CDG - The Costume Designer

Winter 2019

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Winter 2019 The Costume Designer 5 EDITOR'S NOTE Costume Design may seem like an ephemeral art, but it has a lasting impact. The perfect costume needles under the viewer's skin, lingering well beyond its actual screen time. Therein lies its unquantifiable power—how a costume can capture the imagination and resonate in the audience. On the surface clothing can seem frivolous or tempo- ral, but Costume Design is a powerful medium because people intuitively understand it. When assigning monetary value, one of the fac- tors considered is impact. I think of Career Achievement honoree Ruth E. Carter arming the film Selma's protestors and Martin Luther King Jr. (David Oyelowo) with overcoats as they march in mourning of the people they lost. I think of her summoning the Afro-futurism of the first black superhero and his world in Black Panther in such a way that audience members came to screenings dressed in traditional African attire in support of her vision. I think of Betty Pecha Madden, our Distinguished Service Award recipient who we feature on our cover, on the picket lines protesting on our behalf. She brings decades of experience as a Costume Designer with her, using her voice to further our cause. I think of the meticulous work created by all of our nominees to paint their characters in garments, and how this taps into the larger cultural zeitgeist. We face many challenges, but we have also made great strides. As the conversation in the entertainment industry turns to equality and fairness, we as Costume Designers must consider our role in this dialogue. Pay equity isn't just about a paycheck, but about recognizing the value of our work. As someone in continual contact with CDG members, I have a broader view of the community as a whole. I am constantly wowed by the commitment of our members to fulfill their own vision and to serve the larger scope of their projects. The nominees in our Awards magazine show the breadth of Costume Design and the complexity and richness of its lexicon. This language is executed in the ser- vice of truth—the truth of the script, the truth of the character. Without those absolutes the audience is lost. Given the tools and armor of a costume, the actor can summon the persona they need to assume. Only when all the details ring true does the character leap off the screen. Being a visual storyteller is vital because audiences have an emotional connec- tion to images. I have been privileged to serve as the editor in chief of this magazine for six years and am honored to continue representing your work in my new position as Communications Director. Thank you for your daily inspiration Anna Wyckoff EDITOR IN CHIEF Anna Wyckoff ASSOCIATE EDITORS Bonnie Nipar Christine Cover Ferro PRESIDENT Salvador Perez VICE PRESIDENT Cate Adair SECRETARY Ivy Thaide TREASURER Nanrose Buchman EXECUTIVE BOARD Mary Vogt Christopher Lawrence Julie Weiss Mona May Phillip Boutté Jr. Costume Illustrators Representative Kristine Haag ACD Representative LABOR REPRESENTATIVES Betty Madden Sharon Day BOARD ALTERNATES Kristin Burke Jennifer Soulages Lyn Paolo Terry Gordon BOARD OF TRUSTEES Jacqueline Saint Anne Cliff Chally Barbara Inglehart ALTERNATE TRUSTEE Dorothy Amos EXECUTIVE DIRECTOR Rachael M. Stanley ASSISTANT EXECUTIVE DIRECTOR Brigitta Romanov MEMBER SERVICES ADMINISTRATOR Suzanne Huntington RECEPTIONIST/SECRETARY Cecilia Granados PUBLISHER IngleDodd Media ADVERTISING 310.207.4410

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