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:
YouTube.com/TheCostumeDesignersGuild. 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
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
