Issue link: https://digital.copcomm.com/i/1470587
s little as 20 years ago it was almost unheard o or costume designers to get recognition or compensation or the mareting o clothing and costumes based on their original designs. Contractually considered artists or hire, our members are usually not included in atermaret merchandise. ew costume designers have broen through anie Bryant, Mandi ine, Salvador Pere, and rianne Phillips to name a ew. It seems natural that costume designers should benefi t rom the creative intellectual property they initiate. In order to change standard practices, sharing experiences is vital. Only then can we enable the collective to receive the recognition they are due, fi nancially and creatively. ran Helmer, costume designer or the Emmy nominated Cobra ai series or Net ix, is grateul to those who paved the way or his current collaboration with Champion thletic Wear. In solidarity he shares his ourney and mar eting strategy. Helmer didnt now what he wanted to do ater college. I did what any student o cultural anthropology and postmodern eminism would do I wored in a bar, he uips. He loved to put on a loo to go out, but money was tight. While living in a semisuat lot in downtown Seattle, he ound a discarded sewing machine in the hall way, taught himsel to sew, and started maing noco s o the savvy clothes he saw at Barneys. Soon, he was selling at a riends boutiue. During this time, Helmer also volunteered at the Seattle International ilm estival where he met several indie ac tors, producers, and directors. His move to os ngeles was prompted by a riend who suggested he costume design a student fi lm at University o Southern Caliornia. I new nothing o the ob, but I umped at the opportunity and aed it, learning as I went and loved every minute o it It w a true co l l a ry s fy exc proc s y onnie ipar Photo: Frank Helmer. 46 THE COSTUME DESIGNER | SUMMER 2022