4 The Costume Designer Winter 2017
The life of a Costume Designer can be isolating. Because you
are deeply absorbed in the world you are creating with your
team, it can become difficult to connect with your peers,
or even your family and friends. This is one of the reasons I
love awards season. Not only is it a time to celebrate our art
as a community, we also get to commune as artists.
I find myself with such a unique and delightful vantage
point on all of you. Not only do I get to hear your tales—
your trials and triumphs, but also the unexpected situations
that arise between. This level of knowledge is an honor and a responsibility. Because
you have given me these personal glimpses into your world, I feel charged to dissemi-
nate them among our members, and really—at the risk of sounding too bold—the
world. Our audience already understands the value of Costume Design, because the
images created by your work are deeply ingrained. They have become part of the
cultural framework in which we live. As a result, when the public understands the
process required to achieve that image, some find it almost unbelievable.
Ann Roth says that Costume Design is a job. I agree. But, I also think it's a feat,
a magic trick, a sleight of hand. It is a perceptiveness acted out upon clothing in
order to bewitch for the purpose of fiction. It's your job to make another person, or
group of people, real. Acumen, observation, and research are not negotiable; they
There are so many examples of this knowledge applied to brilliant decisions in
the work of this year's award nominees. J.R. Hawbacker considered a history without
WWII to inform the fascist reality of The Man in the High Castle. Eulyn C. Womble
imagines who her characters were before they died, how they died, and how long
they have been dead, to inform her design for The Walking Dead. For the finale of
a decade of Dos Equis commercials, Julie Vogel had to re-create all of her previous
characters to send "The Most Interesting Man in the World" off to Mars—can you
imagine that production meeting? There are too many delicious stories to tell here.
If you haven't already, visit our website (costumedesignersguild.com) for interviews
with all our nominees.
We are also recognize Jeffrey Kurland, our Career Achievement Award recipient,
for his storied body of work. Thank you, Jeffrey, for graciously allowing us to pho-
tograph you in your personal library. Every magazine cover is its own journey, and
this one was no exception. All the details in this image have meaning, from Jeffrey's
jacket, which was made the year he was born, to the notes and beloved objects scat-
tered subliminally on the shelves.
Having originally joined this Guild as a costume illustrator, I have always looked
upon Lois DeArmond's work as a sort of touchstone. It seems only fitting that she
receive this year's Distinguished Service Award for her exquisite paintings, which we
have all marveled over.
I am moved every day by the capacity of our members to tell a story in whatever
medium they are wielding. The actor is complicit of course, but as they say, clothes
make the man, or woman, or alien, or ghost, or zombie…
Congratulations to all of our 19th CDGA nominees.
EDITOR IN CHIEF
Christine Cover Ferro
Phillip Boutté Jr.
Costume Illustrators Representative
BOARD OF TRUSTEES
Jacqueline Saint Anne
Rachael M. Stanley
MEMBER SERVICES ADMINISTRATOR