6 The Costume Designer Fall 2015
EDITOR'S NOTE
Technology can both limit and enable the achievements of an era;
consider the many innovations seen in the history of garment con-
struction. These milestones have come to define each period. For
example, before the invention of zippers, there were only pins,
buttons, and ties; think of the fibulae on Greek chitons or the eye-
lets and ribbons on 15th-century doublets. Likewise, royal purple
and acid green are associated with the Victorian period because
before the discovery of aniline dyes in 1856, these vivid colors
could not be achieved in fabric. From plastics, to stretch fabrics,
and now to 3D printing, each advance transforms the landscape of possibilities.
An ability to adapt the newest tools is vital for Costume Design. With compressed time-
frames and tightened budgets, 3D printing flings open a door to quickly construct forms,
which in the past would have taken large budgets and months to develop. We have devoted
part of our fall issue to explore 3D printing, in an effort to demystify it. Associate editor
Christine Cover Ferro breaks down the process for us, as she tries it for herself. One of 3D
printing's early adapters, CD Charlie Altuna was kind enough to host a studio visit, and his
enthusiasm for the process is contagious.
Finally, we tackle the difficult topic of inspiration versus cultural appropriation in ACD
Kristi Hoffman's piece written from a Native American perspective. Another way to look at
this problem is to ask, "When does the desire for exoticism have to be tempered by cultural
sensitivity." In the past, filmmakers borrowed liberally and indiscriminately from other cul-
tures. But their reach wasn't as global as ours is today. Technology has not only changed the
way we design, it has also changed the way audiences look at our design. Ultimately, we will
be held accountable for our choices. With the depth of creativity and the vast research
resources available, our responsibility is to conjure this evocation of mystique without resort-
ing to an archaic vocabulary, which is no longer in keeping with our global awareness and
respect for other cultures. Dear readers, I know you are up to the challenge.
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
bingleheart@cdgia.com
ALTERNATE TRUSTEE
Dorothy Amos
damos@cdgia.com
EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@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
In the summer 2015 issue (page 14), the following was incorrectly
attributed to CD Lisa Padovani for Gotham. It was actually said by
CD Jenny Eagan of Olive Kitteridge.
"The spark of inspiration for this project was real life's complexities
and contradictions, which for all of us, is a journey."
The illustration for Wet Hot American Summer in the new
directory of members (page 64) was designed by Leslie Schilling
and illustrated by Jennie Compton.
CORRECTIONS
