE

The Lake House

Costume Designer:DEENA APPEL

Poseidon

Costume Designer:ERICA E. PHILLIPS

X-Men: The Last Stand

Costume Designer:

JUDIANNA MAKOVSKY

Co-Customer Designer:

LISA TOMCZESZYN

Superman Returns

Costume Designer:

LOUISE MINGENBACHAssistant Designer:

CARIN RICHARDSONIllustrator:

E.J. KRISOR



Congratulations to everyone! It was an

exciting awards season again this year.In

eight short years, the Costume

Designers Guild Awards has grown

from a humble beginning to an inspiring

established event. It’s so rewarding to

feel all the recognition and support in

that room for all of our members’ fine

work.

Our fabulous CDG Awards sponsor,

Swarovski, held four seminars, hosted

by CEO Nadja Swarovski , that were

booked solid, and attended by both

Costume and Production Designers.Swarovski continues to inspire our cre-

ativity with crystal in costume design.

Sharen Davis just completed principal

photography on Dreamgirls utilizing

Swarovski crystals in her sexy gowns for

Beyoncé and lavish production num-

bers. Some of Sharen’s crystal embel-

lished couture will be on display at the Cannes Film Festival this month,

when director Bill Condon screens clips from the film.We hope Sharen’s

name shares the marquee!

Congratulations to Eduardo Castro for that incredible profile in the

Los Angeles Times Calendar Sunday section “Working Hollywood” (April

16).This terrific piece covered his current design on Pepper Dennis and

highlighted many of his impressive credits.We’re thrilled it gave some back-

ground on Eduardo’s role on a film, his design process and how he

approaches his craft. Handsome picture too. Chicago’s “Daily Southtown”

(April 21) featured Jim Lapidus,Costume Designer,on Fox’s hit series 24 .

The article reveals the vast preparation and creativity needed for a show

that sounds “easy to costume” because it takes place in a 24-hour period.

Last year has seen huge growth in websites for hit television shows,

and the Internet has been good to Costume Designers.Many websites are

featuring a behind-the-scenes look with the Costume Designer. The

Sopranos includes “Dressing the Sopranos,” featur-

ing our member Juliet Polcsa , and each image

includes creative notes from Juliet. Joseph Porro

has been designing the haunting new show Ghost

Whisperer .The Ghost website has been such a suc-

cess that they’re launching a costume page called

“Melinda’s Closet”; spurred by the fan response for

Melinda’s costumes. CBS is creating an interactive

page where fans can go through her closet, which

will include notes from Joseph.TV executives may

have finally realized that their young tech-savvy audi-

ence is watching their TV and PC screens concur-

rently while text messaging their friends.

Seen on TV is another Internet phenomenon.

ABC and NBC have added an interactive feature to

their websites, which enables viewers to buy the

items worn on their most popular shows like Grey’s

Anatomy designed by Mimi Melgard , Las Vegas

designed by Jennifer Bryan , Desperate Housewives

designed by Cate Adair , All My Children designed

by David Zyla , One Life to Live designed by Susan

Gammie , and Passions designed by Diana Eden ,all

have online Costume-Design-inspired stores. When

the public connects with the characters, they want

to look like them. It’s psychological transference on

the most profound level. It’s just too bad we don’tshare in the profits from those characters that we

help create.

It is amazing how far things have progressed in

every area of our field over the last year. With our

Webmaster member Dana Onel ’s help, the CDG

website will continue to expand and launch us into

the 21st century.

Kimberly Adams

[email protected]


IN FOCUS

BOLDFACE NAMES

You are invited to

June 2 & 3Raleigh StudiosHollywood, CA

FREE BTL Expo Pass

when you register by May 22nd

Below the Line Expo 2006 brings togetherprofessionals at the leading edge of their craft to show

you the latest tools, equipment and products. In addition,Below the Line will host discussions on the issues

BTL Conference schedule now at .

Attendees must meet requirements as workingfreelancers, vendors, crafts persons, production

companies, agents and technicians.

Dressing The Sopranos Web page.

Dreamgirls’ costume department surrounding Swarovski crystal-beaded costume from left: Carol Buele, Elaine Ramires, Costume Designer Sharen Davis, Felipe Sanchez, Jodie Stern & Mary Still.

“Melinda’s Closet” Web page for Ghost Whisperer.



SCRAPBOOK


Klute (1971), fashion models with Costume Designer Ann Roth


http://slidepdf.com/reader/full/the-costume-designer-spring-06 31/32PROFILES IN HISTORY • 110 N. DOHENY DRIVE • BEVERLY HILLS • CALIFORNIA • 90211 • USA

PROFILES IN HISTORY

VISIT OUR WEBSITE @ W W W . P R O F I L E S I N H I S T O RY . C O

OR CALL 310-859-7701

TO ORDER A COLOR CATALOG WITH HUNDREDS OF ITEMS!

Live Hollywood Memorabilia AuctionLive Hollywood Memorabilia AuctionFeatu ring an origi nal Walter Plunket t cos tu me sketch for Vivie n Leigh in Gone With the Wi

JULY 28, 2006

Worn during the sensational

bedroom scene when she

spurs Rhett and tells him

that she “hopes to have

no more children!”

( MGM , 1939)



Prsrt Std

U.S. PostagePaid

Santa Ana, C

Permit No. 45Costume Designers Guild

Local 892–I.A.T.S.E.

4730 Woodman Avenue, Suite 430

Sherman Oaks, CA 91423-2400

The Costume Designer Spring 06

Documents

Transcript of The Costume Designer Spring 06