CAFTCAD

BESPOKETHE CANADIAN ALLIANCE OF FILM & TELEVISION COSTUME ARTS & DESIGN SPRING 2018 10 NO. NO. ISSUE ISSUE

THE “MAKERS” ISSUE

MEET YOUR MAKERS TALKING TAILORING BREAKDOWN A LESSON IN TAMBOUR

A day in the life of Exploring the anatomy of The Art of Destruction: Laurie Lemelin recalls her four industry a suit with Michael Ng Storytelling through first encounter with artisans.... of Garrison Bespoke... costume breakdown... tambour embroidery... A repository of goods to help complement your vision — whether it be: An interspecies love story A plucky orphan coming of age The aftermath of an assassination Exploring new worlds and civilizations Wiseacre congratulates all the award nominees.

777 Kipling Ave. Studio L 647.939.CROW | wiseacre.ca The Crow Knows BESPOKE no. 10

CONTENTS

04 Letters from your CAFTCAD President 18 Breakdown: The Art of Destruction & BeSpoke’s Editor-in-Chief Creating characters (by expertly destroying their clothing). 06 Meet your Makers: A day in the life of 20 A lesson in Tambour: Embroidery expert four local artisans. Laurie Lemelin explains this haute couture method of embroidery. 16 Talking Tailoring: A conversation that 22 Close Up: Catch up with your colleagues threads the needle on tailoring, in our newly re-vamped version of from start to finish. Who, What, Where...

3 ceremony willbeheldspring 2019. of Canadiancostumers -the inaugural in development to recognize thework our ownCAFTCAD Costume Awards is in thefall.Iamexcited to announce planning anin-depthexhibitforlater in acostume displayat CityHall,and showcasing theworkofourmembers ticipating in“Toronto’s Doors Open,” CAFTCAD’s publicprofile by par- curriculum andevents; weare raising you up-to-date withourexpanding features anevents calendarthat keeps designed mobile-friendly website, which This springwelaunchedournewlyre- CAFTCAD. There ismuchto celebrate! 10thanniversarymonumental as This Maymarks thebeginning ofour for-profit artsserviceorganization. that weofficially incorporated asanot- media. Butitwasn’tuntilMay2,2008, here inCanadafilm, television, and promote and celebrate theworkwedo less ofspecificunionaffiliations - to tumers wantingto joinforces -regard- began in2006asanassemblyofcos- It’s incredible to thinkthat CAFTCAD THE EDITOR LETTER FROM integral lesspubliclyvisiblerole) (yet CAFTCAD community who also play an our of members different the on light a cided to backandshine pull the curtain But forthis,ourMakers Issue,wede- standing achievements! awards thisyear -wesalute theirout nominated forprestigious international White andAnneDixon have been Sequeira, Gersha Philips,Delphine delighted that ourmembers Luis requiredtalent to create them.We are projects themselves aswellforthe increase inaccolades,bothforthe and asaresult we’ve seenasizable community. Ourindustry hasmatured There’s muchto celebrate withinour anniversary ofCAFTCAD. happens to coincidewiththetenth of BeSpoke -ourtenth infact-which Spring arrives withourlatest edition THE PRESIDENT LETTER FROM - new format forBeSpoke 10,withsome worked tirelessly to create anexciting designed book.Oureditorial team has The sameistrueofthisnewlyre- joy ofthefinalproduct. rivation, andeventually sharinginthe time andenergy, sufferingsleepdep- solving, dedicating hugeamountsof - laughing,crying,arguing, problem- life. Theyare there from start to finish visionto bring acostume designer’s and costume professionals that help It isthissupportingcast ofartisans makes team. upthecostume designer’s immediate andextended familythat tributed to thecollective workofthe knowing that somuchofitcanbeat- and background costumes, means design from mood-board to principal Appreciating theprocess ofcostume applied to thecostume department. takes avillage”gainsnewlifewhen The well-wornNigerianproverb, “It in helpingrealize thedream. CSA forAnnewithanE. Dixon hasalsobeennominated fora The Kennedys After Camelot, nated foraCanadianScreen Award for (CSA). DelphineWhite hasbeennomi - Award andaCanadianScreen Award tion foraCostume Designers Guild a project that hasearnedheranomina- tume Trek: designingStar Discovery, Shape OfWater. Gersha Phillipsiscos Academy Awards forhisworkonThe Achievement inCostume Designat The in history to benominated forBest the secondCanadiancostume designer Award andaBAFTA Award. Heisalso well asnominations foraCriticsChoice Award forExcellence inPeriod Film, as received theCostume Designers Guild CAFTCAD’s first president, LuisSequeira, ments incostume design. deservedly honouringtheirachieve- up forprestigious awards thisyear, to seethat someofourmembers are solely imported designers. I’mthrilled that inthepast wouldhave engaged being hired forhigh-profile projects and localcostume designers are levels ofproduction forseveral years Toronto hasbeenexperiencingrecord industry sinceCAFTCAD’s inception. Times have really changedinthefilm BESPOKE no.10 4 Anne and Anne

- Enjoy! this incredible community. you, aboutyou, andincelebration of contribution to thismagazine-for our contributors fortheirinvaluable cations Manager, Lynsey Clark,andall CAFTCAD’s Operations andCommuni new Creative Director NicoleManek, for thefuture. Specialthanks to our fresh features, conceptsandplans costume designers’ visions. are thecreative force that breathes lifeinto This issueisanodeto theseartisansthat makers, milliners, andbreakdown artists. artists, leatherworkers, armourers, jewellery ers, includingstitchers, cutters, breakdown contributionsofvariousthe important mak- find will Within thepagesofthisissue,you makers isondisplayfortheworldto see. in costumes Trek inStar to periodcostumes and television shows. From sciencefiction to buildamazingcostumes forthesefilms have alsobeengiven more opportunities more large-scale productions, localartisans Because locallybasedartists are designing the craftsmanship of our Anne withanE,thecraftsmanship ofour President oftheBoard ALEX KAVANAGH LORETTA CHIN Editor-in-Chief - PHOTO: BRIAN DE RIVERA SIMON FOR GEORGE PIMENTEL BESPOKE no. 10

BeSpoke magazine THE shape of WINNING

Editor-in-Chief Loretta Chin Creative Director Nicole Manek Advertising Lynsey Clark Art Direction & Layout Erin Mccann Story & Copy Editor Nikita Stanley Researcher Lori-Anne Krausewitz Photography Billie Chiasson Printer Moveable

Contributors: Loretta Chin Nicole Manek Lynsey Clark Alex Kavanagh Laurie Lemelin

Contact: CAFTCAD The Canadian Alliance of Film & Television Costume Arts & Design STEFANIE KEENAN/ GETTY IMAGES ENTERTAINMENT/ GETTY IMAGES GETTY ENTERTAINMENT/ IMAGES GETTY KEENAN/ STEFANIE

65 Heward Ave Building C #223 CAFTCAD congratulates founding member and first president, Toronto Ontario Luis Sequeira for his incredible year of achievements. M4M 2T5 416 900 0955 Luis, we salute you for your passion and dedication www.caftcad.com to the craft of Costume Design. Your brilliance and generosity [email protected] of spirit to your team and all who know you is matchless. [email protected] Winner of the Costume Designers Guild Award for Excellence in Period Film – The Shape of Water (2018)

Ten Nominations including: The Academy Awards Oscar - Best Achievement in Costume Design BAFTA Film Awards - Best Costume Design find us on social media: Critic’s Choice Award - Best Costume Design @caftcad

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YOUR

MEET

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MAKERS

A DAY IN THE LIFE OF FOUR INDUSTRY ARTISANS >>

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ADAM SMITH FX COSTUMER

I LIKE TO THINK “I’VE PIONEERED SOME COSTUMING TECHNIQUES THAT HAVE NEVER BEEN EMPLOYED OUTSIDE OF A PROSTHETICS OR SFX SHOP. ”

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Describe a typical day when you are working on your craft.

Typically (when I don’t have an early call-time for a show) I wake up 8:30 a.m. - 9:00 a.m., make some break- fast, check in with technology, then head to my workroom. I’ll spend a couple of hours there working on whatever is on the slate, whether it’s building inventory for weekend artisan shows or doing contract builds for a television show or movie. Then I’m off to the gym for about an hour or so. If I have errands to run in town, I’ll take care of those before returning home. Then it’s back to the workbench. I might be researching, designing a piece, patterning, building, or all of the above. Dinner is usually late, and I try not to work after dinner, but if I’m working on a pressing project, I’ll continue at my workbench afterwards. I try to cut it off at around 11pm. This routine often gets upended of course, but I try to roll with the punches as often as possible.

What is the most challenging part of your job? Describe your dream project. Star Trek: Discovery - Working with The most challenging thing is coming designer Gersha Phillips. I wasn’t there up with a quote for the estimated Something big, something whimsical, long, but I like to think I set the stage cost of a project or item with minimal something that challenges me techni- for some amazing alien costumes by preliminary information. Everyone cally as well as creatively. Something initially setting up the alien mill-shop wants a quote on the spot, but I well planned so that there are no 15+ and later pioneering some costuming prefer time away from the client to hour workdays. Something I’d have to techniques that have never been em- consider the job at hand, material learn new skills for. Something I don’t ployed outside of a prosthetics or SFX costs, travel time for shopping for have to get up at 5:00 am for. Some- shop in Toronto before. Using thermo- materials, research and design, and thing with a happy crew that is relaxed plastics; molding and casting polymer the actual number of hours I think it and works well together. This might be resins; utilizing sculpting mediums - the might require. Unfortunately, we can’t a crazy film project likeThe Dark Crystal technical challenges were large. always get what we prefer! In time, or it might not have anything to do I’ve become fairly good at quoting, with the entertainment business at all. Defiance - Initially working with Alex but it’s definitely still my least favour- It might be a largescale art installa- Kavanagh and later with Simonetta ite part of the gig. tion, it might be building an artisan Mariano, this Sci-Fi series had seven community in the middle of nowhere... species of aliens. Some of my best “fly What is the most rewarding part of I hope I recognize it for what it is if it by the seat of my pants” work was your job? passes my way. done on this show.

The most rewarding part of my job is What are some projects you’ve worked Suicide Squad - With designer Kate seeing a project come to fruition that I on that you’d like to highlight? Hawley, I got to build a wide variety of may have initially thought was nearly pieces that became part of larger out- impossible... but I’m a good problem Each “big gig” seems to fill me with fits and costumes - some that made it solver, and when I can use a number of more pride than the last, but that to the screen, many that did not, but artisanal skills and unusual materials might be just because those are the they were all interesting! It was a very to make a project come together, it is ones that I grew as an artist to positive work experience for me, and very rewarding. Innovation is fun! accomplish. But the highlights are: I’d work for Kate again in a flash. //

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ALYNNE LAVIGNE COSTUME JEWELLERY DESIGNER

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Describe a typical day when you are working on your craft.

Every day is totally different. I might be on my computer, working in 3D, or running around the city sourcing. I take THERE’S A LOT OF PROBLEM appointments at my studio or I might be “SOLVING INVOLVED IN working at my jewellers bench finishing a project. I do spend most of my time at PRODUCING CUSTOM my studio in the back of Eleven Thirty JEWELLERY... BUT WHEN YOU Shop (1130 College St.), though. The FIGURE IT ALL OUT, only thing I absolutely do every day is IT’S SO SATISTYING! take coffee breaks!

What is the most challenging part of ” your job? There’s a LOT of problem solving and logistics involved in producing custom jewellery (especially quickly), which can be difficult - but at the same time, it’s really satisfying when you figure it out. Also, waiting forever for movies / shows to come out is the worst!

What is the most rewarding part of your job?

COSTUME JEWELLERY DESIGNER Seeing jewellery in action! And hearing that costume designers were really happy with it. Working on projects where you’re already a fan of the show is pretty great too.

Describe your dream project.

If Daenerys and Jon Snow get mar- ried on Game of Thrones, somebody (Michele) PLEASE call me for that wed- ding look! Just throwing that out into the universe.

What are some projects you’ve worked on that you’d like to highlight?

I got to produce a lot of the vintage jew- ellery replicas for Luis Sequeira for The Shape of Water (!!), and I was also involved in some work on Star Trek Discovery, Fahrenheit 451, and Ocean’s Eight that I’m really excited to see come out! I was pumped about some of the work I did for American Gods too, particularly Judy Garland’s brooch. //

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RITTA KOLEVA COSTUME BUILDER

I JUST LOVE MAKING THINGS “AND SEEING THE FINAL RESULT. I LEARN A LOT DURING THE PROCESS... ”

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Describe a typical day when you are The beginning of the project is also working on your craft. challenging when I’m deciding how to do it. My day starts the night before. I clean my workspace and I plan the next day. What is the most rewarding part of your In the morning, I check my notes over job? breakfast, have some meetings, start working on project #1, go for a fitting, I just love making things and seeing the solve some emergency from set, mould final result. I learn a lot during the some leather, work on the pattern for process. project #2, go for another fitting, have a very late lunch while making a shopping Describe your dream project. list for project #3, do some alterations, go back to project #1, have a quick chat Something creative with a lot of details with the designer and my coworkers, do and that allows for the use of “hand some final touches to the dry moulded made” techniques. Something that leather, prepare work for the morning, challenges my imagination. clean my workspace, plan the next day, do some midnight grocery shopping, do What are some projects you’ve worked some chores, and finally, go to bed and on that you’d like to highlight? hope to check my emails very fast be- cause there are only five hours left until Everything I’ve worked on has something morning comes again! valuable. My #1 favourite movie I’ve worked on is Crimson Peak. Other What is the most challenging part of favourites are: Total Recall, Suicide your job? Squad, Defiance (TV series) and Ant-man and the Wasp. From my theatre experi- The deadlines. Not having enough time. ence, The Lion King is most memorable. //

I JUST LOVE MAKING THINGS AND SEEING THE FINAL RESULT. I LEARN A LOT DURING THE PROCESS... ”

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MILLINER LORI-ANNE KRAUSEWITZ

“MY DREAM PROJECT WOULD BE A PERIOD DRAMA MIXED WITH SOME KIND OF DARK FAERIE/ ELF / MAGIC... ”

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Describe a typical day when you are working on your craft.

First - GIANT COFFEE. Then I cue a podcast or a favourite album (Patti, Portishead, PJ, or Bowie) and attempt to immerse myself in my craft. I usually have my materials and supplies in groupings of colours, themes, or shapes on my work table, which helps my headpieces and crowns come together pretty organically. I could have the same grouping sitting there for months and I just move one old brooch and then the headpiece appears. Once I have the idea, I usually like to get it done as soon as I can. I’ve recently started making waxed flower crowns from scratch, which has been really good for focusing my OCD habits and penchant for fine detail work.

What is the most challenging part of your job?

Finding a balance. Trying to keep my creativity flowing. Being happy with what I create. And making a living from my passion.

What is the most rewarding part of your job?

Hearing amazing feedback from clients and seeing their creative use / interpre- tation of my pieces.

Describe your dream project.

Oh that’s a hard one to narrow down... Give me a period drama mixed with some dark faerie / elf / magic so I can make weird bonnets, over-the-top hats and lots of crowns and headpieces.

What are some projects you’ve worked on that you’d like to highlight?

I had numerous headpieces featured in Seasons 2 and 3 of CW’s Reign. My inner child screamed in delight when I saw Anne - errrr... I mean, Meagan Follows - donning several of my one-of- a-kind pieces. //

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TALKING TAILORING

I had heard quite a bit about Garrison Bespoke from the film and television community, but truth be told, I didn’t know much about the company or the vision behind it before my scheduled interview with owner / operator, Michael Nguyen...>>

BY NICOLE MANEK BESPOKE no. 10

Upon entering the shop, I expected to types and making the athletes feel encounter some good ol’ traditional, comfortable in their clothing is very im- film-friendly, bespoke tailoring – but portant. We have been developing suits I found so much more. The innovation and shirts made of stretch knit fabrics; and design at Garrison Bespoke blew fabrics you never see used in tailoring. me away - from bulletproof suits (yes, I said bulletproof - as in, a suit that What new technologies are you working looks and feels like a normal suit but on? can withstand a BULLET!), to suits custom designed to help actors brave Deconstructed tailoring - Making Canadian winters while shooting garments that are unpadded and ex- outdoors. tremely lightweight that still have the sharp lines and drape of a traditional I learned more than I have in a long suit. It allows more movement for time about suiting and tailoring, and the client, whether they wear it for I’m excited to share my conversation business or in a film scene. We’re with Garrison Bespoke’s very own, also interested in body mapping right Michael Nguyen. now – specifically its application

How did you come into the bespoke business?

I founded Garrison in 2007 at the beginning of a kind of renaissance of men being interested in tailoring and dressing well. The big menswear tradeshow in Florence, Pitti Uomo, MY MOTHER WORKED really influenced men through street style shots shared on social media “AS A DRESSMAKER, (namely Instagram); through this, AND MY GRANDFATHER WAS men became more open to wear- IN THE FABRIC TRADE... ing colour, patterns, and a slimmer MY INTEREST IN SUITS fit. I saw an interesting opportunity emerging. STARTED AT A YOUNG AGE.

My mother worked as a dressmaker and my grandfather was in the fabric trade. Fabrics and tailoring ” elements were always around in my family life. Perhaps the defining moment, at least in terms of what fuelled my personal interest in suits, happened at a very young age. I was dressed in a pristine white suit for my first communion and I re- member descending the staircase to my family and friends. It was a really in patternmaking and construction. exciting thing coming from a big We use artificial intelligence and ma- family; everyone was so happy and chine learning to collect and review excited, telling me how good I looked. designs from our archives in order to That was the moment I realized the create even better /more comfortable importance of the way we dress, the garments. feeling of confidence it can give you, and how it can make you feel really What is the process that your company special. Since that day, I’ve been employs in Bespoke Tailoring? obsessed. Our focus is to create a shape that Measurements of your body are contours and flatters your body, while Describe some of the innovations you taken by one of our in-house tailors, diverting attention away from the not- are working on in suiting. as well as detailed notes on things so-ideal areas. Our goal at Garrison like your body shape and the way Bespoke has always been to build One of our core innovations is infusing you stand. We then make an indi- garments that look sharp and crisp, stretch and comfort into a lot of our piec- vidual pattern, unique to you. We use but at the same time, are comfortable es. As the tailor for the four major sports the Rock of Eye approach in drafting enough to throw a ball in. It’s a delicate teams in Toronto, fitting difficult body and cutting for our clients. balance to say the least. //

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BREAKDOWN: the Art of Destruction

Costume breakdown or “ageing” is any technique used to give a garment the appearance of being used or worn. It is a process that allows costume designers to visually tell the story of a character.

Simply washing new garments is often the first step. They can then be hung with weights in the pockets and steamed to create “bagging and sagging” effects. Steel wool, sand paper, rasps, and grat- ers help achieve more extreme signs of wear and tear; then depth and move- ment are created through dying, colour removal, and painting.

Breakdown can create a broad spectrum of wear – from making a pair of sneakers look “broken in” for a student character, to producing the supernatural effect of decayed rags for a zombie character.

Here’s a great example: Man Seeking Woman is a quirky comedy series that utilizes a lot of visual hyperbole and fan- tasy sequences. In Season Three, a new character, Lucy, is introduced as a “per- fect match” for the (awkward & clumsy) hero of the show. In a montage of scenes depicting a series of unfortunate events, we first see Lucy set her arm on fire, then fall into a pile of garbage, and finally get one charred arm. To achieve this ef- randomly attacked by a puma while fect, Schmere sticks were employed in sitting at her office desk. “Raw Umber” and “Black.”

To achieve the progression of the In the following scene, as she walks montage, it was important for costume along (arm still charred), she trips designer Leslie Kavanagh to choose a on a skateboard, sending her flying costume that not only suited the char- into the air, subsequently landing her acter but allowed for the complicated amidst a pile of garbage. Dirt effects The final stage - the puma claw rips gags as well. The burn gag required a were added in this case by lightly were placed with red basting stitches at 100 percent natural fibre garment, and sponging on acrylic paint and applying the front of the shoulder, then reinforced because she would be playing both in Schmere sticks with a stencilbrush. using grey thread that matched the sweat- and outdoors, a sweater was selected in er. This allowed us to stabilize the knit a soft, neutral grey that would help show Mustard and relish stains were then to ensure the finished garment wouldn’t the levels of aging. Multiples of the same added for comedic effect. The mustard stretch out or unravel when cutting open garment were required for both the ac- stain was acrylic paint, but what about the slashes along the basting lines. tress and her stunt double, and to allow the relish? In order to achieve its clas- for the many stages of breakdown. sic clear-yet-chunky green This is just one of many examples of appearance, bits of green cardboard storytelling through costume design. For the fire scene, the sweater was and small chunks of coloured glue stick Breakdown - the art of destruc- coated with a solution of fire retardant by were mixed with green acrylic paint, tion - is often vital to the audience’s the special effects department. The next gloss and glass beads mediums. understanding of a character’s scene shows Lucy walking to work with Delicious, right? experience. // by Alex Kavanagh

18 With its 100 000 items Le Grand Costumier’s collection is featuring a wide range of periods and styles.

Located downtown Montréal, our facilities cover 16,000 sq. ft. on 5 floors, including a fully equipped workshop. We specialize in head to toe costumes from the early 18th-to the late 20th-century for both men and women, including all the corsets and undergarments required our to insure the proper silhouette. To save you a trip, we offer costume T selection services as well as packaging and shipping services. PPe La PPe

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PHOTO BILLIE CHIASSON

A LESSON IN TAMBOUR

In the fall of 2012, I took a course in its prevalence today is mostly limited to There were a lot of expletives employed Tambour embroidery that would forever European couturiers. that weekend and many more would change my relationship with the art. escape from my mouth over the follow- It has proven to be an invaluable skill Six years ago, by a stroke of luck, it ing months as I toiled away to master for my work in costume design; it has came to my attention that a weekend this way of working, but by the spring, I allowed me to produce beautiful pieces workshop on Tambour was set to be felt ready to tackle the advanced course. of beading and embroidery, and most held at the Ryerson Fashion School by I still had a long way to go, but Bob kept importantly, it has allowed me to do so Professor Robert Haven, who taught us motivated by instructing us on new within the tight timeframes required of at the University of Kentucky and went techniques, and of course, teaching us a film and television projects. to Paris to learn Tambour at the famed few tricks of the trade that he’d learned École Lesage. I eagerly signed myself along the way. Fast-forward to today Tambour is the art of applying beads, up and spent the weekend learning the and the Tambour hook has become an sequins, and threads to fabric using a basics - the most difficult part of which integral part of my embroidery process. Tambour hook. The beads are strung was learning to use the hook itself. I still occasionally use a needle and on thread and attached on the under- thread to achieve specific textures, but side (right side) of the work, while the Twist and snap the thread into the there’s no looking back now. hook creates a small chain stitch on the hook. Rotate the hook. Pull the hook top surface (wrong side) of the work. (with the thread) back up through the In the name of speed and accuracy, con- The technique dates back to the eight- fabric. Move forward to the next stitch. sider me a convert. Tambour embroidery eenth century, and although popular at Sounds simple, right? Not at all! is the future. // by Laurie Lemelin

Want to learn more? Check out Laurie’s reccomended reading on the subject at www.indigo.ca: The Stitches of Creative Embroidery by Jacqueline Enthoven & 18th Century Embroidery Techniques by Gail Marsh 20 responsible BESPOKE no. 10

CLOSE UP THE SCOOP ON YOUR CAFTCAD COLLEAGUES, FROM A-Z...

c >> but our incredible team of costume vi ALEKSIA PAVLOVIC ANTOINETTE MESSAM lo v a aleksiapavlovic antoinettemessam.com technicians and assistants (including p .. al th . exa a @gmail.com INSTAGRAM: i nd CAFTCAD member Deanna Sciortino i w e s r m s x INSTAGRAM: @antoinettemessam sa k e s a who contributed to Season 2), l e rs

a @aleksiapavlovic 2017 HIGHLIGHTS: m k e a were paramount to pulling off the t r 2017 HIGHLIGHTS: Wish Upon (CD); t d e fantastical designs. n Hold the Dark (CD); i Baroness Von Sketch o t Logic’s 1-800- n

(Costume Supervisor) a

ANECDOTES? Keep 273-8255 music EMMA DOYLE your truck stocked with video (Stylist). The [email protected] moleskin, bras, and a top-of-the-line video features Don INSTAGRAM: espresso machine. Cheadle, Matthew @wooohoowitchywoman 2017 Modine, Nolan Gould, HIGHLIGHTS: The Handmaid’s Tale ALEXIS HONCE Luis Guzman, and once (BG Coordinator); Star Trek: Dis- is h www.alexishonce.com ex Coy Stewart... and at 7 al covery (Textile Artist on The INSTAGRAM: minutes, is more like a short le Breakdown Team); A small oy d @alexis_honce film; The Weekend (Costume Designer), a collaborative collection of m 2017 HIGH- a small independent film directed by m LIGHTS: The Canadian filmmaker Stella McGee; garments for my cloth- e Marilyn Denis Started prep on the remake of the ing label, Best Time. Show (Stylist); iconic 70s Blaxploitation film ANECDOTES? We shot Dragons' Den Superfly - helmed by Director X. a lot of The Handmaid’s (Stylist); Just ANECDOTES? It was extreme Tale at The Royal York like Mom and shooting in Calgary at -30C then Hotel. One particularly Dad (Costume De- trying to adapt to shooting in the long day I was taking a lit- signer) ANECDOTES? Moroccan desert, where I used my first tle break and walking around For Dragons’ Den - hand-held washing machine. On Logic the hotel when I heard one of my favour- most people don’t know – it was a nice surprise to find out my this - they actually only wear one outfit director Andy Hines, was a Canadian. ite classical songs, “Claire de Lune.” I wandered the third floor until I found the the entire season… We buy multiples so g water.. llin . fa source – a teenager was seated at the that pieces can be dry cleaned, but it’s BARBARA n o still only one look! SOMERVILLE s grand piano that sits in the hallway… I m a [email protected] e told him it was my favourite song, so r

d ANN STEEL INSTAGRAM: y he started it again and I got to hear teel z s a n [email protected] @babs12monkeys r a beautiful piece of music played live an c TWITTER & INSTAGRAM: 2017 HIGHLIGHTS: in front of me, all by myself in a very @amsyyz 2017 Falling Water (Costume lovely setting. HIGHLIGHTS: Hold Designer) ANECDOTES? the Dark (Assistant A show about lucid dreamers GERSHA PHILLIPS Costume Designer); influenced (it seems) by the Locke and Key (Asst. dreams of those of us who worked on the [email protected] Costume Designer); show. How crazy is that! TWITTER & INSTAGRAM: The Christmas Chronicles @gershaphillips #houseofgersha (Asst. Costume Designer) BLAKE HYLAND 2017 HIGHLIGHTS: Star Trek (Fashion Designer) Discovery (Costume Designer) ANNE DIXON [email protected] ANECDOTES? I was nominated for [email protected] INSTAGRAM: @blakehylandofficial a CDG Award and did three weeks of INSTAGRAM: @dixon_anne 2017 HIGHLIGHTS: Launch of research for Black Panther. 2017 HIGHLIGHTS: Smitten By Giraffes: capsule collection for my

The Anne Innis Dagg Adventure eponymous menswear clothing line; d el fii HANNE WHITFIELD (Costume Designer) ANECDOTES? Forged exclusive retail partner- it h w hanne.whitfield Giraffes! OMG! It was a gift to be so ship with The Church Boutique e close! And Anne in Los Angeles; Signed with n @gmail.com s n e a afff Innis Dagg ir The Residency Experience, h INSTAGRAM: g h was such an it the L.A-based PR agency and @hannewhitfield w incredible t showroom. e 2017 HIGHLIGHTS s inspiration n The Shape of Water

o - the Jane CHRISTINE TOYE (Background Set Goodall of [email protected] Supervisor); Fahrenheit giraffes. It INSTAGRAM: @christinetoye truly was 2017 HIGHLIGHTS: Odd Squad 451 (BG Coordinator) an honour to (Costume Designer) ANECDOTES? 80 have been a episodes - 160 stories - over 300 custom- JENNIFER BUNT small part in this made agency uniforms and countless [email protected] TWITTER & documentary of a whimsical villains. The timeline from INSTAGRAM: @Nifferdesign 2017 HIGH- pioneer researcher and scientist. concept to camera was very tight >> LIGHTS: After Camelot (Buyer); The Strain, >>

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THE SCOOP ON YOUR CAFTCAD COLLEAGUES, FROM A-Z... CLOSE UP

>> Wonderful >> globally sourced vintage clothing >> NICOLE MANEK ek n World (Asst BG and accessories as well as upcycled/ www.lifeofmanek.com a m

Coordinator); repurposed “one-of-a-kind” pieces. INSTAGRAM: e l

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Carter (Ward- @lifeofmanek 2017 i robe Supervi- KAREN LEE HIGHLIGHTS: Baroness n sor); Blowback [email protected] 2017 von Sketch (CD & styl- (Costume Designer) HIGHLIGHTS Star Trek: Discovery (CS) ist for appearances); ANECDOTES? Helping BeSpoke Magazine to create an opium den LESLIE KAVANAGH (Creative Director); Stylist for and a funeral in 1880s London for The Leslie-kavanagh.format.com singer / songwriter Avery Raquel; Nicole Strain was fun... So was populating a pink 2017 HIGHLIGHTS Seven in Heaven (CD); Manek accessories line made from re- and blue candy-coloured town in a zom- Designated Survivor (Asst. Costume Designer) claimed materials - sold online, at select bie musical... So was shooting a murder stores and at The One of a Kind Show. LORETTA CHIN scene under an overpass in the year’s in ANECDOTES? Baroness von Sketch was le ch oy [email protected] a d first snow storm... Never a dull moment! tt my first time working in sketch comedy a e m TWITTER & INSTAGRAM: r o and I got schooled. We shot almost m l e JOANNA SYROKOMLA @lorettachin 2017 200 sketches and were responsible www.joannasyrokomla.com INSTAGRAM: HIGHLIGHTS Styling: for almost 900 costumes. It was so @josycostume 2017 HIGHLIGHTS Nellie Jennifer Beals of NBC’s intense, but it was also the most fun Bly (Costume Designer) ANECDOTES? Taken for her HFPA and I’ve had in a really long time. I was called on a Saturday and asked to InStyle TIFF appearance; come to Winnipeg on Monday Stephen Jackman-Torkoff for PATRICK ANTOSH morning. We flew in Adam his biographical spoken word patrick.antosh@ mland tale ea s dr d’ performance at The Children’s Aid Smith as a Specialty Cos- ai sympatico.ca 2017 m tume Maker to build 30 d Foundation of Canada Gala, 2017; HIGHLIGHTS A se- n a h pairs of ankle manacles New England Patriots tight end, ries of commercials e

h that would ‘tighten’ t Rob Gronkowski (“The Gronk”), for the rebranding of with a hex key, but just for Tide, as well as Raptor’s Nor- Advertising Stand- having him in Winnipeg man Powell for Go Daddy; Chef ards Canada, shot & with us was such a bo- Christine Tizzard for the cover produced by Nimble- nus. Also, new CAFTCAD and inside photos of her cookbook, Content.tv; Working with member Lisa Creelman was “Honest to Goodness;” Worked as a Director Kevin Saychareun our head cutter and a joy to buyer for Designated Survivor. on his film Foot Prints (CD); Dreamland have in the very hectic workroom. – Director Bruce McDonald’s comedic, MONICA FRANGULEA lea fantasy, horror mashup (CD). ANECDOTES? ngu ra JULIA CRONIN [email protected] f a Not only have the director Bruce McDonald ic INSTAGRAM: @julia.costumes INSTAGRAM: n and I worked together many times in o

& @svea.swim 2017 HIGH- @monica_frangulea m the last 25 years, but his lead actor LIGHTS The Handmaid’s 2017 HIGHLIGHTS: was Stephen McHattie... Stephen plays Tale (Buyer) ANECDOTES? Runway Features: both leads and I ended up doubling Buying for The Handmaid’s Fashion Art Toronto him in the film. By the last few weeks I Tale has been a great (with Tala Nehlawi Col- was doing my own job but in full charac- balance between fabric lection), and TOM* ter costume every day. sourcing, vintage shopping, (Toronto Men’s Fashion and mall shopping. It’s the Week) with TFL Couture. Editorial Fea- TERRY PITTS first show I’ve worked on where tures / Appearances: intELEGANCE; SHUBA; www.terrypittsillustration.com fabric sourcing has been a major aspect ELEGANT; Celebrity Clients: Olivia Newton- INSTAGRAM: @terry_studio27 2017 of the buying position. Work aside, it was John, Amy Sky, Beth Nielsen-Chapman, HIGHLIGHTS Timeless (ACD/Illustrator) inspiring that CD, Ane Crabtree spoke at and host of Leap! with Cherene Francis DC’s Legends of Tomorrow (Illustrator/ the 2017 UN International Day for the ANECDOTES? I made a custom statement Prep Costumer) Blue Book (Illustrator); Elimination of Violence against Women. necklace for a client using a rare and Tin Star (Illustrator); Van Helsing on ils beautiful gemstone called Copro- (Illustrator). ANECDOTES? I’m a former w fii a lite. She was so happy when it Instructor of Fashion History, so work- k ing with historical / period KAFI WILSON arrived and couldn’t believe how orrow om [email protected] perfectly it matched her gala f t productions allows me to o s d use my passion for the INSTAGRAM:@kafievewilson & dress. Then her husband n e g past to contribute to @thestyleminr 2017 HIGH- asked about the gemstone e l LIGHTS Brown Girl Begins (Asst. Costume specifically and I explained the accuracy of Designer); Relaunching my online shop to them what Coprolite really the costumes thestyleminr.com which retails >> is… fossilized dinosaur feces*! I help build. //

23 CAFTCAD THANKS OUR MEMBERS... HONORARY CUTTER, TAILOR, STITCHER PROFESSIONAL cont. Juul Haalmeyer Daniela Barbat Francisca Alvarado Martha Mann Lisa Creelman Hannah Snow Olga Dimitrov Ritta Koleva Hanne Whitfield Ida Jokinen COSTUME DESIGNER ILLUSTRATOR Jane Mallory Adriana Fulop Amanda MacArthur Jeana MacDougall Alex Kavanagh Ciara Brennan Jennifer Bunt Anne Dixon Mack Sztaba Jonathan Hagey Barbara Somerville Terry Pitts Julia Cronin Brenda Broer Kafi Wilson Christine Toye SET SUPERVISOR Lisa Creelman Delphine White Bernadette Croft Marie-Elyse McGuire Gersha Phillips Leslie Kavanagh Meg Bonenfant Joanna Syrokomla Milena Radeva Lea Carlson SPECIALTY COSTUME MAKER Miranda Lukaniuk-Lipovsek Leslie Kavanagh Adam Smith Niki Gerety Luis Sequeira Alynne Lavigne Nola Chaters Marie-Eve Tremblay Milena Radeva Robyn MacDonald Marya Duplaga Sarah Friedlander Nicole Manek TRUCK SUPERVISOR Suzanne Aplin Nola Chaters Hanne Whitfield Sylvia Defend Patrick Antosh Sylvia Platsis Tanis Freitas ASSISTANT COSTUME DESIGNER COSTUME INDUSTRY SUPPORT Terry Pitts Anna Dal Farra Abrash Embroidery Tracey Glas Bernadette Croft A.Marie Costumes Tracy Alves Karen Lee Berman and Co. Ltd. Vanessa Vandenberghe Leslie Kavanagh Hever Costumes and Designs Victoria McKay Sarah Armstrong Izzy Camilleri Yana Brikker Victoria Dobson Liberty Wardrobe Rental House Vickey Saito Malabar SATELLITE Ian Drummond Collection Inc. Antoinette Messam The Octopus Works STYLISTS Beverly Law Wotever Inc. Adriana Fulop Kelly Jane Bruton Alexis Honce Jessica Chambers PROFESSIONAL STUDENT Loretta Chin Aimée Tobolka Edoardo Emanuele Rossi Caiati Shannon Pomakov Aleksia Pavlovic Emma Scott Aleya Gibson Rin Ishikawa Allegra Klein BACKGROUND COORDINATOR Amanda MacArthur BUSINESS Beverly Law Ann Steel Cinespace Anna-Claude Biron LAKRAUSE BUYER/SHOPPER Barbara de Kat Manji Trading Inc. Hanne Whitfield Blake Hyland Musesa Shannon Pomakov Daina Valiulis Nobis Damion Saliani BREAKDOWN ARTISTS, AGERS, DYERS Deanna Sciortino AFFILIATE Alex Kavanagh Debora Siegel Anna Viksne Beverly Law Elizabeth Marics Iris Simpson Miranda Lukaniuk-Lipovsek Emma Doyle Kathleen Pattinson VINTAGE WARDROBE RENTALS 1920s-1990s CAFTCAD THANKS OUR MEMBERS... Top-To-Toe Costuming For Cast And Background Performers

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