THE COSTUMES OF DOWNTON ABBEY

A few weeks ago I was asked to give a presentation on the costumes of the hit British TV series, “Downton Abbey” to a group of about 100 guests. This was for a PBS fundraiser at the Mandarin Oriental Hotel in Las Vegas.

I immediately said yes, and then realized that I had not been watching the entire series and that I needed to do some quick catching up. And what a pleasure that turned out to be! The Season 1 and 2 episodes told such a wonderful story, and are set in the magnificent Highclere Castle, which stands in for Downton Abbey. It is really a visual treat, with lavish and richly saturated colors in both sets and costumes. A sumptuous feast for the eyes!

The story starts in 1912 with news of the sinking of The Titanic  and continues through World War One. We see the last vestiges of the aristocratic country life in England, then the dramatic cultural changes that the war created. Men went to war, women had to fill in and do things they had never done before, such as nursing or helping on the farms. Their clothing became looser, hems shorter, and  the War Office asked them not to buy corsets, as the steel in the eyelets was needed to build battleships.  Season three is about to start, and takes us through the 1920’s. Clothing becomes shorter yet, and once released from the bondage of corseting, the waists disappear, busts are flattened, and the emphasis is on the hip, a totally different silhouette.

While doing research for my presentation, I read a lot about the Downton Abbey designers (there have been several throughout the 3 seasons) and their approach, which I found fascinating. 

I always thought the British would be  sticklers for period accuracy, and was pleasantly surprised to find that they had no qualms about making adjustments in palette or detail to suit a viewing audience in the 21st century. Hardly one to diss my fellow American costume designers, however, I must say I find that the Brits seem to be able to make period clothes look like “real clothes”, not just “costumes”. There is a subtlety and ease about the look of the wardrobe that impresses me.

The designers have gathered the costumes, of which many are needed for the large cast, both upstairs and downstairs, from several sources. They rent, of course, though they call it “hiring” the costumes. There are many fine costume houses in Europe with an abundance of wonderful pieces, and Carolyn McCall, the current designer, readily admitted that one of the three dresses worn by the sisters had been worn before in the Merchant Ivory film “A Room with a View”. A few costumes are actual vintage pieces that she was able to find, though finding something that old is hard to find in good enough condition to hold up during filming. And lastly of course, costumes are made from scratch, in this case often incorporating some pieces salvaged from original vintage garments.

That must have been the most fun! Scouring the vintage stores, private collections, even flea markets for bits and pieces of lace, silk flowers, or trim that could be removed from a fading hat and given new life, or some antique beading that could be cut from is original dress and sewn onto or into a new gown - that’s such a pleasure for a costume designer. I’m jealous!

So hat’s off to you, British television, and British costume designers. I can’t wait for Season Three. I hate to admit it, but you really do good work!

REMEMBERING LARRY HAGMAN

I had the pleasure of designing costumes about 20 years ago for Larry Hagman in a TV movie called “Staying Afloat”, produced for NBC.

I first met Larry at the Culver Studios in Culver City, Ca, when I went for my interview. He was sitting in his office which he had draped all sorts of exotic middle eastern fabrics to cover every inch and ceiling, creating a tent like environment. I had never interviewed in quite such a place! I was eager to please, as this might be my very first TV Movie ( previously I had designed nothing by series), and it was to be filmed in Fort Lauderdale. I had dressed up in a smart suit, worn high heels,  and carried my large portfolio. Apparently Larry thought that the way I was dressed indicated that I might not be the kind of person who would get in there and work hard, so initially I did not get the job. However, I was lucky enough to have a producer who was rooting for me, so I went in again dressed more casually (I never was a jeans kind of girl), and he liked me better and I was hired!

My next meeting with him was at our first fitting, He was playing a rich man whose father had disowned him and who only possession of note was a 1930’s designer yacht, so I had brought in lots of beautiful clothing, nautically inspired. He liked some of the things, but rejected anything that had any brown/tan/beige in it (which was half of my selection), apologizing for not telling me he only liked blue!

Anyway, after that it was all “smooth sailing”, and I thoroughly enjoyed working with him. He was very funny, and enjoyed “holding court” and telling stories,  many of which were about his days on Dallas. He said he was so famous during that time that the extras would steal the powder puffs that had been used to mop his sweat, and that if he fell asleep on set or traveling on a train, people would snap his photo with his mouth open during a snore!

He had a mischievous side, a stubborn side, an eccentric side. One time I had placed some pastel plaid shirts in his trailed to be worn with his navy blazer and he told me point blank he didn’t like plaid. I sweetly said I didn’t have any other choice handy, and would he reconsider? About thirty minutes later he emerged completely dressed in the outfit, plaid shirt and all, winked at me and said “I like plaid now”. 

One custom he had established for himself which he would NOT under any circumstance break, was that he would not speak at all one day a week, on a Saturday I believe. No matter what. We could not shoot any scenes he was in that day. One day a reporter had been scheduled for an interview for a story on his silent day (by mistake) and though he didn’t cancel the interview, he only answered questions with facial expressions, hand gestures, and occasionally a note on a pad. It seems ironic now, as his death last week came from complications from throat cancer.

When we returned to Los Angeles, there was one last day of filming to be done, and he offered his gorgeous home in Ojai as a shooting location. He had told me that he was tired, after Dallas, of having all his money in the hands of agents, managers, and lawyers, and he wanted to put it instead into something he could physically see and enjoy. So after a big search, he found the perfect plot of land on top of a mountain above Ojai, with a view to the Pacific. The house was designed by him and his talented wife Maj and decorated to perfection. There was a pool in the central courtyard, streams flowing out of it into an infinity pool  off the cliff, as well as an indoor lap pool and deep jacuzzi. Hammocks were strung across the porch of the house that overlooked the valley and the ocean. Everything was in the most immaculate taste.

Larry gave me the gift of a book on needlecraft that his mother, Mary Martin, had written, since he knew I loved quilting and embroidery. 

I always smile when I think of him.

COSTUMES, HALLOWEEN, & COLORFUL CHARACTERS

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  Every once in a while I have several nights in a row when I awake around 4 am and can’t sleep. I think I am worried about the outcome of the presidential election. But no, this is not a political blog, so I will quickly move on!
  
  
  Here’s what made me happy this week:
  
  
  • The newest issue of Entertainment Weekly (which I subscribe to) features several articles under the banner ‘Hollywood Design Report”, chronicling costume, set, and prop designers for various films and TV series (Once Upon a Time, Les Miz, Boardwalk Empire and more”!  I'm happy also to see the wonderful work of my colleague Eduardo Castro featured so prominently on the cover and inside. I remember back 10 years ago or so when the Costume Designers Guild (on whose executive board I served for 3 terms, once as Vice-President) first searched for a PR firm to raise the profile of costume designer. All of the applicants made their case that it would be a very hard sell, as most publications were more interested in the stars, not designers. Thankfully that has really changed!
  
  
  • I have been asked to give a presentation at a fundraiser for PBSVegas on the fashions of Downton Abbey. The event will take place at the Mandarin Oriental here in Las Vegas in December and will be an afternoon tea. I have a lot of research to do to come up with a worthy presentation which will honor the costumes, and also be interesting to a large group of PBS supporters.
  
  
  • I finished a little girl’s Halloween costume and had the delight of seeing the 2 1/2 year old twirl delightedly and gaze at herself in the mirror! I rarely make Halloween costumes (most professional costume designers don’t much care for Halloween!) but this seemed like a worthy project for an adorable toddler and a very nice client.
  
  
  • I received a phone call from one of my “students/mentees” to give me the good news that she is now Assistant Costume Designer for “Absynthe”, one of the big shows on the Strip, thanks (in a small part) to my recommendation. Nothing gives me more of a thrill than hearing that someone who sought me out for training, who put in the time and hard work, and has steadily worked on her career, is achieving success and accomplishments. I am so proud of her, and so grateful that she has kept in touch with me. In fact we are meeting for lunch in a week or so.
  
  
  • And lastly, I was watching The Today Show the other morning and saw a feature on three seriously senior women (80’s and 90’s) who have flamboyant and colorful personal style. I suppose the younger generation would look at them and think they are off their rockers, but then seniors often look at today’s teens and think THEY are off their rockers! But these seniors made me laugh and smile at the riotous colors they wore and the joy they took in their own unique sense of style. One said she calls herself “a geriatric starlet”, and another says “life is very grey when you dress up it makes you happy.” When I see older women, especially here where I live in Las Vegas, wearing baggy cotton crop pants, boxy t-shirts, and Birkenstocks, I despair, and think I’d rather be wildly eccentric and colorful as I approach senior style myself!. So, as the spriti moves me, so will I dress!
  
  
  
  
  
  

MY LAS VEGAS

I feel a real kinship with Las Vegas, my city of residence since 2008, as it has figured largely in my professional and personal life through 5 decades. 

My association with Las Vegas starts in the 1960's (yes, I was alive in the ‘60‘s!) when, as a very young dancer, I came through the town on the train with the My Fair Lady company, on our way to Los Angeles. It was 2 am and the train stopped on the tracks downtown. I don’t remember a station, though I know there was one.  From our part of the train, we descended into a dirt lot, which we ran across, then crossed a street, and into a casino, what must have been the Hotel California. We had 30 minutes to put our quarters in the slot machines, something I had never seen, before we had to run back across the dirt lot to the train! It all seemed very strange and exotic and somewhat wicked!

I didn't return until the early 1970's when I got my first job in costumes, hired to co-ordinate the dancers’ wardrobe for Ann-Margret's nightclub act at the Hilton International, and then at Caesars. It was one of the highly successful acts of the time with dancers, singers, scenery and costumes galore, a live 30 piece orchestra on stage, and the best production talent around. Elvis Presley used to send Ann-Margret flowers on opening night in the shape of a guitar!   My first professional design was a dress for Ann-Margret that she wore in the TV special "CInderella at the Palace". 

Through Ann-Margret I met Bob Mackie, and my costume career really got underway. In 1980 I returned to Las Vegas for a 2 month stint, staying at the MGM Grand, as assistant to Bob Mackie as we prepared to open Jubilee, (the same show currently running). I was on the eleventh floor when I was awakened by the sound of running feet in the hall and people calling out, and I emerged into the hall to find it full of smoke.  I grabbed my purse, pulled on a sweat suit, and hurried down 11 flights of fire escape stairs emerging into the street, and started to look for my colleagues. The smoke was black and racing up the side of the hotel. Huge helicopters from Nellis AFB were hovering, trying to blow the smoke away from the rescue teams. Police cars, fire engines, news media were starting to arrive amid the chaos. I was barefoot and my feet were freezing until a man stopped and offered me his sneakers, a size 13! I wore them the rest of that day.

There were 14 of us Jubliee costumers from Los Angeles staying at the MGM for the great fire. Sadly, only 13 of us survived. I will never forget that day, nor the kindness of strangers who tried to help us. 

I returned many times in 1981 as we pulled out the ruined costumes from under the stage, led by firemen with flashlights, as there was still no power. We rebuilt the show in Los Angeles, and returned in July to re-do all the fittings, staying at Maxims across the street. 

In the early 80’s, Las Vegas still was small. You could cross Las Vegas Boulevard directly (no overpasses), there was no freeway, we ate at a little dive called The Tower of Pizza. The desert was near. The airport was very small. I don’t even remember noticing the mountains all around...the focus was all on the Strip.

I returned during the 80's now and then to work on shows (such as Splash, at the Riviera) but I wasn't prepared for the change when I returned in the late 80's. The airport had exploded! By this time I was working full time as a costume designer for TV series and films in Hollywood, and occasionally came up to Las Vegas to shoot on location. In 2003 we bought our first house here, and so when my husband and I were ready to make a semi-retirement move, Las Vegas already felt like home.

Since moving here in 2008 I am experiencing Las Vegas in a whole new way. I love looking at the mountains on all four sides of the valley, and in winter I love observing  the snow capped peaks of Mt Charleston out my second floor office window. I hike with friends year round at Red Rock, Lake Mead, or Mt Charleston, and I have discovered all sorts of unique little neighborhoods. In the north part of town where we live, sometimes I come across a small ranch with barns and horses, completely surrounded by new housing developments. I even enjoy hearing the trains that still travel down that same track that I travelled so long ago. There is still a flavor here and there of the old West, ranch life, desert life, mixing with the sophisticated elements of the Strip restaurants, shops and shows.

I visit the Strip quite often (more often than many full-time residents) to attend events, shows, parties, and to work, shop or eat. It’s only 15 minutes away! As I exit the freeway at Flamingo I pass Caesars, where so much happened for me professionally 30 years ago, and the huge bill board for Jubilee, which played was such a pivotal role in my life. I even pass by the fire escape door where I exited the MGM into the cold daylight on Flamingo Blvd. that fateful morning.

Old Vegas, New Vegas, there’s a part of my in all its parts, and I am happy about that.

WORKING WITH PENNY MARSHALL

I just saw Penny Marshall on The Today Show, and I have ordered her book. Can’t wait to read it!

I had the interesting experience (and yes, I would say, the pleasure) of working with her in 1992 when I was hired to costume design the TV series A League of Their Own. The movie had been a huge hit, and the TV series was the hot ticket - everyone in Holllywood wanted to be involved.

A man I had previously worked with on several other series was producing it and set up a time for me to come in and meet with Penny. She was sitting behind her desk in her huge office at Sony Studios when I entered, and was eating from a large bowl of spaghetti! She apologized, saying she had not had a moment to have lunch, and to please sit down and show her my portfolio. It was a bit disconcerting, and I was nervious. She was so droll! In my nervousness I said that I was experience in the “thirties” costumes that would be needed, and without missing a beat and without looking up she said “forties”. I had nearly blown it! World War 2 story - of course 1940’s costumes!

I started work early before the cast was set, as she wanted me to have enough 40’s clothing to outfit all the actors doing screen tests. Every actress in town wanted to be cast and therefore were so sweet and appreciative of my efforts to make them look the part. Only later when we were well under way filming did the seven “Peaches” girls start to get competitive and fight for rank!

Penny was always droll, both in production meetings and while filmling, and she had her favorites. She was never big with compliments or lots of touchy feely stuff, though I think I would have heard about it if she hadn’t liked what I was doing. She expected top level work from everyone, but didn’t see any need to draw attention to what she thgouht was the norm.  Her brother,  Garry Marshall, on the other hand, was the exact opposite - outgoing, mellow, kind, full of smiles and compliments all around. I reminded him that he had nearly cast me as Gwendolyn PIgeon in the TV series The Odd Couple  some years back (while I was still an actress) and he was kind enough to say I was a wonderful and he wishes I had got the part! He may not even have remembered me, but I didn’t care!

We only filmed 6 episodes, and Penny directed a couple of them. Tom Hanks came in to direct one episode too, though at first I didn’t recognize him, as he had just finished filming Philadelphia, and was still thin and growing his hair back from that Oscar winning performance.

Only two episodes aired, in mid summer. The show got bad ratings, and was plucked off the air. I however, was incredibly honored to still get nominated for my first Emmy  for Best Costume Design for a Series.

THE VALUE OF HAVING A MENTOR

When I was starting my costume design career many years ago, I was very grateful for the guidance and encouragement I received from several “mentors”. Back then, the word “mentor” was not in common use as it is now, but I realize in retrospect that several key people played a very important role in my life.

Bob Mackie is obviously one of THE most important mentors in my life. When I met him, I had already transitioned from my career as a dancer and actress and started my costume career  co-ordinating the dancers and singers wardrobe for Ann-Margret’s big Las Vegas nightclub act in Las Vegas. For you younger readers, she was a huge star at the time, and had all the best musicians, writers, set designers, and of course, famed costume designer Bob Mackie to do all her fabulous costumes and beaded gowns. 

I remember the first time I met Ann-Margret and Roger Smith, her husband and manager. I had been taken to their house in Beverly Hills, up a dirt road off Benedict Canyon where once Lauren Bacall and Humphrey Bogart lived. It was about ten am, but Ann-Margret had slept late. Eventually she came out of her bedroom, hair tousled, no make-up, but warm and gracious. She hugged me and I was astonished at how petite she was. She asked me if I would put a heavy metal zipper in the back of one of her stage beaded gowns so it would be easier in a quick change. Imagine me, replacing the exquisitely hand sewn zipper in a $10,000 Bob Mackie beaded gown with a big metal zipper! What would he Bob Mackie think?

It wasn’t long after that I met him and I guess something about me struck him as, a year or two later he asked me to be his assistant for the Oscar Awards Show 1980, and then Jubilee, opening at the MGM Grand in 1980. This started a life-long connection with one of the best designers in the business, and with a kind and generous man. I did not call him a mentor, I was just his assistant, but I had the opportunity to watch him work at every level of the process - greeting a star when they arrived for a meeting, sketching, designing, choosing fabrics, choosing the best pattern-maker and team of sewers and tailors to execute the design, and most importantly, fitting it on the performer, usually many times. I watched perfectionism at its best.

There simply was no better training ground for me. I watched everything, asked many many questions, and for many years during my career, called for guidance and advice when I got stuck. Even last year, when I requested an hour out of his busy schedule for an interview for a book I am writing, he willingly gave me his time.

I would be remiss not to mention my other mentors, two designers who worked in Bob Mackie’s company, Peter Menefee, whom I assisted for several years, and Ret Turner, who is known and loved by every designing and costumer in Hollywood. 

So why would someone like me be willing to mentor someone at the beginning of their career? Well, one of the obvious answers is that others helped me so much along the way, and it is my turn to help others. 

I had started this blog with the intention of discussing how to find a good mentor and why it is important, and why I like to mentor talented young designers and costumers, but this is running on too long, and I will have to save it for my next post.

In the meantime, you can find out more about my mentoring and training course at my website www.hollywoodmentors.co

ROBERT FLETCHER, famed Costume Designer

For those of you interested in costume design and costume designers, please enjoy this  article I wrote, for the website of the Costume Designers Guild, my "union", local 892, for most of my designing career in Hollywood.

http://costumedesignersguild.com/articles-videos/news-events/

SAN FRANCISCO, WHAT'S NOT TO LIKE! Plus memories of the late Phyllis Diller

DIANA'S NOTE: I wasn't going to publish this edition of my blog for a week or two, but I saw today that Phyllis Diller has died at age 95. Many of you younger readers will not remember her, but strangely enough, I just wrote about her last night, in paragraph 3 below!

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I spent last weekend in San Francisco, a city I have not visited for at least 20 years. The trip had a dual purpose:  to attend a wedding shower for some dear friends  and to interview one of our finest costume designers Aggie Guerard Rodgers. (The Color Purple, Beetlejuice, Return of the Jedi, need I say more?)

As always, memories came flooding back. I first visited San Francisco in my very early twenties, when I was a dancer with the National company of My Fair Lady. We had previously played in Los Angeles where I saw my first palm tree and ate my first Mexican food, and now we were at the Curran Theater on Geary Street in San Francisco. Right next door at the Geary Theater, Gypsy was playing with Ethel Merman, and since their opening night was right before our opening night, we were able to attend. I had been told that Merman had just heard that Rosalind Russell  was going to play “her” role in the film version, so when she bellowed her opening line “Sing out, Louise” from the back of the house, the place went nuts and cheered and applauded her in support.  Again, when she sang “Mama’s Turn” in Act 2, she brought the house down a second time.

In San Francisco I had my first Ramos Fizz in the little bar across the street, saw my first drag show, and went to the Hungry I to see a “new” comedienne called Phyllis Diller. There was a big line to get in, so, in a moment of unusual bravado, I marched to the head of the line with my dancer friends and asked if they extended “professional courtesy”. They ushered us right in past everyone, including it turned out, our company manager! Diller was hilarious, and we quoted her endlessly for months after that.

Touring was great fun at that age, especially with a big musical, where there were lots of dancers and singers my age to hang out with and go sightseeing with. There was a key group of us that stayed friends from those days to now.

About 8 years later I returned to the Bay Area, this time as choreographer for A Funny Thing Happened on the Way to the Forum. The star, the late Godfrey Cambridge, had rented a houseboat in Sausolito for the run and invited one of the dancers to stay there with him, She wasn’t comfortable with that, so she invited me and another dancer to stay there too. Godfrey was habitually running late, and one night the theater called in a panic because the 4 of us hadn’t shown up yet for the show. We hustled Godfrey into the car, and as we crossed the Oakland Bridge toward the theatre in Berkeley, I looked over at the speedometer and saw that he was driving over 100 mph! We moved out the next day - a wee bit too much adventure for our taste!

I returned to San Francisco two times more as an actress with The Odd Couple and later with The Killing of Sister George. Sometimes I was lonely, as plays have much smaller casts, so I would find a ballet class to attend just to be around people. 

I also learned to drive in San Francisco! Having grown up in Toronto, where the public transit system is so good you don’t need a car, and then moved to New York, where having a car is not necessary either, I had never learned to drive. I got my license in Los Angeles and as soon as we got to San Francisco I rented a car and drove every day. I went up and down those steep hills (not stick shift, thankfully), over the Golden Gate Bridge, and down the winding road on the other side to Stinson Beach. It was scary, but I loved driving, and still do!

And then this weekend, I met Oscar nominated costume designer Aggie Guerard Rodgers. She has lived in the Bay area her whole life and managed a very successful career designing major feature films from her home base in San Francisco, commuting to Los Angeles or location when necessary. A warm and totally down to earth woman, I loved her right away! She shared with me many of her stories and her views for an article I am writing for the Costume Designers Guild website as we had a super lunch at a Creperie in the MIssion District. 

San Francisco - what’s not to like?

(and don't forget to check out my online costume training course at www.HollywoodMentors.co)

MEMORIES OF OLYMPIC COSTUMES!

Back in 1984, I was one of a number of costumers who got to work on the Opening and Closing Ceremonies of the Los Angeles Olympics!

And while the experience of being there for the that opening, and of seeing the lighting of the Olympic torch, are all among the highlights of my life, the two months leading up to them were anything but.

Bob Mackie and Pete Menefee were the costume designers for every element of the Opening Ceremonies, and each and every outfit worn had to be designed, made, and then fit on the participants, of which there were literally thousands! Our workspace was a huge warehouse in downtown Los Angeles, which had a tin roof, no windows, and was unbearably hot in July. The performers were all assigned a day to come and get their costume and were told to expect to spend at least 3 to 4 hours. When they arrived, their name was checked off against a list, their measurements taken, which were  then sent on to the next "station" while they tried on shoes. Imagine over a thousand pair of shoes in one spot! Once they got to the fitting area, they were handed their costume and sent to a cubicle to try it on. Then they came to me, one of 6 "fitters", where we took in, let out, marked hems, and tried to make each individual look perfect. The costume then went to the alteration department, who tried to complete the alterations quickly for the performer who sat in the waiting area.

The hours were incredibly long, and the work very repetitive, and we were paid a small salary as we had been told we were part "volunteers" and were privileged to be "a part of history".

Some of the tasks were quite amusing, in a weird way. It took two full days to remove the pins from the band members' white dress shirts, which arrived fully folded, pinned, and wrapped in plastic. There were 850 members in the marching band, so.....that meant 850 + shirts to unwrap.

Sometimes I was sent out to shop, which I liked, as it got me out and broke up the day. It also pleased the shop owners that I visited, as I was usually buying in great quantity. One task was to go out and find 300 pairs of legwarmers for the dancers! I bought out every dance shop's supply!

As we got closer and closer to the event, we spent more time at the Coliseum, to set up dress rehearsals, and found that the distances between "stage right" and "stage left" were immense and heaven forbid you forgot an item, as it would take 20 minutes to get back to home base and then back again.

One day as we entered the park, our ID badges around our necks, we spotted one of the European swimming teams getting ready for a training session at one of the pools. Without any self consciousness, they stripped off their shorts, and, as we discovered, many did not wear underwear. They casually pulled on their swim trunks while we tripped over each other taking a look!

The last 4 days before the Opening, we worked 18 hours a day. It was grim. I thought I might literally die from fatique. One night I fell into bed, and it seemed like minutes later when the alarm went off. My husband said I burst into tears as I couldn't believe it was morning already!

But the day of the Opening itself was magic. From the moment we passed through security, we could feel the excitement in the air. Organizers, bigwigs,  coaches, volunteers, assistants, guides, stage crew, all were scurrying around, working feverishly toward the 3 o'clock hour when it all started on the button. One moment sticks out in my mind. Every person in the stands had a colored card on their seat and was told that it was going to be used for a special moment later in the ceremony. At about half way through, they all were told to hold up the card with the silver side facing out. On the count of three they were to turn it over. One! Two! Three! And the whole stadium turned into color, with the cards creating the flags of every country participating! It took my breath away, and once more tears flowed from my eyes, this time from joy!

So watching these Olympics in London, 2012, brings back all the memories, intense, difficult, and exalted, that that opportunity bought me. I  was a lucky girl to be "a part of history"!

Costume Training! Dance! Olympics!

My attention has been split recently between a lot of exciting things happening!

1.) My www.HollywoodMentors.co online costume training website is finally getting out there! Yesterday I heard from a potential student in Nigeria, as well as getting a number of emails and enquiries. I do hope I will have time enough to help all the interesting and talented people who contact me for help with entering a costume career in TV and film.

2) I was in Los Angeles over the weekend, enjoying a fabulous visit with my former intern from Belarus, who spent a summer with me on "Passions", and who now is a very successful costumer and pattern-maker, working on the TV series "Dexter". We went together to see the Dizzyfeet Celebration of Dance Gala at the Music Center in LA, where we met a number of our favorite choreographers and dancers from my favorite TV show "So You Think You Can Dance", and witnessed some amazing performances from many talented dance professionals in all types of dance. Even though I have been a costume designer for many many years, I started my working life as a dancer, and, you know what they say, "once a dancer, always a dancer"! We came away totally psyched by the positive energy of the wonderful evening, and it took several days to come down from the natural high!

3) Yes, I've been watching the Olympics every night on TV. It's wonderful to see the young athletes pushing themselves to be their very best, physically, emotionally, and mentally. All achievements come with dedication, commitment, occasional heartache, discipline, consistency, some sacrifice, and lots and lots of passion. Be it sport, costume design, or dance.

4.) We have six more days of filming on the Gregory Popovich movie during the month of August! I have two costumes yet to "establish", that of the "Voice of the American West", an iconic cowboy-for-al-times look, and one for "Johnny Fantastic", a mix between a ringmaster and an old Western medecine man.

Talk again soon. Got to get back to the Olympics.

Latest news on my costume design!

Well well, I can't believe it's been April since I last blogged! That's because I have been very busy with a number of really interesting projects.

Some time in February I was contacted concerning doing costumes for an independent film about Gregory Popovich's Pet Theater. I had seen Gregory Popovich's charming afternoon show with his trained rescue dogs and cats at Planet Hollywood, knew he was a 6th generation Moscow Circus artist, and also knew of the film's producers from previous films. I was intrigued. I read the script and was hooked. It's not my usual type of project, but how can you resist colorful characters and animals! I was also able to contact Antonio Fargas, whom I had worked with on the film "Stealing Las Vegas" and persuade him to play a leading role in the film.

Filming was delayed a couple of times, but finally got underway in May and has been going well ever since. We do not shoot every day, as in a regular feature shoot, because Gregory still performs his show almost every afternoon, and the Thompson Brothers (co-producers and directors) also have other professional commitments, so all in all it has been fun and not too high pressure. It's a lovely story, and I hope the final product does very well with children (of all ages!).

Then in May, two additional things happened. My husband Dominic Calandra, an actor in "Tony and Tina's Wedding", had ten days off as his show moved from Planet Hollywood to Bally's, so we grabbed that window of opportunity to take a quick trip to Sicily, a place we had talked about visiting for some time. I had very little time to put plans in place, but I love being a virtual travel agent, and found some amazing places to stay on the Internet.

The second thing that happened was that I got a call to costume design a modern day version of Mozart's opera "Don Giovanni" for Opera Las Vegas. It was to open two weeks after my return from Italy! I nearly turned it down, but then I couldn't resist the chance the design an opera, something I had never done before. I quickly downloaded a filmed production of the opera from the Metropolitan Opera's website and researched the 5 principle singers, who have all performed at the Met. The director and conductor were also from the Met.

I admit at first I was a little intimidated by the idea of costuming major opera stars, especially on a small budget, but they turned out to be totally approachable and good fun. When I arrived at the first rehearsal, I was surprised (I don't know why!) to see them all in shorts, t-shirts, and flip-flops. Then they opened their mouths and out poured Mozart's music! It was funny to me, but I soon got used to it.

This is probably enough for this post. I will tell you about designing the opera another day.

DIANA ROSS CONCERT IN CENTRAL PARK, 1983!

I recently did an interview with journalist Dustin Fitzharris (for The Huffington Post and The Village Voice) about my memories of the famed Diana Ross Concert in Central Park in 1983  that got seriously interrupted by a sudden storm. Those words barely cover the strength of the storm - I think of it as an almighty near-mythical "tempest"!!

The extraordinary thing, besides the concert itself, is the fact that some 30 years later people are seeking me and others out for our recollections of that night. The concert aired on PBS a few weeks ago, and   the DVD will be released for sale in May. Watching the PBS special I was taken right back to that first night.

July 21st, 1983 started out a hot and sunny day. I had been in New York for several days (from LA) to help with the wardrobe prep. Miss Ross (as we all called her) had a lot riding on this concert and had been working toward it for months. On the day of the concert we got to the staging area early and had rehearsals with the dancers, musicians and all departments. The show finally started on time, but a very strong wind came up and Miss Ross had a hard time keeping her hair out of her eyes. At first it was only annoying. No big deal. Except..... in the distance to the north east we saw a very dark cloud approaching fast and knew that something BIG was about to happen.

Diana was onstage in her skimpy orange lace body suit and as she battled the wind I thought how dramatic it would be if I could get her to put on the orange chiffon cape. The quick change room was right under the stage by the exit stairs, so I grabbed the cape, climbed up the stairs and crouched at the edge of the stage. Finally I got her attention and she beckoned to me to bring the cape to her. It was a struggle to get it on as the wind was so fierce. But before long she started "working it" and became like some magical spirit facing down the almighty storm. The cape streamed out behind her and was captured by the cameras, both video and still, and the amazing images would appear on the front page of newspapers and magazines all over the world.

Then the rain came. We were all drenched! I mean, really drenched. I lost my sandals and was ankle deep in mud. Water ran down the stage and into the quick change room and into my surge strip where I had appliances plugged in! But, soaking wet or not, Miss Ross went on singing and interacting with her adoring fans. She kept the audience calm and kept singing, though absolutely drenched. Eventually I brought her a white designer blazer (Versace I think) that covered her a little better. Park officials, the mayor, the fire department, and the president of Paramount Pictures all were trying to get her to stop the concert out of concern for safety, and eventually, once Miss Ross felt the crowds were calm enough, she finally and reluctantly the stage.

She went into the warmth of her trailer, and eventually into the limo that whisked her away. The director  Steve Binder and video people emerged from the warm dark video truck into the cold rain and almost seemed surprised that it was actually wet outside! The musicians left in their vans, and one by one the crew could do no more and also left.

But the wardrobe crew, me plus about 3 others, as I remember, were still there, gathering up Miss Ross' things when suddenly, ALL THE LIGHTS WENT OUT! There we were in the pitch-black wet muddy Central Park! I told my crew to find black garbage bags and make themselves ponchos, take a sip of some brandy we found, and get their sewing scissors out which they were to hold in their hands as weapons. Thus we walked out of a dangerous Central Park in the pitch black. Eventually we made it to Central Park South, and then to the upscale Parker Meridian Hotel  on 56th st. They had been told to give anyone a room who needed one, and they never looked down their noses at our bizarrely attired group!

The next day, when I saw Diana's photo on the front page of the New York Times I was thrilled! I called her, and she asked me to drive out to her house in Connecticut and gather up some new costumes and gowns as the show would go on again!

And it did! Another lovely sunny day, but this time no storm. Everyone was elated at the return of the thousands and thousands of fans,  and the concert was brilliant. We all felt we had been a part of history. Who knew, after thirty years, that maybe we were.

ONE OF THE GREAT JOBS: The Smith Center Opening Gala

Not all jobs are fun. Sometimes the pay is poor,a the budget low, and the actors demanding. So it’s important to savor the great jobs!

Last night was one of those!  I was a part of Las Vegas history, doing the costume coordination for the Opening Gala show of The Smith Center for the Performing Arts. The magnificent center, ten years in the planning and three years in building, comprises a large La Scala type opera house for Broadway shows, ballet, and concerts; a smaller theater; and an intimate cabaret theatre. In addition, still to come are the Discovery Children’s Museum, a state of the art rehearsal space, restaurants, and beautiful parks and public spaces. It is a testament to the belief in the future of Las Vegas as a great place to live as well as to visit as a tourist.

It was a star studded night, with the Nevada dignitaries and benefactors in black tie and formal gowns in the audience, and an A-list of bedazzled performers on stage from classical artists like Joshua Bell and Arturo Sandoval, to rock, country, pop, dance and Broadway artists of the highest caliber.

I had the honor of costuming the Broadway dancers and the Rob Mathes Band, Arturo Sandoval, and putting together a wardrobe team to take care of the needs of any or all of the stars performing last night. I loved every minute of it!

In addition to the regular responsibilities, I always love taking care of those last minute backstage crises! For instance, Broadway singer Laura Osnes got black tulle on the back of her gown caught in her zipper a few minutes before she was due to go onstage. It took three of us to work on it and get the fabric free and the zipper up in time! Arturo Sandoval discovered that his tux shirt no longer fit his neck so I had two minutes to put the top button on a piece of elastic so it would close. He could not find his bow tie, but at the last minute I had thrown an extra black bow tie in my purse, so that took care of it. (Though he later found his tie). Smith Center Board Chairman Don Snyder discovered he had left his studs at home a few minutes before he was due onstage to make the opening presentation with CEO Myron Martin and Fred Smith (as in The SMITH Center) and I was called by a frantic stage manager to come with double stick tape. However, I had an extra set of studs on hand. One of the dancers broke her dress straps while doing a lift, so we quickly sewed on new straps made of elastic.  And so it goes. Never a dull moment! (Thanks to my team Brunie, Emma, Ron, and Yo-yo!)

It was a joy to see how an experienced team of producers, stage managers, talent escorts, stage crew, and hundreds of others, can work together seamlessly to put on a show of this size with well over a hundred performers (choir of 55, orchestra about 40 members, 2 dozen stars, 8 dancers) with only 2 days rehearsal and have it all come off so beautifully. 

So, if there are a few difficult jobs now and then so what, when you can be part of a joyful experience such as this one!

BROADWAY AND DANCERS, I LOVE THEM ALL!

Last night I watched “SMASH” on TV and it reminded me how much I love Broadway performers, singers and dancers. Well yes, I was one once, and I treasure every moment I spent performing on several Broadway stages.

I remember those auditions - terrifying! If I got to audition first as a dancer, even in those huge cattle calls (as they were called) on stage where 400 dancers got whittled down to 30 or so for callbacks, I knew I had a very good chance. If then I got to audition as an actress, I knew I had a good chance.  But as a singer? No, no, no. 

I would have worked on a song or two with my coach in preparation, it would go somewhat OK, but the moment I was standing in front of that table of producers and directors, I knew I really sucked. And I knew it after the first few lines of the song, knew the directors wanted to cut me off and were being polite. I would feel so humiliated, and would usually hail a cab and cry in the back seat all the way home to my fourth floor walk-up apaprtment just down the street from Lincoln Center!

But dancing, yes, I usually made it to call-backs, and made it into four different Broadway Shows!

In fact, it was my experience as a dancer that got me my first costuming job. I met one of the producers of Ann-Margret’s lavish Las Vegas act who was looking for someone to co-ordinate the 12 dancers’ and 6 singers’ costumes for her show. I thought I didn’t know anything about costumes, only having worn them, never made them, but the man said I must know what dancers need, and so gave me the job. That was what started it all!

I certainly made some mistakes along the way, especially in the beginning. In one of my early jobs actually creating costumes, I asked to be allowed to make the dancers jumpsuits for a dance number to “Car Wash”. Believe it or not, two way stretch material was not yet on the market, but I was able to find a ski pant fabric that did stretch one way. Thinking the guys would need it to stretch sidesways to allow for their chest expansion, I cut the jumpsuits in the wrong direction. I got that call from Roger Smith that no-one just starting their career wants to get....”your costumes are all ripping at the waist when the boys do the dance number”. A good friend gave me some excellent advice. He said, the best way to deal with a big error like this is to offer several choices of solutions, so I got up my courage to call Roger back and suggest that I come to Las Vegas, and spend the day inserting a stretchy band at the waist so the guys could move. It was a LONG day, as I had 8 jumpsuits to fix in time for them to be worn that night in the show, but there seemed to be no hard feelings. And I NEVER cut stretchy costumes the wrong way again!

1% LUCK, 1% TIMING, 98% PERSISTENCE!

This morning I got a call from "Kenny" (fictitious name), a fellow I have never met, but who calls me about every 6 weeks to see if I have any assistant work for him or have any leads on production. I hope to meet this guy or at least find out from others that he is really good, because I am so impressed with his persistence, persistence in a good way.

A dear friend of mine recently landed a really good job doing what she loves and is so thankful for her good luck. But as I point out to her, only a fraction of it is luck. She works hard at sending out resumes, knowing that 99% of them will end up in the circular file. She does designs for charity events so her work will be seen, and she puts in serious time honing her talents, networking, and expanding her range of contacts. When the job came, she was ready for it, and the company is lucky to have her.

Man oh man, it is never easy. I wish it was. But in the world of entertainment (film, TV theater) the looking-for-a-job part never gets better. That’s the worst news that you are going to hear in this blog. The good news is that with the right tools, and with that old word persistence, all things are possible.

But you also need some personal discipline, and some organization. Anyone looking for a job, be it full time or per production, needs to keep a log of people they have met (anywhere, on set, at a mixer, even virtually). In this log shold be their contact information, where you met them, some basics about them, and when you last called or emailed them. Here is an example:

DIANA EDEN     

diana.eden@yahoo.com   

costume designer and wardrobe stylist    

met at Women in Entertainment mixer 12/21/10.  

Notes: encouraged me to stay in touch with her.     

Last contacted:    Jan 25th.  Got vm.   Will try again tomorrow.

People tend to remember the LAST person who contacted them when looking for an assistant, not someone who gave them a card six months ago.

Another tip: I have always HATED making “cold calls”. HATED the idea that someone would 

1. not remember who I was;  or  

b) be cool or abrupt with me and make me feel like a fool! 

So I do a little exercise before I make a call. I go through the reasons why that person might WANT to hear from me:

1. as it happens, they are just starting to think about crewing a new project
2. it makes them feel important to be a potential employer
3. they were really bored, and like having someone get in touch
4. they really really like you!

Also, be consistent. If someone invites you to stay in touch with them, then do so. Often I invite people to do just that, or to “call me in a month”, and then I never hear from them again.

Another tip: if someone is really encouraging or helpful on a phone call, do a very quick (and to the point) follow up and thank you by email. “That lead you gave me was really helpful, thank you so much for giving me his/her name”.

Lastly, remember when you are “pitching” yourself, find the thing that makes you not only special, but employable. Perhaps its just your personality! That’s OK, its good to have people who are fun on board. Perhaps it is your research skills. Perhaps its your connections - you might know exactly the right people to get locations for a certain type of scene. Perhaps its your experience in a particular area that you know the film is going to be dealing with: “I just finished a three year course on Japanese Samurai Warriors and I hear you might be filming a few scenes with samurais....” You get the drift.

And now, because MY phone hasn’t rung in a few weeks, I must get up my courage and go call a few people!

BRIDES: ALL IN A DAY'S WORK

A fan asked me today what my favorite moments were on “Santa Barbara” and who my favorite stars were. Though there were many, the actress who came to mind immediately was Sidney Penny. She was so easy to design for! Not only did she have a lovely body to clothe, but she was so down to earth and adventurous and open about ideas that I had. That is always such a treat! Sometimes I want to design something a little different from the norm, especially when it comes to wedding gowns, and though the producer always has final approval on designs, it always helps when an actor is willing to go along with some crazy ideas.

I have found that bridal gowns tend to always look the same (strapless, full skirts right now) and on both “Santa Barbara” and “Passions”, I wanted my wedding gowns to be unique. I didn't always succeed - sometimes the fans hated what I did, but more about that later!

“BJ” and “Warren” were to wed on the final show of “Santa Barbara” and we were to shoot on location at the gorgeous Ritz Carlton Hotel at Laguna Niguel on the California coast. We filmed in December, and though all the actors were in formal wear, the icy ocean breeze was whipping up the bluff, and we were all freezing! I had wanted to do a 1930's themed gown for Sidney and I had actually found an authentic 1930's dress that I liked in a costume rental house. But I wanted to add my own unique touch, so I designed a white velvet coat to go over the gown, and a "juliet" cap with silk flowers for her hair. Sidney's face and bone structure allow her to wear things close to her head, and she just wasn't a big fluffy veil type! Needless to say, she looked amazing. As she approached her groom, a small breeze picked up the train of the coat and gave the whole outfit some movement. I was standing just off camera going yes! yes! 

Another actress who was a dream to design for is MacKenzie Westmore on “Passions”! Not only is she gorgeous, tall, incredibly shapely, but she also went along with my wild ideas. When "Sheridan" was to wed "Luis" I also went once more to a 1930's theme, basing her gown on my mother's 1930's wedding gown, though I added some sexiness by creating a very bare back, and a keyhole opening in the front. The dress had a stand up lace color, and to me she looked every bit like an amazing Carole Lombard or Marlene Dietrich. However, the young fans didn't get it (who is Carole Lombard to them??) and blogged about what a horrible choice it was!

Another successful wedding gown on Santa Barbara was the 1940's inspired gown for "Julia" when she married "Mason" for the umpteenth time. Nancy (Grahn) told me she liked the 1940's silhouette, and since in the 1990's, when this was being filmed, wide shoulders were still in style, this wasn't too much of a stretch. But to make the somewhat masculine silhouette more feminine, I made it of silk chiffon, with a long sheer cape attached at the shoulders that I hoped would billow in the breeze. I've never been big on tulle veils, at least on camera, as sometimes I think they overwhelm the actress' face, which is important to see.

At least my fictional brides don’t have the wedding day nerves of a real bride! For them, it’s all in a day’s work.


PS I had two great photos posted along with this, but they keep disappearing. Not sure why.

GOD BLESS MODERN TECHNOLOGY, SKYPE, AND MENTORS!

I just hung up the phone (no, actually, I was on the computer on skype) with Joe I Tompkins, a very successful, Oscar nominated, Emmy winning costume designer. He is now retired and living  happily in Merida, Mexico, and I was "on assignment" for the Costume Designers Guild to write about some of our best retired designers. What an amazing career Joe has had, and what a wealth of great advice he had.

As a mentor myself, naturally I am biased toward mentors! But I think back to when I was just starting out in a career in costumes and how much it meant to me when a more seasoned designer gave of their time to help me.

Had someone told me back then that I should seek out someone I admired as a mentor and contact them, I would have shrunk in fear from the idea! Who, after all, that was successful and whose work I admired would have the time to give advice to lowly me? Would I have had the courage to ask for help? Could I have made that call?

But actually  I got lucky when I was hired by Bob Mackie to work as his assitant for the Oscar Awards in 1980, and then the original Jubilee production for the MGM Grand. I consider Bob and the designers I worked with at his company Elizabeth Courtney Costumes my mentors. I didn't actually call them that, but everything that I know now about costume design I learned from working with them - watching them, listening to them, asking questions, and following their examples. They were all generous with suggestions or information when asked for, and to this day I feel I could call on any of them if I got "stuck" on a design. One time I asked Bob Mackie whether a white pique vest should show below the point at the waist of a man's black formal tailcoat. He said that Fred Astaire had told him directly that no, it should not, as a clean black line from head to toe elongated a man, and the vest should only show when the arms were raised, perhaps to dance? Astaire also said that he had learned that from the Duke of Windsor, fashion arbiter and innovator. So my simple question to Bob elicited an answer that went all the way back to the 1930's for authenticity! I have never forgotten that moment.

I would suggest to any young designer, writer, film-maker, or creative being, not to be afraid to reach out to those whose careers they admire. Sometimes, yes, they are too busy or not interested, but as often as not, especially in their later years, they are very mellow, very understanding, and actually love the fact that their experience and wisdom might be appreciated by someone.

START OF A NEW YEAR - onward and upward!

Its been a few weeks since I've posted a blog. I've not thought much about costumes over the last few weeks as my days have been occupied with the usual holiday activities of parties, family, and friends. All of which have been great.

But here it is January, and I am feeling eager to get started working again in my chosen profession of costume design. The pursuit of work and its rewards never ends, no matter what stage you are at.

I heard recently from a young art director /costumer whom I had recommended for a possible job with a film  coming to Las Vegas from Los Angeles. She was discouraged as she did not get the job, and wondered what she might have done better. It reminded me of how difficult this career can be when you love the work but feel powerless when others hold the strings.

There are a number of reasons why you DON'T get the job, and a lot of the time you don't even know why. Perhaps the producer decided to cut the budget and not hire anyone in that position, or perhaps it was between you and one other person and they just edged you out. Perhaps the hiring person had a friend, or owed a favor to someone who requested their candidate be considered.  Or (and this is not the case of the young woman I refer to in the paragraph above), maybe you did not give a good interview or appear prepared.

Practicing you interview style is as important as knowing your craft,  having a good resume and portfolio. Its all part of the package. Having been the one in the position of hiring, I do know that I usually hire the costumers that impress me with how they can make MY job easier! I know that may sound selfish, but, after all, when  you are looking for a job on any rung of the ladder, you are looking to make the person directly above you look good! As a costume designer, my employers want to make sure that I can stay within the budget, keep the actors happy, get everyone dressed and to the set on time, as well as make the right artistic choices.

I in turn want assistants who love the work, show up on time, work well with other crew members, deliver what they say they can deliver, and in general help make my department run smoothly.

Believe me, having spent many years earning my living as a costumer and costume designer, I had my heart broken more than a few times. I did not get all the jobs I wanted or thought I deserved. Its a tough competitive world out there, and if you don't have drive, persistence, and a love for the work, you'll lose heart and become discouraged.

But don't be.  Stay true to what you believe about your abilities, strive continually to improve your knowledge, your talents, and your presentation, and next time it will be someone else feeling sad because you got the job instead of them!