Issue link: https://digital.copcomm.com/i/1381808
19 ino alsama, his personal tailor, advised her tailor on the pattern and cut of alston's clothing, and at tended wan Mcregor's fi tting to consult and off er insight. She went to the home of one of alston's famous models and muses, Chris oyer, who has a collection of original alston garments. Chris told her how he moved, oozed chic, and was as a friend. alston's house manager, Sassy ohnson, shared what he wore daily and how he draped his sunglass es as he sashayed gracefully through his atelier, and what the general dress code around his o ce was in the late 's to 's. They had laughs galore. She taught him how to sew, to move through a workroom as a designer, and cut and drape fabric on live models. alston liked to manipulate fabrics cutting on the bias and San uan helped him learn how to do that. She sat with bated breath behind the monitor, hoping Mcregor wouldn't prick the actresses with pins, and she would jump in with pointers if she saw him faltering. alston never wanted the line of his pants to be sullied by such practicalities as pockets, so Mcregor became accustomed to using his hands diff erently. er process was a full immersion with all depart ments. San uan collaborated with production de signer Mark icker, in his uest for an authentic work room set. They recreated Studio and the attle of ersailles fashion show in which rench couturiers were pitted against American designers to alston's th Avenue store and home. She also worked with di rector Dan Minahan on the choreography of design ing, draping, and creating fashion garments. San uan loved this project and working beyond the scope of traditional costume design. The whole cast and crew were absorbed into alston's luscious, chic but ulti mately, tragic world. S Ju f w k McG r a d . I S tau s• , mo• r • a w kr m - a € ‚ ƒ „ , … c† … drape f‰ Š c ‹ li• mo€ ls H' " ‹ lik" • ipul– e f‰ Š cs-c† ˜ ng ‹ › bi- -… S Ju lp" ž Ÿ n do ¡ t.