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The article focuses on costume departments and designers and their preparations for ballets and Broadway shows. It presents the views of Marc Happel, director of costumes at New York City Ballet, on the key responsibilities and challenges related to the job. Catherine Zuber, costume designer for Moulin Rouge! The Musical, mentions her inspiration for creating suitable designs for dancers and designer Daniela Gschwendtner discusses the challenges involved in designing for the stage performance.

The article discusses how theatrical collaboration is an infinitely more pleasurable way of working than working alone, its role in a collaborative art and offers tips regarding the same. Topics discussed include collaboration among playwright, director, producer, scenic and lighting designers, costume designer and actors; how different teams work in different ways and how they collaborate with one another in play writing; and the role of lyrics, music and dialogue in the paly.

The article discusses the work of costume designer Dede Ayite and she credits Lehigh professor Drew Francis with providing her a broad theatrical education and many opportunities. It mentions her relationship with director Robert O'Hara, with whom she worked on "Slave Play" and she places great value on the in-house costume shops at regional companies. It also mentions setting of "School Girls" in her native Ghana.

The article offers information on the life and career of Korean costume designer Cho Sang-kyung. It mentions various films that were awarded at international film festivals in which she provides the costume including "Oldboy," "Sympathy for Lady Vengeance," and "Along with the Gods." It discusses her experience study the traditional Korean dress hanbok.

The author reflects on her work as an African-American costume designer for film and television. She shares how drawing affected her childhood, her self-expression through art, and how her creativity helped her escape peer pressures. Some of her projects include director Spike Lee's "Malcolm X" and "Sweet Blood of Jesus," Steven Spielberg's "Amistad," and Ryan Coogler's "Black Panther."

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Megan Piphus Peace, a puppeteer, shares her journey to landing the role of Gabrielle on Sesame Street. She began learning ventriloquism and puppetry at the age of 10 and was inspired by the ability to bring puppet characters to life. Despite studying economics in college, she continued to pursue her passion for puppetry and auditioned for America's Got Talent. After years of perseverance and practice, she wrote a letter to the Jim Henson Company, which eventually led to her being invited to try out for Sesame Street. In September 2021, she became the first Black woman puppeteer on the show. Megan's story serves as an inspiration to others to pursue their unique gifts and keep working hard towards their dreams. [Extracted from the article]

"Shögun" is a TV series adaptation of the 1975 novel by James Clavell. Set in 17th-century Japan, the story follows English sailor John Blackthorne as he navigates the complex tensions and loyalties of the country. The series explores themes of cultural exchange and political intrigue, with a focus on the characters and their ambiguous motivations. "Shögun" combines elements of historical fiction with action and interpersonal drama, making it a thrilling and immersive viewing experience. The show features a diverse cast and showcases the sumptuous visuals of medieval Japan. [Extracted from the article]

Janty Yates and David Crossman, costume designers, discuss their collaboration on Ridley Scott's biopic about Napoleon Bonaparte. They aimed to create authentic and realistic costumes for the characters, including Napoleon and his wife Joséphine, as well as the rest of European society during the late 18th and early 19th centuries. The designers built most of the costumes themselves, with David Crossman constructing around 4,000 costumes. They drew inspiration from original garments from the Napoleonic era and used vegan materials whenever possible, as Joaquin Phoenix, who plays Napoleon, is vegan. The designers also discovered that during that time period, people did not wear underwear and abandoned corsets and hoop skirts for a more loose and comfortable style. [Extracted from the article]

Production designer Ruth De Jong and costume designer Ellen Mirojnick discuss their work on the film Oppenheimer, directed by Christopher Nolan. The designers praise Nolan's collaborative approach and attention to detail. They explain how they created a visually immersive experience for the audience, capturing the essence of the real Oppenheimer's world. The production designer constructed a smaller-scale version of the town of Los Alamos, where much of the film is set, while the costume designer streamlined Oppenheimer's wardrobe across the decades. The designers emphasize the authenticity and realism of the characters and story. [Extracted from the article]

The article discusses the making of the film "Ferrari" and the director Michael Mann's commitment to authenticity and impactful drama. The director assembled a crew of expert department heads who understood his vision and worked together to bring Enzo Ferrari's story to life. The article highlights the contributions of the cinematographer, editor, production designer, costume designer, and composer, all of whom collaborated closely with Mann to create a visually stunning and emotionally resonant film. The article emphasizes the attention to detail and research that went into every aspect of the film's production, resulting in a rich and immersive experience for viewers. [Extracted from the article]

This article discusses the costume design process for the film Maestro, specifically focusing on a key scene where Carey Mulligan's character, Felicia Montealegre, returns to her husband, played by Bradley Cooper. The costume designer, Mark Bridges, worked closely with Mulligan to create a dress that accurately reflected the time period and the emotional moment of the scene. The gown was built from scratch and featured a cape and simple accessories. Bridges drew inspiration from 1970s fashion trends and combined elements of sophistication and sexiness to create the dress. The attention to detail extended to dyeing shoes to match the gown, ensuring a complete head-to-toe look. [Extracted from the article]

This article discusses the costume design in three different films that explore the theme of students' dress codes. In the film "The Holdovers," set in the 1970s, costume designer Wendy Chuck used late-'60s fashion to portray the characters' personalities and backgrounds. In "Saltburn," set in the 2000s, costume designer Sophie Canale contrasts the protagonist's traditional dress with the casual and trendy attire of his peers at Oxford University. Lastly, in "Priscilla," set in the 1960s, costume designer Stacey Battat creates a uniform look for the characters to emphasize the protagonist's ordinary life despite her extraordinary circumstances. [Extracted from the article]

Bend the bezel into shape, and solder. Slip the wire over the bezel and solder into place. Using a slightly larger metal rod, cut one large and one small ring, and solder. [Extracted from the article]

[Thorisdottir mixed Charlotte Tilbury Scarlet Spell with Smashbox Bawse (left) for Robbie's look.] [Robbie's] mood board was provocative and daring. - HEBA THORISDOTTIR PHOTO (COLOR): From top: Makeup artist Heba Thorisdottir used kabuki makeup as inspiration for Li Jun Li's double-eyeliner look; Byredo Lipstick in China Plum; Margot Robbie as Nellie LaRoy. [Extracted from the article]

The author discusses cost of one self-produced dance show. Topics include paying the dancers for rehearsals and paying for rehearsal space out of the company's budget, having a group of loyal dancers who rehearsed for free for four years, and how her in-house costume designer, who is a fashion designer, dyed the costumes and made eight masks completely for free.

The article presents an interview with fashion designer Rick Owen. He discusses winning Council of Fashion Designers of America's Lifetime Achievement Award in 2017. He mentions costume designer Larry LeGaspi who worked with label Kiss and Labelle and primal male swagger mixed with makeup. He also mentions that his wife Michele Lamy is his collaborator.

Variety's A Night With Artisans event in Los Angeles on May 30 will shine a spotlight on the crafts of artisans in the Emmy race. The event, now in its second year, will feature two panels: Creative Collaborators and Makeup, Hair, and Costume Design. Artisans from shows such as "Masters of the Air," "Palm Royale," "Hacks," "RuPaul's Drag Race," and more will discuss their processes and share their stories. The panels will be filmed and featured on Variety.com. [Extracted from the article]

Bob Mackie, a renowned couturier for Hollywood's elite, is the subject of a new documentary called "Naked Illusion." The film explores his legendary career dressing divas and also delves into his family life, which he finds difficult to discuss. Mackie gained fame as the costumer for shows like The Carol Burnett Show and Cher's variety show, and he has dressed celebrities such as Judy Garland, Diana Ross, Madonna, and Elton John. The documentary features interviews with notable figures in the industry, including Cher, Miley Cyrus, and Tom Ford, and showcases Mackie's iconic designs. [Extracted from the article]

Marilyn Monroe's va-va-voom was tamed when she appeared in the film "Something's Got to Give" with a more subtle, sophisticated look, thanks to costume designer Jean Louis, as seen in WWD on May 15, 1962.PHOTO (COLOR)By Jasper Brown [Extracted from the article]

Designers including Thom Browne, Pierpaolo Piccioli, and Olivia Cheng attended the media preview of the Costume Institute's "Sleeping Beauties: Reawakening Fashion" exhibition at the Metropolitan Museum of Art. The exhibition features 220 pieces from the 17th century to 2024 and emphasizes the multisensory experience of fashion. Showstudio's Nick Knight served as a creative consultant for the exhibition, which includes digital imagery and interactive elements. The exhibition aims to encourage visitors to engage with fashion as an art form beyond its visual appeal. [Extracted from the article]

"The Sympathizer" costume designer, Danny Glicker, explores the fashion of the 1970s in the screen adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel. Glicker worked closely with director Park Chan-wook to establish a color key for the show, with the main character, The Captain, being grounded in the color blue. The Captain's disguise as a spy is described as collegiate, preppy, and academic, reflecting a sense of trustworthiness. Glicker also reflects the resilience of Vietnamese refugees through clothing, showcasing their journey from modest beginnings to building a new life in the US. [Extracted from the article]

"The Gentlemen" is a Netflix drama series set in Britain that explores the stereotypes and communities within the British class system. The show's costume designer, LouLou Bontemps, drew inspiration from various sources, including the British royal family, Daphne Guinness, and a Steven Meisel editorial of a Mafia funeral. The costumes in the series play a significant role in adding wit and nuance to the characters, reflecting their backgrounds and journeys. Bontemps also discusses her upcoming project, a spy action film called "The Ministry of Ungentlemanly Warfare," which features period costumes and replicas of Winston Churchill's siren suit. [Extracted from the article]

Costume designer Katie Irish took a bold approach to dressing the Victorian period in the Apple TV+ series "Manhunt." Irish wanted to move away from the typical sepia-toned portrayal of the era and embrace the vibrant colors that were popular at the time. She aimed to make the characters feel human rather than symbols, especially for those who were less well-known in history. Irish used visual cues, color, and accessories with coded meanings to distinguish characters and convey their personalities. The costumes also reflected the characters' journeys and transformations. [Extracted from the article]

JCPenney has collaborated with celebrity costume designer and stylist Johnny Wujek to create a formal collection for Gen Z. The collection, called JCProm with Johnny Wujek, includes gowns, suits, and jackets that can be worn in multiple ways and are designed for all body types. The collection is available in juniors' and young men's sizes and retails from $59 to $250. JCPenney will also donate $250,000 to five high schools across the country to help with prom expenses. [Extracted from the article]

The article presents an interview with costume designer, Jess Goldstein. Topics discussed include his high profile production just after finishing his school; his choice between opportunities about theaters; and the stage designed by him for a theatrical production "Jersey Boys." It also mentioned the technology that has been evolved in costume designing.

The article focuses on African American costume designer Ruth E. Carter. Topics include a traveling exhibition on her titled "Heroes & Sheroes," her work on the film "Black Panther," and her outfitting of various black actors and actresses, including Angela Bassett and Tina Turner. Several photographs by Awol Erizku are presented of Carter's work.

An interview with Catherine Martin, Australian costume designer, production designer and set designer, is presented. Topics discussed include her creative partnership of filmmaker and her husband Baz Luhrmann; her aim for the collection that includes practical luxury; and her views on process of making a set.

The article discusses 2018 USITT Conference held in Fort Lauderdale as of August 1, 2018 where Stage Direction Studio was hosted by the journal and U.S. Institute for Theatre Technology (UITT). Topics discussed include views of costume designer William Ivey Long on designing for theatrical production "Steel Pier," views of stage designer Carolina Jimenez Flores on exhibiting stage designers, and several designers in Mexico.

The article profiles costume designer Christine Cook. She earned a bachelor of arts (BA) in Theater and Performance at the University of California, Berkeley. She pushed into the performative urged by the success of her experimental work with Shotgun Players, most importantly "Hawkmoon." She made plans of exploring very specific ideas associated with her vocation as a costume designer before her arrival in Berlin.