CDG - The Costume Designer

Spring 2017

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4 The Costume Designer Spring 2017 EDITOR'S NOTE After the thrill and clamor of awards season, I often feel both exhilarated and exhausted. In addition to celebrating your work in this magazine and on the CDG website, I embarked on a new round of filming for our Legacy Video Series, a project which we are pursuing throughout the year. It is an honor to document your tribulations and triumphs first- hand for our YouTube channel. If you haven't checked it out, I encourage you to at: I think of these pieces as part of our oral history, and another opportunity to find support with one another. This year I recharged by doing a bit of traveling. I love the graphic view from the plane, which brings to mind big ideas. It offers perspective; you see patterns. The familiar landscape becomes an abstract painting of rivulets, rivers, and mountain ranges, with just a few farms and their unlikely emerald rectangles outlined. America is a big idea. And when you view the land from aloft, you see just how much is still wide open. This notion of expansiveness is a large part of the allure of the west. People were drawn here not only because of the space, but because of seemingly limitless possibilities and hope for the future. In this issue, we consider the modern reinvention of the Western, a genre which is far from fading into the sunset. In its resplendent rebirth on both big and small screens, there is a newfound intention to represent the truth accurately. We spoke with our Vice President, Cate Adair, who graces our cover, about her design for The Son. She asked to pose beside a paint horse because they were so important to the Comanche people. I love the way her mind works. She told me, "I think that's the difference between the old and the new. There were so many shortcuts taken in the past because the way people felt about other people was a little bit different. Now it's really important to us to celebrate all the parts that make up the whole that is our country, to honor them and their experience, even in small ways like this. That's the essence of modernism." We also conversed with Trish Summerville and Ane Crabtree who designed Westworld, the pilot and series respectively, and their take is nothing short of inspirational. In defiance of the political landscape, as artists, it is encouraging that we can look to our art for enlightenment and to proliferate ideas of equality, fairness, and belief in each other. This is the 30,000-foot view, and I encourage you, dear readers, to consider it. 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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