The Far Reaching Arms of the Show Business Family

An interesting thing happened to me this week. In my Yahoo inbox was an email from a total stranger who gently enquired if I would be willing to share my impressions of a mutual friend for an article he was writing. Within 24 hours it seemed I had time-travelled back to the mid 1960’s, and shared stories, memories, and bittersweet reflections with this well-known writer about our friend. More of this experience shortly.

This led me to all sorts of musings. With the 315 million people who live in the United States and the 35 million who live in my former country of Canada, it astounds me how often paths of certain people cross, nearly cross, and re-cross, mostly within the theater, film, and show-business community. The entertainment business is truly a family, an extended dysfunctional family at worst, a close family at best. Sooner or later we all meet each other! The cliche “small world isn't’ it?” might be apt, but hardly explains the remarkable and unexpected connections we often discover by chance.

A couple of years ago I was visiting with fellow Costume Designer Albert Wolsky and we were talking about his early career when he was assisting famed designer Ann Roth. We realized he had outfitted ME for my role as Gwendolyn PIgeon in the National Company of The Odd Couple many years ago. We did not remember each other.

My sense of family has always come from the work I do, the performing companies and film communities I have been part of.  I grew up in England with virtually no cousins and no family other than parents near by. My English grandmother died before I was born. My Canadian grandparents were an ocean away, and I did not meet them until I was six. 

Dancers, in particular, have a strong bond. We all know how hard it is to train to become really good at what we do, and how short our careers will most likely be. Dancers of any age speak a common language, a language of sore muscles, intense and disciplined training, and the pure joy of artistic expression through dance.

A few years ago I was in the fitting room of my costume department at CBS Radford Studios with actress Leigh Taylor-Young, ready to fit her for her costume in the NBC daytime drama Passions. She looked at me strangely and said “were you ever a dancer at the National Ballet School in Toronto?” I was, in fact, at about age 14 and Leigh, a younger dance student, remembered me! How extraordinary! And I thought I was so dull and invisible at that age.

My closest friend as an adult was a dancer I met at Jacob’s Pillow Dance Festival when we were both still teenagers. We went on to perform together, room together, and go to each other’s weddings. I am still in touch with two other dancers from my earliest days of professional dancing in My Fair Lady. One is now a licensed family therapist living in Pasadena, another is retired and living in North Carolina, but we still email and check on each other frequently, some 50 years later.

Dancers Over 40 is a group in New York, formed to provide a community to support the needs of “mature” dancers and choreographers. I know board member Harvey Evans from when we were both performers on the road in Chicago in the 60’s.  In Los Angeles I am a member of the Professional Dancers Society which keeps us, haha, on our toes!  

Some companies, like the aforementioned My Fair Lady, form strong “families”. Others not so much. Ann-Margret to this day surrounds herself with her dancers and friends from her days of performing live; many still walk together on Saturdays for exercise. The soap opera Passions has a core group that still stays in touch, and Facebook has certainly facilitated that. I used to suffer terribly at the end of a show, as I was constantly losing my families and having to find new ones. We are all scattered and have to go on to other cities and other shows, hopefully to still feel part of a larger community.

Another interesting story (which I have written about before) concerns a young girl who lived in Belarus when Santa Barbara was the first US show to be shown on Russian television. It was an enormous hit, and the bright colors and somewhat unrealistic rich lifestyle was very appealing to those still barely out from the grayness of communism. This young lady, Antonina Grib, reached out to me via email and I responded. After getting a scholarship to study costumes in the US, she eventually came to intern with me on Passions and has since gone on to a very successful career in costuming, working on major TV and film projects. For all the negative things that are written about the internet, without it Antonina and I might never have connected, let alone formed a deep friendship and mentorship.

So back to my new journalist friend: it turns out that as a 17 year old he was a ticket-taker at the National Theater in Washington DC, his home town, and was “introduced not only to the backstage magic but to a real-life cast of charismatic and eccentric players who would become his mentors and friends”.  Though I can’t claim to have been either,  since we did not know each other, our paths crossed a number of times over the years. He saw me at the National Theater in My Fair Lady, later in the out of town try-out of the Broadway musical Hot Spot, and later at the Blackstone Theater in Chicago where we shared, unbeknownst to us, a friendship with a wonderful man, Clayton Coots, who was a mentor to young Frank, and a dear friend to me.  So Clayton was the catalyst, the internet the instrument of Frank finding me, and the telephone made possible our sharing so many of our stories about so many mutual friends.

Here is the link to Frank Rich’s touching article in The New York Magazine

http://nymag.com/news/frank-rich/gay-history-2013-6/

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!

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"!

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.

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!

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.

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!

TUTUS OR CAMOUFLAGE: ALL THINGS CAN BE COSTUMES

You wouldn’t think that a girl like me who loves silks, satins, sequins and rhinestones as much as I do would be able to find a connection between the military and costumes! 

But last weekend I went to the Nellis Air Force Base Air Show in Las Vegas, and was once again reminded about the many things I admire about the military, and the kind of training it offers. There is a discipline and team spirit that is wonderful to behold, and can be a valuable asset in film-making!

I have had in my past career two costumers work for me who were ex-military. One was Michael Russell, a tall handsome guy from Texas, who got into the business unexpectedly. Following his service in Somalia and Iraq, he was hired on a film as the military consultant. It is not unusual to hire consultants to help assure accuracy when doing a military film, or a medical film, or any time of film where the average film-maker will not know the inside things that make for realism. 

Michael was a fabulous costumer. I loved that he was always punctual, efficient, kept his opinions to himself, and understood the chain of command. My crew and I used to marvel when Michael would set up a fitting room for an actor coming in. All the hangers were not only facing the same direction, but were perfectly spaced exactly 1“ apart from each other! He even used to open the safety pins and line them up in a perfect formation!

Another ex-military woman called April Kreuger came in to interview with me for a costumer position on “Passions”. She came in organized for her interview with a list of questions to ask me about what I expected of her, and a notebook to right down the answers. She got the job. 

But back to costumes. The first military project I ever designed was a stage play called “Streamers” with an all-male all-star cast. I was at the very early stages of my career and feeling very female and very insecure. It was a tough job because no matter how much research I did to get everything right, the all male cast, many of them having served at some point, were very vocal in telling me when I didn’t get something right!

You can’t wing it. Besides the basics of the uniform itself, you have to consider the era, location, rank, division, patches, insignia, medals, what they all mean, and exactly how and where they are placed on the uniform. Then there’s the gear, tactical belts, helmets, vests, holsters, backpacks, goggles, etc.

I did a short film a year or so ago about helicopter pilots in Vietnam. I found, via the internet, a man who had been a actual helicopter pilot from that era, and we had several phone conversations. He sent me a number of photos of him and his buddies from that time. It was a fascinating experience talking to him, and great research.

So I guess not all costumes have to have sequins on them! They just need to tell the story, and tell it right.

DOLPHINS IN THE GULF, LARRY HAGMAN IN FT LAUDERDALE

Last week I had the pleasure of spending a week with my sister in a part of Florida that I was totally unfamiliar with, the Gulf Coast, the part of it they call “The Emerald Shore”. I was enchanted with the incredibly white beaches, blue water and skies, and was feeling so relaxed I wondered how I could think about costumes for my weekly blog!

But then I remembered my 4 week stay in Fort Lauderdale, Florida, in 1992 while filming a TV movie called “Staying Afloat” with Larry Hagman. Other than the fact that it was August, when no one in their right mind goes to Florida (heat, humidity), I remember it fondly as a wonderful experience.

It was actually my very first film, and naturally I was nervous. As often happens, the first day of filming was not a simple one, but one of our biggest days with hundreds of extras. The location was the local racetrack, and we had spectators, horses, jockeys, trainers etc to deal with besides our stars Hagman, Claire Yarlett, Gregg Henry, and Dakin Matthews. But I had a good crew and all was going well until we were getting ready for our first shot with Larry. My assistant came running to me and said that Larry had just spilled coffee all over his trousers! YIkes! I didn’t have a double, so we had to clean off the pants as best we could and then dry them with a hair dryer, and get him back on set as quickly as possible. Actually, he was very embarassed and very apologetic.

Other days we shot on the beach in full sun, and it was all we could do not to strip off our clothes and run into the cool water! We went to Boca Raton for 2 days and shot there at the harbor, pool, and resort, and in a number of other locations around Fort Lauderdale. Since the series of movies NBC planned to film was based on around a renovated 1930’s yacht that once belonged to the Dupont family, Larry had wanted to film in different exotic locations, which was fine with me! (not that he asked).

I love going on location, especially if it is somewhere fairly civilized and for not too long a period. In Florida I was put up in a nice hotel on the 12th floor with a view of the beach and the inter-coastal waterway and could watch boats go by all day on my day off. My husband flew in from Los Angeles for a weekend in the middle of my stay, so we were not separated for too long. Location work is one of the things that has kept my life interesting, varied, and full of new places to discover. Though what I’m really waiting for is a film that shoots on the Amalfi Coast in Italy!

THE POWER OF RED!

When I was watching the Emmy Awards recently,  every time a gown made an impression on me, it was a red dress! See Kerry Washington, Lea Michele, Sofia Vergara, and  Kate Winslet. I guess I just love red dresses.

There are a couple of iconic red dresses that are burned vividly and indelibly into my brain, never to fade. One was designed by the wonderful Aggie Guerard Rodgers for “The Color Purple” (for which she was nominated for an Oscar Award). It was worn by Whoopi Goldberg as “Celie”, and in the scene she was running along the road towards her house. An ominous grey sky was behind her which made the dark red dress become so much more intense as it swirled around her, and the whole mood felt intense and slightly dangerous.  I’ve often wondered if Aggie just got lucky that day with the weather - would it have been as dramatic on a day with blue sky and sunshine?

The very first costume I designed for a major client was red and was for Ann-Margret. It was for a disco number (yes, disco..... this was a while back!) for her big nightclub act at Caesars Palace, and later the number was used on a TV special. I had already designed the outfits for the male dancers, and now I got to design a dress for the star. The first time she emerged on stage wearing my dress was a moment I will never forget!

But if I am to define red, in a perfect world, it would be a beaded gown by Giorgio Armani on exhibit in Rome at a retrospective of the fashion designer’s work. I was in Rome on holiday and read about the Armani exhibit mounted at the ancient Roman Baths of Diocletian. We entered the exhibit, and the first cavernous room was exceedingly dark. I wondered who would be so perverse as to not light an exhibit so one could see it!  But as our eyes gradually adjusted, we could begin to see display cases of the designer’s subtly colored and understated daywear emerging from the shadows. The shapes were uncluttered, slightly androgynous, and executed in his “greige” palette.  But then we entered the next room, also dark. A single spotlight mounted up high shone onto a red beaded gown, and I gasped. The way our eyes had adjusted to the dim light in the previous room must have accentuated the brilliance of this dress. To me, it was the essence of red. The ultimate red. I shall never forget it.

Most of the time, especially in film, costume designers’ clothing for the actor should be so organic to the actors character that you are unaware of it. But once in a while, a costume is so dynamic to the moment that it lives in one’s memory forever.

For online costume training, visit me at http://hollywoodmentors.co

STARS IN THEIR UNDERWEAR: WHAT REALLY GOES ON IN A WARDROBE FITTING!

I must say, as a costume designer for primarily contemporary films and television, I LOVE what goes on in the fitting room. It is where the actor and I find the character. Together.

By the time I meet the actor, I’ve already talked to the producer and found out what he/she wants (“don’t spend too much”), I’ve talked to the director about the concept, and I’ve talked to  the production designer about the palette.

I’ve done the research, I’ve let it all brew together in my subconscious creative center. I’ve done the shopping, renting, sketching, and now the actor is coming in for a fitting. 

I set up the room with the mirror, good lighting, lots of pins and tags, and the selection of clothing that at this point is just “wardrobe”. With the actor, it will become a costume.

After the initial introductions and small talk, there will be that awkward pause, as the actor realizes he or she must undress and stand before me, near naked and at his most vulnerable. (Does my butt look big? Are my tits sagging? Did I wear clean underwear?)Some actors are totally comfortable “dropping trou” and getting ready to try on clothes. Others are more hesitant, as often it is the very first time they have met me. So at this point, I have to make a decision. Do I step  out of the room? Do I busy myself filling out a tag or looking at my notes? 

Often I just say “are you comfortable with me in the room?”. After years of experience, I can usually sense when I need to step out. I usually do so for really senior actors (even though often they are the most cavalier), for actors whose bodies might cause them to be self conscious, and for cerrtain ethnicities. I actually learned the hard way from an Indian actress who wouldn’t undress in front of me - she told me a woman of her culture would never disrobe in front of another woman.  And I ALWAYS step out if it is a child, as I expect them to have their parent or guardian with them.

Then the fun begins. We try on clothes. I have already brought in the clothes that I think will help them find the character, but I can never tell until it actually goes on the body and the actor “inhabits” it. I try and limit the number of “opinions” in the room, discouraging comments from assistants, girlfriends, agents, etc, so that I can carefully guide the actor into the outfit that I think works perfectly. They need to trust me, and I, in turn, need to earn their trust. I never tell an actor they look good if they don’t. If something is really looking awful on them, I make it my fault saying “damn, take that off, what was I thinking bringing that in”. I also know not to say “OMG, you have such a hot body!”, even though I might be thinking it!

Eventually I can tell from the most subtle of body language that the actor is starting to feel right in the clothing. Now it is beginning to become a costume. Now all is left is to do the alterations that make it perfectly adjusted for their body, photograph them in the wardrobe to send over for approval from the director or producer, make tags and notes for scene numbers and voila, we have a costume!

If the actor turns to me and says “i didn’t really find the character until I put on this costume”, you will find me beaming from ear to ear, as I have done my job.

What is Diana Ross really like, really?

One day, the phone rang in my bedroom very early, In fact my husband and I were still in bed asleep. He answered  the phone, and then turned to me wide-eyed, saying “it’s Diana Ross”!!. She was in Atlantic City,  was a week away from embarking on her European tour, and was short one wardrobe assistant. Bob Mackie had recommended me. Could I fly to Atlantic City tomorrow to meet with her?

And so I did. A ticket was sent, a car was waiting to pick me up at the airport, and I was brought directly to meet her backstage where she was appearing at one of the big hotels. Right away it was discovered that both of us having the same first name was not going to work, and since she obviously was not about to change her name, I was asked to quickly choose a name for myself that she could call me. On the spot, what name do you choose? Diane -- too close. Dinah - nah. Beatrice, my middle name? Quaint, but not right. So I settled on “Dee”, and that’s what I became for as long as I worked with her.

People often ask me what Diana Ross is like. The impression often is that she is a grand diva. But that’s not what I saw. I saw someone who was driven to be the very best she could be, but who at the same time was also very protective of her hard earned stardom. She made sure that she enjoyed the best for herself in hotels, dining, clothing, jewelry, private planes and limos. She adored the police escorts she sometimes got leaving a concert and heading for the airport. But she also treated her musicians and crew to the finest in hotels, the best catered meals, and private planes to transport us around. In return she expected 110% from all of us.

There was always a bit of a push-pull dynamic between her and her musicians and crew. She kept the line very clear between her as “The Boss” (in fact, we all had to call her Miss Ross). She was not our pal, our girlfriend, our drinking buddy. Not at all. But at the same time she considered us all her tour family, and took very good care of us.

She insisted on signing all the checks, since she felt that was the only way to keep an eye on and some control of the money. This however, sometimes could be a problem. If she was exhausted from flying around, performing  and doing press,  a huge pile of checks to be signed would pile up, and pay day was sometimes late. 

One concert venue gave me an interesting insight into her. We were playing an old arena (in Hershey Pa.) and the dressing room they had set up for her leaved a lot to be desired. She usually was quite demanding about the privacy, decor, and everything else for her dressing room, but it was obvious that in this particular arena, those usual needs were not going to be met.  I mentioned something in apology, and she said “Oh Dee, I have seen far worse than this in my touring days with the Supremes. If its honestly the best they can do, you just have to go with it”.  I had seldom heard her refer to Motown days or Supreme days, so this was an interesting revelation.

Other than her body guard, I was probably the one who was closest to her for most of the concert. I got to the venue early, was shown the room which would be her dressing room. I organized how it could be draped or reconfigured to meet her needs. I surveyed the food and drink that was ordered for her to make sure nothing was forgotten. I set out her make-up on the table for her, put the shampoo in the bathroom, lined up her shoes. Once we got close to show time, where she was preparing, I was even the gatekeeper! If there was a knock on the door and her musical conductor, Joe Guercio, or her lighting designer Allen Branton wanted to see her, they had to ask me. I would then ask her if she would see them.

I would also set up her quick change areas for those incredibly fast wardrobe changes. Even those had very specific requirements. There had to be four walls and a roof drape for total privacy,  enough light to see well, a good mirror, a chair for her to sit on to make a shoe change, and a pot of hot coffee, which I had to struggle to make the exact right temperature. As she came rushing off stage, I would strip off her gown, and help her into her next gown. The shoes were the worst -usually high strappy sandals which I had to wrap around her ankles and thread through the buckle as fast as I humanly could, fingers shaking or not! Once I did it in record time and without thinking I slapped her on the butt as if to say, go girl! Then I realized what I had done. But she was off and on stage singing, and I don’t think she noticed.

I was also with her at the famed Central Park Concert that got rained out....but I’ll save that for another time. It deserves a post of its own!

And don't forget to visit me at http://hollywoodmentors.co

Late Bloomers and Mentors

One of the things that has inspired me to launch HollywoodMentors.co are the emails I receive from aspring designers who ask me for advice about how to get started in a career in costume design. 

It is not an easy question to answer, as the business is so unique, the locations where one can be a designer so few and far between, and the way in so different for each person. But what I DO know is that it is always possible for those who have the the persistence, perserverence, and down right tenacity to do whatever it takes to get that foot in the door.

I once interviewed several highly successful designers about their career beginnings. Al Wolsky, for example, seven time Oscar nominee, and two time Oscar winner for Bugsy and All That Jazz, started “late”, in his thirties. He had started his professional life as a travel agent, working in his family’s firm, but felt after a while it was not for him. He got a job “picking up pins”, as he puts it, at famed costume workroom Barbara Matera’s. The point is, he was willing to do the lowliest of jobs just to be in the right environment and in a place where he could learn from the best.

I did not start my career in costume deisgn until I was in my thirties. After a number of years dancing in shows on Broadway, followed by another 5 or 6 years touring in national companies as an actress, I moved to Los Angeles and met a man who was looking for someone to coordinate wardrobe for the dancers and singers in Ann-Margret’s Las Vegas nightclub act. I didn’t think I knew much about costumes, but I knew about dancers and their needs and next thing I knew I was flying up to Las Vegas, staying at Caesar’s Palace, and organizing and prepping mulitple outfits for 8 dancers and 4 singers. I was working with Ann-Margret, Roger Smith, and was soon to meet my future mentor, the fabulous costume designer Bob Mackie.

It was never officially called “a mentorship” as I was hired and paid as one of his assitants for the show “Jubilee”.  I can trace every job I have had in the last 25 years to my start with Bob, and just about everything I learned about costumes I learned from him. 

As the saying goes, “ luck is when preparation meets opportunity.” I was one lucky girl! 


More on my costume training at http://hollywoodmentors.co