CDG - The Costume Designer

Fall 2015

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6 The Costume Designer Fall 2015 EDITOR'S NOTE Technology can both limit and enable the achievements of an era; consider the many innovations seen in the history of garment con- struction. These milestones have come to define each period. For example, before the invention of zippers, there were only pins, buttons, and ties; think of the fibulae on Greek chitons or the eye- lets and ribbons on 15th-century doublets. Likewise, royal purple and acid green are associated with the Victorian period because before the discovery of aniline dyes in 1856, these vivid colors could not be achieved in fabric. From plastics, to stretch fabrics, and now to 3D printing, each advance transforms the landscape of possibilities. An ability to adapt the newest tools is vital for Costume Design. With compressed time- frames and tightened budgets, 3D printing flings open a door to quickly construct forms, which in the past would have taken large budgets and months to develop. We have devoted part of our fall issue to explore 3D printing, in an effort to demystify it. Associate editor Christine Cover Ferro breaks down the process for us, as she tries it for herself. One of 3D printing's early adapters, CD Charlie Altuna was kind enough to host a studio visit, and his enthusiasm for the process is contagious. Finally, we tackle the difficult topic of inspiration versus cultural appropriation in ACD Kristi Hoffman's piece written from a Native American perspective. Another way to look at this problem is to ask, "When does the desire for exoticism have to be tempered by cultural sensitivity." In the past, filmmakers borrowed liberally and indiscriminately from other cul- tures. But their reach wasn't as global as ours is today. Technology has not only changed the way we design, it has also changed the way audiences look at our design. Ultimately, we will be held accountable for our choices. With the depth of creativity and the vast research resources available, our responsibility is to conjure this evocation of mystique without resort- ing to an archaic vocabulary, which is no longer in keeping with our global awareness and respect for other cultures. Dear readers, I know you are up to the challenge. 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 MEMBER SERVICES ADMINISTRATOR Suzanne Huntington RECEPTIONIST/SECRETARY Cecilia Granados PUBLISHER IngleDodd Media ADVERTISING 310.207.4410 In the summer 2015 issue (page 14), the following was incorrectly attributed to CD Lisa Padovani for Gotham. It was actually said by CD Jenny Eagan of Olive Kitteridge. "The spark of inspiration for this project was real life's complexities and contradictions, which for all of us, is a journey." The illustration for Wet Hot American Summer in the new directory of members (page 64) was designed by Leslie Schilling and illustrated by Jennie Compton. CORRECTIONS

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