Issue link: http://digital.copcomm.com/i/933080
Winter 2018 The Costume Designer 21 awards dinner has grown from the excitement of our first evening to an internationally known and sought-after event. Eternal thanks for the far-seeing and groundbreaking designers who worked and dreamed and made their mark. Cliff Chally - President 1998–2001 When the awards were inaugurated 20 years ago at the Beverly Hills Hotel, most of the work on the event, from the mailings to the table décor, was done by volunteers in the Guild. It was an elegant dinner party for 600 people. The intent was to elevate the profile of the Guild within the industry by gen- erating press about our current work. Well, 20 years later, we continue to grow in both scope and stature, becoming one of the most respected events during the awards season. We are succeeding! Congratulations. Dr. Deborah Nadoolman Landis - President 2001–2007 It was the late nineties. Costume Designers' profound frustra- tion with our anonymity had grown exponentially. We were a group of influential designers whose work had made an impact on international popular culture. Our press coverage was sparse. Studio marketing was not interested in publicizing our work with the exception of big-budget period films. There was a feeling amongst our most distinguished designers that the misunderstanding of our role as key collaborators (both within and outside the industry) had grown intolerable. Our names and credits seemed to disappear from film and fashion articles star- ring our actors. Facing the grim realization that no one would help us promote our work, the Costume Designers Guild ten- tatively considered the idea of establishing an annual award. In 1998, I invited Albert Wolsky, May Routh, Ellen Mirojnick, Jeffrey Kurland, and a half-dozen other designers to my house for lunch. I was candid, "Look, I don't care if we have beer and pretzels at the Sportsmen's Lodge, we must have a party, we must celebrate ourselves." The time was right for taking control of our destiny, for shining a spotlight on our own work, and for investing in our field. This decision was not unanimous. When I proposed the idea at the next General Membership Meeting, members expressed great trepidation. Many members were concerned that a competition would spark strife and animosity. Reassurance was required; this was about our mutual support and solidarity. Ultimately, we took the risk. We decided to do what directors, screenwriters, pro- ducers, and actors do annually, honor our own. In fact, the first awards were a triumph. The sold-out eve- ning was hosted by Anjelica Huston, whose godmother was fabled Costume Designer Dorothy Jeakins. With typical mod- esty, one of the Career Achievement Award honorees, Albert Wolsky, said, "I think it's a lovely idea. I just wish they hadn't picked me." The greatest success of the night was its joyous mood. More family gathering than professional reception, the evening was filled with happy reunions. Page nine of the first tribute book featured my essay, "What Is Costume Design?" Now, in 2018 after reading the abundance of Costume Design coverage during awards season, the press and the public are finally beginning to figure it out. Costume Designers are fierce. And the Costume Designers Guild Awards is our moment to fall in love with our profession all over again.