Search

Examines the importance of inhouse costume designers in the film industry. Creativity of Adrian Rosenberg; Implication of minimal studio involvement of designers; Strategies for on screen magnetism.

The article focuses on the achievements of Colleen Atwood, a costume designer. She designed the costume for Ziyi Zhang's kimono in the film "Memoirs of a Geisha." Atwood utilizes drawings as her inspiration for a glossier, more stylized version of the traditional geisha silhouette. She earned an Oscar nomination for her gothic interpretation of childhood in the film "Lemony Snicket's A Series of Unfortunate Events." The Costume Designers Guild presents her with a lifetime achievement award.

The article presents information about the forthcoming films in the U.S. "The Black Dahlia," is produced by Art Linson, Rudy Cohen, Moshe Diamant and Avi Lerner. Brian De Palma is the director and Josh Friedman is the screenplayer. "Inner Rage," is produced, directed and screenplayed by Gasper Hernandez. "In the Land of Women," starring Meg Ryan, Adam Brody and Kristen is being directed by Jonathan Kasdan. Lawrence Kasdan is the executive producer. Jori Woodman is the costume designer and Steve Golin is the producer. INSET: Filming in Gotham.

The article offers information on the challenges faced during the making of "The Lady," a film on the life of Burmese democratic leader Aung San Suu Kyi, who is played by Michelle Yeoh. It mentions that the director Luc Besson and the production staff had to travel extensively across Southeast Asia to search for suitable shooting locations. It also mentions the challenge faced by costume designer Oliver Beriot in coming up with the suitable costumes for Yeoh.

The article focuses collaboration of costume designers and film directors and actors. Designer Wendy Chuck for the film "The Descendants," directed by Alexander Payne, says that she designs costumes which supports the actors. Designer Deborah Hopper mentions that she maid natural looking designs in the film "J. Edgar," directed Clint Eastwood. Designer Colleen Atwood adds that her collaboration with actor Jonny Depp on films such as "The Rum Diary" has resulted to a connection like of a family.

The article announces that set designer Robin Wagner and costume stylist Lewis Brown have received the 2011 TDF/Irene Sharaff Awards.

The article announces that motion pictures "Black Swan," "Alice in Wonderland," and "The King's Speech" have received recognitions at the 13th annual Costume Designers Guild Awards on February 22, 2011 in the U.S.

The article offers information on several individuals, who are experts on their craft. It says that costume designer Varya Avdyushko, who has a flair for dark and dramatic costumes, has established her career on films like "Night Watch." Meanwhile, sound designer Brad Beaumont has designed the sound of several game releases including "Alan Wake." Furthermore, production designer Sean Haworth has earned his place after working as art director on big films like "Avatar."

The article focuses on the improvement of drama by making modifications in historical facts. It says that production designers give importance on convincing viewers by recreating sites and situations which appear to be the same as the elements in the historical period. It adds that the locations and the events can be recreated with the presence of raw materials and manufacturing techniques like the costumes in "The Tudors" which resembled the Italian and French attire than the English clothing.

The article announces that Oscar-nominated costume designers Sandy Powell and Monique Prudhomme took top honors at Costume Designers Guild Awards held at Beverly Hilton Hotel in Beverly Hills, California.

The article examines the costumes designed by costume designer Casey Storm for the film "Where the Wild Things Are." Storm admits that his biggest challenge concerns the creation of the wolf suit for the lead character. He also states that he created 101 wolf suits because they decided to use different suits for different lighting setups.

The article reports on the different adaptation of the 1940s fashion and look by costume designer Anna B. Sheppard on the motion picture film "Inglourious Basterds," directed by Quentin Tarantino in the U.S. It notes the alteration of the Nazi uniforms and fancy costumes used in the film. Production designer David Wasco remarks the twisted and looseness of the film. Furthermore, it also states the altered reality captured by the film.

The article focuses on the challenges facing costume designers who are tasked to do the costumes of period television shows. Costume designer Katherine Bryant explains that her role is to consider the intention of character and to be able to depict a story through the stars' costumes. Catherine Thomas admits that depicting eras can be difficult for a costume designer.

The article reports on the costume designers who were nominated for the 11th annual Costume Designers Guild awards in 2009. The nominees are Deborah Hopper for "Changeling," Jacqueline West for "The Curious Case of Benjamin Button," Michael O'Connor for "The Duchess," Danny Glicker for "Milk" and Albert Wolsky for "Revolutionary Road."

The article focuses on the fashion trend featured at motion picture "The Women." It states that the newest adaptation of the 2001 Broadway play features ladies who dress to kill and wear fabulous clothes that have always played a major role. Starred by Jada Pinkett Smith, Meg Ryan and Debra Messing, these women wear the dresses designed by costume designer John Dunn.

The article describes challenges overcome by the Fashion Institute of Design & Merchandising (FIDM) in putting together an annual show of costumes from the five Oscar best picture nominees, the 15 Costume Designers Guild nominees and from 25 films. Statements from FIDM President Toni Hohburg, museum director Robert Nelson and museum historian Kevin Jones are included.

The article presents the views of 5 costume designers, namely Alexandra Byrne for "Elizabeth: The Golden Age," Colleen Atwood for "Sweeney Todd," Marit Allen for "La Vie en rose," Albert Wolsky for "Across the Universe," and Jacqueline Durran for "Atonement," with regards to achieving the right costume design to be used in motion pictures.

The article discusses the traditional designs used in the creation of the Western films in the U.S. Costume designer Arianne Phillips claims that it is a historic piece for the contemporary eye, and that is her eye as a designer, wherein she approached the costumes from a period-correct sensibility, utilizing fabrics authentic to the time. Phillips added that using a hat is a way to define character and could hinder or assist in many emotional and dramatic moments.

The article presents several comments of stylists and fashion editors on the costume design of several contemporary motion pictures. In the film "The Devil Wears Prada," stylists and fashion editors complained that the outfits were out-of-date and the designer all wrong. On the other hand, to recreate real royalty, Consolata Boyle navigated between Elizabeth II's public and private personae in the "The Queen."

The article compares the costume designs for the lead characters of the two motion pictures on Queen Elizabeth II and Queen Marie Antoinette. The article mentions that the fashion sense of both queens was considered by costume designers Consolata Boyle and Milena Canonero while designing the royal costumes. Various aspects of costumes and settings including hair, shoes, pets and the palaces used by the queens are also discussed.

The article features a panel discussion on fashion in films. Noted costume designers John Landis, Deborah Nadoolman Landis, Louise Mingenbach and Jeffery Kurland participated in the discussion. The essence of costume designing in films, working with fashion designers on film costumes, influence of film on fashion and fashion on films are the topics of the discussion.

The article reports on Colleen Atwood's most celebrated moments of her career as a costumer designer for motion pictures in the U.S. She was honored for her design for the film "Memoirs of a Geisha" with the Lacoste Spotlight in Film Award at the 8th annual Costume Designers Guild Awards. During the awards, Danny Glicker got the contemporary film prize for his work in "Transamerica" and Isis Mussenden drew an award for her designs in "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe."

The article profiles Cate Adair, a costume designer. She was nominated by the Costume Designers Guild for her costume design on the television series "Desperate Housewives." Adair shops online and in stores which include vintage shops since the show demands a lot of costume changes by the cast. She combines the color, texture and the silhouette in her designs.

The article focuses on issues concerning costume designs in motion picture. According to Judy Becker, costume designer on the film "Brokeback Mountain," the design of costume should support the story and the characters and not the other way around. Costume designers believe that it is not always character development that drives costume design choices when contemporary setting is depicted. Moreover, designers should always look for various ways in designing costumes to please the audience.

The article focuses on the design of the costumes for the characters in the film "Star Wars Episode III: Revenge of the Sith," which was directed by George Lucas. Trisha Biggar, costume designer, appreciated the role of technology on the designs and textures of the costumes worn by the characters. Biggar had designed armors and suits, hairstyles and clothes that were distinct from the designs used in the three prequels of "Star Wars."

This article discusses the skill of costume designers Anthea Sylbert. She has donned many hats during her career--costume designer, studio executive, producer, screenwriter. The thread that ties them all together is story, Sylbert really gets the material. Sylbert studied at history at Bamanl College, but abandoned her plans for a master's degree after landing a research gig with a Broadway costume designer. Sylbert took Off Broadway jobs laying about $50, most of which she spent on the costumes. She supported herself designing shoes for Capezio, which allowed her to continue working on low budget projects.

This article reports that the mere mention of the words "Merchant Ivory Productions" conjures up images of Edwardian England and sweeping, highly stylized period films filled with exquisite costumes. Renowned as much for spectacle as they are for working miracles with minuscule budgets, director James Ivory and partner producer Ismail Merchant's sartorial achievements rely on a small circle of costume designers that intuitively understands their vision. Costumes should always be striking but that doesn't mean they should overshadow other things.

This article reports that this year the Costume Designers Guild (CDG) has opened its awards to non-members for the first time. As a result, four out of the five Oscar nominees for costume design are also CDG contenders in the period/ fantasy category. That's in stark contrast with last year's race, when only one CDG nominee was up for a statuette. The board couldn't justify spending guild money to promote the work of non-member designers until sponsorship money from Lacoste, Swarovski, Bulgari, Lancel and Anne Cole made the gala self-sufficient.

This article presents information on the motion picture De-Lovely. Producer Irwin Winkler, production designer Eve Stewart and costume designer Janty Yales re-created legendary composer Colo Porter's lavish life in just 12 weeks on a budget of $15 million. It was Porter's home in Massachusetts that gave Stewart reason for concern. The Williamstown house was quite hard to re-create, especially since it had been so well documented in many contemporary periodicals," Stewart relays in the film's production notes.

Reports that the Costume Designers Guild has nominated predominantly large scale studio films for its 2005 awards. Nominees for the fantasy/period film category; Guild's presentation of costume awards to five categories for film, television and commercials.

Profiles costume designer, James Acheson. Career achievement award to be presented by the Costume Designers Guild in 2004; Costume design for "Spider-Man"; Projects for "Restoration," "Last Emperor" and the British television show "Dr. Who".

Details the production of the most visual films of 2003. Theme of "21 Grams", "In America", "American Splendor" and "Northfork"; Challenges faced by the production designers, art directors, costumers and makeup artists of the movies; Need to complement with the demanding directors.

Details the production of the movies "Master and Commander: The Far Side of the World," directed by Peter Weir and "Pirates of the Caribbean," starring Johnny Depp. Devotion of "Master" to the concept of authenticity; Aim of "Pirates" production designer Brian Morris to capture the true spirit of the Disneyland attraction; Collaboration between Morris and costume designer Penny Rose.

Relates the views of costume designer Lori Efkowitz-Carter in working at the sitcom 'Will and Grace.' Styles favored by Efkowitz-Carter for the main character Grace; Fun derived by shopping for the characters' clothes; Personal relationships with the cast of the show. INSETS: CASTING ABOUT: SEAN HAYES;CASTING ABOUT: MEGAN MULLALLY.

Profiles costume designers Edith Head. Popularity among Hollywood stars; Motion pictures with costume designs from Head; Awards and achievements.

Profiles Theadora Van Runkle, legendary costume designer from the United States. Presentation of the Bulgari Lifetime Achievement for Film Award to Van Runkle; Details of the career and achievements of Van Runkle; List of motion pictures involving Van Runkle.

Profiles Ken Adams, costume designer of James Bond movies in the United States. Details of the career of Adams; Nominations and awards; Presentation of a lifetime achievement award from the Art Directors Guild.

Reports the nomination of the motion pictures 'Legally Blonde' and 'Ocean's Eleven' in the contemporary category of the Costume Designers Guild in the U.S. Role of designers Sophie Carbonell and Jeffrey Kurland; Difficulties of capturing separate personalities and individual styles of each character; Reaction of the designers.

Reports on the business of women costume designers outside the film industry in the United States. Range of the products launched by the designing women; Creative freedom found in having a business; Satisfaction in designing for the public.

Focuses on the costume designs of Mary Zophres for the film 'The Man Who Wasn't There.' Concentration on the tone and texture of the designs; Colors used on the costumes; Inspiration for the art.

Focuses on the designing of clothes for period films by costume designers. Creative freedom found in period films; Preference to work with visionary filmmakers who support their standards; Exercise of subversiveness; Role of the clothing in creating the mood and re-creating the era.

Reports on the costume designs of Ngila Dickson for the motion picture 'The Lord of the Rings.' Creation of a very real civilization of slightly ethereal people; Number of costumes made for the three films; Familiarity with fantasy settings and characters.

Focuses on the costume design for comic strip characters in motion pictures. Inspiration of designer Bob Ringwood for 'Batman,' 'X-Files' and 'Fantastic Four'; Importance of costume designers for characters; Significance of sex in outfitting 'Spider-Man' and 'Fantastic Four'; Challenge faced by designer Leesa Evans in costumes for 'Josie and the Pussycats'.

Focuses on the costume design of motion pictures. Inspirations of designer Anthony Powell for the costume of actress Glenn Close in '102 Dalmatians'; Purpose of designers Catherine Martin and Angus Strathie for 'Moulin Rougue'; Designs created by Kate Harrington for 'Rollerball.'

Focuses on the costume design of the motion picture 'The Grinch' by designer Rita Ryack in the United States. Opportunity to be creative; Establishment of a clear aesthetic starting point; Significance of color choices for the state of mind of the Grinch; Inspiration of the designer in creating the costumes.

The article announces the recipients of the 15th Annual Costume Designers Guild Awards including costume designers Jacqueline Durran for "Mirror Mirror" in fantasy category, Caroline McCall for "Downton Abby" in television period-fantasy, and Molly Maginnis for "Smash."

The article reports that a branch for costume designers was voted by Academy of Motion Picture Arts and Sciences (AMPAS) to be created separately from the designers branch.

The article announces several nominees for the 15th annual Costume Designers Guild Awards in different categories which include Stephani Lewis for excellence in contemporary film, Colleen Atwood for fantasy film and John Dunn for fantasy television series.

The article focuses on costume designer Sharen Davis, who designed the slave-owning American South costume for the characters in the film "Django Unchained."

An obituary for Martin Pakledinaz, a veteran Broadway costume designer, is presented.