• 14th Annual CDG Awards
• Awards Archive
• Lacoste Spotlight Award
• Career Achievement Award
• Hall of Fame Award

WINNERS FOR THE 8th ANNUAL COSTUME DESIGNERS GUILD AWARDS

 

 

HONOREES FOR THE 8th ANNUAL COSTUME DESIGNERS GUILD AWARDS

 

 

Anjelica Huston – 10th Annual CDG Awards Host

ANJELICA HUSTON is an Academy Award-winning actress and critically acclaimed director. Raised in Ireland, Huston is part of the third generation of a renowned cinematic legacy. Huston has made extraordinary characters come to life with her memorable performances in films as diverse as "The Royal Tenenbaums," "The Dead," "The Addams Family," "Grifters," "The Witches," "The Crossing Guard" and "The Life Aquatic with Steve Zissou" and on television in "The Mists of Avalon," "Buffalo Girls" and "Lonesome Dove." Huston received an Academy Award for her role in "Prizzi's Honor," directed by her father, John Huston. Huston won a Golden Globe Award for her role in HBO's original movie "Iron Jawed Angels." She made her directorial debut in 1996 with "Bastard Out Of Carolina" and was nominated for a Director's Guild of America Award and an Emmy Award for her work on the controversial drama. Additionally, she has received the Women in Film Crystal Award and the MOCA Award to Distinguished Women in the Arts. She supports numerous charities, organizations and institutions, including The Freedom Campaign, Global Green USA, Planet Hope, Project Angel Food, The Library Foundation and Amnesty International.

Thomas C. Short
Swarovski President's Award

As he would be the first to tell you, International President Short grew up in a union household in Cleveland, Ohio, and has been a member of the I.A.T.S.E. since 1968, when initiated into Stagehands Local No. 27. His gift for leadership was impressive from the start of his career. In 1971 he was elected to the Executive Boards of Local 27 and Studio Mechanics Local 209, and was elected as Local 27's President in 1978. Short served as International Vice President of the I.A.T.S.E. from 1988 until 1994 when the General Executive Board unanimously elected him to the position of General Secretary-Treasurer of the Alliance. That year, Mr. Short was elected to the position of International President, and continues to be re-elected to this office by the prudent delegates to each subsequent I.A.T.S.E. Convention.

Under his guidance, the Union has been restructured, modernized and streamlined to include five Divisions – Stage Craft, Motion Picture and Television Production, Organizing, Trade Show & Display Work, and Canadian Affairs – and his dynamic, forward-thinking administration has seen a membership increase from 65,000 to over 105,000. President Short is a member of the Boards of Directors of the Motion Picture Industry Pension and Health Plans and the Motion Picture & Television Fund. He works tirelessly to protect benefits for all I.A.T.S.E. members. In the aftermath of Hurricane Katrina, the I.A.T.S.E. and President Short were quick to respond with financial assistance from the Walsh/DiTolla/Spivak Foundation to enable members and their families to get back on their feet after the tragedy. President Short exemplifies the spirit of solidarity in his care for each and every union member, whether negotiating a contract or reaching out in times of crisis.

President Short also represents the I.A.T.S.E. as a Vice President on the Executive Council of the AFL-CIO. His recent election marks the return of the I.A.T.S.E. to the Executive Council after a 31-year absence. International President Short declared, "We, in the labor movement, are facing some of the greatest challenges in our history and it is critical for us to take a strong, aggressive and united stand if we are to survive." President Short's many recent accolades include the Directors Guild of America "Honors Award," the "Lew Wasserman Spirit of Democracy Award" from the Los Angeles Federation of Labor, and "The Actor's Fund Medal of Honor" for his dedication and outstanding leadership throughout the entertainment industry and in the community. Concluding 2006 negotiations on the Hollywood Basic Agreement, the I.A.T.S.E. membership secured substantial wage and benefit gains including increases in the Individual Account Plan (IAP), and additional pension income for retirees including, "13th and 14th" checks. In a political environment hostile to labor, expensive for health insurance, and precarious for pensions, President Short has once again proven himself to be our hero.

Joan Allen
Distinguished Actor Award

 

Mary Rose
Distinguished Service – Career Spotlight in Film Award

 

Colleen Atwood
Career Achievement in Film Award

From conventional period pieces to modern dramas and futuristic fantasies, Colleen Atwood relishes the opportunities to create new worlds. Ms. Atwood has observed, "I feel like I've been lucky in the productions I've designed because I've really been able to keep it fresh, always getting to do different kinds of things."

With a fashion degree from the Cornish School of Fine Arts in Seattle, Colleen Atwood began her career as an assistant to production designer Patrizia van Brandenstein on the film "Ragtime" (1981).

Her first solo credit as Costume Designer was on director Michael Apted's "Firstborn" (1984). Atwood next collaborated with renowned production designer Fernando Scarfiotti, designing the costumes for the Sting concert film "Bring on the Night" (1985). This early association with the rock 'n' roll performer resulted in Atwood designing the costumes for Sting's further concerts and music videos.

Atwood collaborated several times with directors whose vision and directing styles set them apart, including Tim Burton and Jonathan Demme. She received a BAFTA nomination for her special contribution to Tim Burton's "Edward Scissorhands," and she designed the bizarre and witty attire seen in Burton's "Ed Wood," "Mars Attacks," "Planet of the Apes" and "Big Fish."

Her intuitive and authentic modern costuming made Jonathan Demme's "Philadelphia" and "The Silence of the Lambs" even more effective in their pathos and horror. Atwood's directors are devoted to her, because her contribution to each film is inseparable from its success.

"Married to the Mob" was a showcase for Atwood's comedic gift, in a send-up of mob clothes in contemporary Brooklyn. The same year she received Academy Award and BAFTA nominations for "Little Women" (1994), a classic example of fine and restrained period costume design. In the same year Atwood also recreated the authentic west in the bio-pic "Wyatt Earp." In 2002, she collected an Oscar for her period prison character studies, burlesque dance costumes, and spectacular design versatility for director Rob Marshall's "Chicago" (2002).

She has been previously nominated for an Academy Award® five times: for "Lemony Snicket's A Series of Unfortunate Events" (2004), "Sleepy Hollow "(1999) and "Beloved" (1998). Atwood won the CDG Award, BAFTA, and Golden Satellite Awards for "Sleepy Hollow" in 1999, and her second CDG Award again in 2004 for "Lemony Snicket.

Always enthusiastic about embracing any new design challenge, Atwood designed the costumes for the visually stunning "Memoirs of a Geisha" (2005). Next year her distinctive and innovative work will be seen in an entirely different kind of screen spectacular, "Mission: Impossible 3," to be released in 2006.

Bob Blackman
Career Achievement in Television Award

Robert Blackman has an MFA from the Yale School of Drama and his designs have graced stages from Broadway to the Pacific. Robert Blackman has designed costumes for more than 600 hours of episodic television, the vast majority for the "Star Trek" franchise. Bob became the Costume Designer for "The Next Generation" at the beginning of its third season; he continued through its seven-season run and designed the following three series for their entire runs: "Deep Space Nine" (seven seasons), "Voyager" (seven seasons), and "Enterprise" (four seasons).

Over the course of nearly two decades at Paramount, Blackman experimented with costume in ways more common to film than television. The producers supported him with a workroom solely dedicated to his designs, supervised by the remarkable Carol Kunz, and staffed by extraordinarily talented costumers and wardrobe artisans. Although the workroom employed a core staff of 14, it would often climb to its capacity of thirty people depending on the demands of that day's designs—the background action alone could consist of as many as 80 extras a day, each individually pre-fitted and altered. A typical episode would require manufacturing costumes from leather, neoprene, spandex, metal, wool and chiffon—often in complex combinations.

Beyond the challenge of inventing centuries yet to be, each original series left no period unexplored: Greek, Gothic, Victorian, the American West, the 20th century (including an ongoing tribute to the 1930's), space genre, and even an homage to costume designer William Ware Theiss' original 1966 "Star Trek" series uniforms. These designs explored new galaxies and went "where no costumes had ever been before."

Blackman is completely indebted to those members of his team who realized, and often improved upon what was originally sketched, repeatedly producing couture-quality costumes in a few days. Blackman won two Emmy Awards in 1992 and 1993 for "Star Trek: The Next Generation" and has received eight additional Emmy nominations. His film work includes "'night Mother," "The Running Man," "Stones for Ibarra," "Star Trek VII: Generations" and "Star Trek X: Nemesis." Blackman's rich and varied career has taken him to numerous theatre companies, including San Francisco's American Conservatory Theatre, as well as the Ahmanson Theatre and Mark Taper Forum. The many productions Blackman's designs have graced include "Cyrano de Bergerac," "Macbeth," "Richard III," "Foxfire" and "The Crucible."

He continues to contribute his extraordinary talents to designing beautiful theater and recently his theatrical triumphs include "The Lady with All the Answers'" at the Old Globe, "Hank Williams: Lost Highway," at the Manhattan Ensemble Theater, "The Royal Family," at the Ahmanson Theatre (Ovation nomination), "Cat on a Hot Tin Roof" and "Uncle Vanya," at the Geffen Playhouse.

William Travilla
Hall of Fame Award

With a career spanning over forty years and more than 100 credits to his name, Bill Travilla is one of our most prolific designers.

Travilla, as he was known, became a Hollywood star in his own right, thanks in large part to his premier client, actress Marilyn Monroe. Best known for designing Monroe's iconic and unforgettable costumes in eight films, including "Gentlemen Prefer Blondes" and "The Seven Year Itch" Travilla also lit up the silver screen with "Valley of the Dolls," "The Day the Earth Stood Still" and "Monkey Business."

Travilla won an Oscar in 1949 for the "Adventures of Don Juan," which he shared with designers Marjorie Best and Leah Rhodes. He was nominated three additional times for "How to Marry a Millionaire" (1953), "There's No Business Like Show Business" (1954) and "The Stripper" (1963).

When the Golden Era of Hollywood ended, he focused on running his thriving couture business and found time to freelance for television epics such as "Evita," "The Thorn Birds" and "Dallas," winning Emmy's and accolades.

Renie
Hall of Fame Award

Renie, born Irene Brouillet and also known as Renie Conley was born on July 31, 1901, in Republic, Washington.

Renie received one of the four Academy Awards for the Costume Design for "Cleopatra" and was nominated for "The Model and the Marriage Broker" in 1951, "The President's Lady" (1954), "The Big Fisherman" (1960) and "Caravans" in 1978.

For more than three decades, she was a prominent Hollywood Costume Designer noted for clothing stars in subtle, elegant costumes. Ginger Rogers wore one of Renie's most famous suits as the All-American working girl in Kitty Foyle.

Renie began her career designing theater sets and later worked as a sketch artist for Paramount; in 1937, she became a Costume Designer for RKO. She remained with the studio attiring its biggest stars until the '50s when she started freelancing.

In addition to films, Renie's work can also be seen on such TV series as "Haywire." Renie spent many years teaching in Los Angeles and her adoring students include the leadership of the Costume Designer's Guild, in which she was very active.

Bill Thomas
Hall of Fame Award

Bill Thomas was born on October 13, 1921, in Chicago. Illinois. After USC and the Chouinard Art Institute, Los Angeles, he served in the Army Air Corps during World War II , designing costumes for the USO.

An apprentice at MGM from 1947 to 1949, he later designed for Universal and Walt Disney Studios. Bill Thomas created costumes for more than 300 films in every genre from "Touch of Evil" (1958) to "The Parent Trap" (1961), with "Pillow Talk" (1959) and "Logan's Run" (1976) featured on that eclectic list, as well. He could design anything.

Thomas shared the Oscar with Valles for their magnificent work on "Spartacus" (1960). Thomas received 8 Oscar nominations for both color and black and white films and twice nominated for films in both categories the same year. These Academy nominations include "Seven Thieves" (1960), "Babes in Toyland" (1962), "Toys in the Attic" (1963), "Inside Daisy Clover" (1966), "Ship of Fools" (1966), "The Happiest Millionaire" (1967), "The Hawaiians" (1970) and "Bedknobs and Broomsticks" (1971).

An avid collector of Hollywood costumes, Thomas became an expert on movie memorabilia and acted as a consultant at auctions.

Anna Johnstone
Edith Head Hall of Fame Award

Anna Hill Johnstone was born in Greenville, South Carolina, in 1913, and passed away on October 16, 1992. With a long distinguished career as a premier Broadway designer of such modern classics as Arthur Miller's "After the Fall" (1964), Tennesse Williams' "Sweet Bird of Youth" (1959), Clifford Odet's "The Country Girl" (1950), Johnstone made her indelible mark on contemporary film through the realization of truthful characters.

Starting as theater designer Lucinda Ballard's assistant on Broadway, Anna Hill Johnstone developed a confident style that was invisible but sure. She rarely worked in period or fantasy film genre, which makes her contribution to the art of costume design all the more profound. Director Sidney Lumet, for whom she designed twelve films, and Elia Kazan, for whom she designed six classics, considered her an invaluable creative partner. The stories she worked on, often set on New York City street corners, demanded realism. This accomplishment, unheralded by the critics and unnoticed by the audience, presents the most provocative design challenge to a designer. Her costume work, always authentic, nuanced, perennially exacting, is indistinguishable from the characters it graced.

If costume designers are cultural anthropologists; Johnstone was our Margaret Mead. She began her film career in the 1950's designing down-and-dirty clothes for "East of Eden," "A Face in the Crowd," "Baby Doll" and "The Pawnbroker." These stories were not glamorous and her sensitive costumes breathed life and immortality into the scripted characters. Her costumes were the conduit though which characters were discovered in the fitting room. Are there cinema images more famous than Marlon Brando in "On the Waterfront" and "The Godfather," or Al Pacino in "Dog Day Afternoon," "Serpico"and "The Godfather?"

Francis Ford Coppola's "The Godfather" (1972) garnered her an Oscar nomination and a place in the pantheon of film design. In the 1960's and 70's, Johnstone's costumes were featured in such cult film classics as "Alice's Restaurant" and "Cotton Comes to Harlem "and her portfolio included "The Subject was Roses," "The Last Tycoon," "Play It Again, Sam," "King of the Gypsies," "Going in Style," "Prince of the City," "Daniel," "Fletch Lives" and "The Verdict." "The Stepford Wives" may be the consummate commentary on Connecticut suburbanites. Her poisonous candy-coated costumes reflected the lifestyle of the country club crowd while displaying a vicious sense of humor.

Anna Hill Johnstone did not often have the opportunity to design a conventional period piece set in Victorian times. Brussels lace and buttoned shoes seemed to elude her career until Milos Forman's lush "Ragtime," for which she was nominated for an Oscar in 1982. Johnstone's contemporary costumes triumph over mere clothing. Her characters are portraits of people. More than any other designer she has defined the primary role of costume in films as storytelling.

 

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