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
awyckoff@cdgia.com
EDITOR IN CHIEF
Anna Wyckoff
ASSOCIATE EDITORS
Bonnie Nipar
Christine Cover Ferro
PRESIDENT
Salvador Perez
sperez@cdgia.com
VICE PRESIDENT
Cate Adair
cadair@cdgia.com
SECRETARY
Ivy Thaide
ithaide@cdgia.com
TREASURER
Nanrose Buchman
nbuchman@cdgia.com
EXECUTIVE BOARD
Mary Vogt
mvogt@cdgia.com
Christopher Lawrence
clawrence@cdgia.com
Julie Weiss
jweiss@cdgia.com
Mona May
mmay@cdgia.com
Phillip Boutté Jr.
Costume Illustrators Representative
pboutte@cdgia.com
Kristine Haag
ACD Representative
khaag@cdgia.com
LABOR REPRESENTATIVES
Betty Madden
Sharon Day
BOARD ALTERNATES
Kristin Burke
kburke@cdgia.com
Jennifer Soulages
jsoulages@cdgia.com
Lyn Paolo
lpaolo@cdgia.com
Terry Gordon
tgordon@cdgia.com
BOARD OF TRUSTEES
Jacqueline Saint Anne
jsaintanne@cdgia.com
Cliff Chally
chally@cdgia.com
Barbara Inglehart
binglehart@cdgia.com
ALTERNATE TRUSTEE
Dorothy Amos
damos@cdgia.com
EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@cdgia.com
ASSISTANT EXECUTIVE DIRECTOR
Brigitta Romanov
bromanov@cdgia.com
MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington
shuntington@cdgia.com
RECEPTIONIST/SECRETARY
Cecilia Granados
cgranados@cdgia.com
PUBLISHER
IngleDodd Media
ADVERTISING
310.207.4410
cdg@IngleDodd.com
www.IngleDoddMedia.com
costumedesignersguild.com
