test

CDG Assistant Executive Director Doug Boney is in DC with the IATSE Pride Committee for World Pride. 🏳️‍🌈🏳️‍⚧️ They took the time to meet with Congressman Mark Pocan, the co-chair of the LGBT Equality Caucus and member of the Committee on Education and Labor, to discuss the issues our members are facing.

From left to right:
•Tyler McIntosh - IATSE political and legislative director 
•Carl Mulert - international VP and 829 national business agent, IATSE Pride committee 
•Congressman Mark Pocan
•Doug Boney - AED CDG 892, IATSE Pride committee
•Nate Richmond - chair of IATSE Pride committee

#CostumeDesignersGuild #CDG892
#PrideMonth #IATSEPrideCommittee ...

When Kathy Bates called, Hope Hanafin answered. 📞💫
 
The award-winning costume designer, Hope Hanafin came out of retirement to work with longtime collaborator Kathy Bates to create the costume design for “Matlock,” CBS’s legal procedural with a twist.
 
For Hope, the decision to come back wasn’t just about the project, it was about the people, the purpose, and the place. “Matlock” filmed in Los Angeles, a major factor in her return, especially as IATSE continues to advocate for local productions through its “Keep California Rolling” campaign.
 
“One of our guys got a call that his son wasn’t dressed properly for the end-of-school performance or whatever,” she recalls. “We had school uniforms, so we rushed him to school, and it was all a sham. The reason they called is that his son was getting the award for the kindest child in the district. Now, if you are on location, you don’t get to be there for those moments. And I think the fuller life you can lead makes you better in this business. There’s just no question about that.”
 
From museum-piece jewelry to monochromatic suits as character armor, Hope’s work on “Matlock” is a masterclass in storytelling through design. In a procedural, the costume designer is responsible for every character, from high-powered attorneys to wealthy consultants to bodega owners.
 
 “All those day players come from outside the world of corporate America, most of them. That’s one of the fun things about procedurals, which I’ve never done before: You do get to dip into different worlds each episode.”
 
Hope’s season 1 assistant, Hannah Jacobs, has taken the reins for Season 2. “It really was a collaboration between the two of us. And I had her in all the meetings and was sure that she had a relationship with all the actors and the directors, and Kathy adores her. I’m just so thrilled. Nothing makes me happier than when people who’ve worked with me as assistants have moved up. It’s just the greatest thrill.”
 
Read the full interview on “Meet Me at Crafty.” ✨

#CostumeDesignersGuild #CDG892 
#Matlock #KathyBates #HopeHanafin
#KeepCaliforniaRolling ...

We’re excited to celebrate the upcoming release of “The Costumes of Hollywood,” a stunning new book by Coleen Scott and Larry McQueen. 📖✨ The book details the design, creation, and influence of over 100 ensembles from some of the most iconic designers, films, and roles in Hollywood history, spanning the 1920s through the early 21st century.

Now available for pre-order, and the official publication date is June 6. Visit the link in bio to reserve your copy! 💫

#CostumeDesignersGuild #CDG829 ...

When it came to capturing the heart of the film “Minari” (2020), a tender story of a Korean American family chasing the American dream in rural 1980s Arkansas, costume designer Susanna Song knew exactly how to make it real. “There isn’t another Korean American film about the American dream,” Susanna said. “This is its first kind.”
 
Susanna’s approach was deeply personal. Having immigrated to California with her own family in the late seventies, she brought lived experience to every detail on screen. She carefully avoided the flashier clichés of ’80s fashion, drawing instead from her family’s photo albums and the memories of fellow Korean American collaborators, including actor Steven Yeun and producer Christina Oh.
 
David (Alan Kim), the curious and vibrant young son, wears bold reds and blues, colors Susanna felt mirrored his energy and spirit. Monica’s (Han Ye-ri) costume quietly echoes Susanna’s own mother’s outfits, right down to a polka-dot skirt that young Susanna once tugged on as a child.
 
Far from a nostalgic pastiche, Susanna’s costume design made each character visually distinct while honoring the nuances of generational identity, immigration, and assimilation.
 
To read more about Susanna Song’s process and the story behind “Minari,” visit our website for the full article written by Gary Foss.

#CostumeDesignersGuild #CDG892
#Minari #SusannaSong
#AAPI #AAPIHeritageMonth ...

Hello Brothers and Sisters,

We are in the most critical moment of our fight to expand and modernize our California film and television jobs program.

Simply put, we will need the voices of every single member, small business, family members, friends and colleagues to get this across the finish lines in the coming week. The toughest part of this fight remains in front of us over the next two weeks.

The funding increase proposed by Governor Newsom is absolutely critical to implementing the carefully crafted programmatic changes in these bills that passed out of policy committees in both houses. Failure to pass one element without the other will not strengthen the program or keep production here. In fact, it will have the opposite effect, leading to further job loss and fewer productions in California.

We need your voice! Join our letter writing campaign today.

WRITE A LETTER (Link in Bio): We’re relaunching our campaign to reflect the urgency of the moment. Help us reach Assembly Speaker Robert Rivas, Senate Pro Tempore Mike McGuire, Senate Budget Chair Scott Wiener and Assembly Budget Chair Jesse Gabriel, and your own reps. Submit your letter and share the campaign with friends, family, and colleagues.

Deadline for maximum impact is June 12. Let’s keep production in California.

#CostumeDesignersGuild #CDG892
#IATSE #IASolidarity
#KeepCaliforniaRolling ...

For “Blue Bayou” (2021), costume designer Eunice Jera Lee created a deeply personal and emotionally resonant costume design grounded in realism. Written, directed by, and starring Justin Chon, the film follows Antonio LeBlanc, a Korean American adoptee navigating an unjust immigration system while trying to protect the family he has built in Louisiana.
 
Eunice’s approach to Antonio’s look is layered with contradiction and intention. At home, he is often seen in stained white tank tops that might suggest a hardened exterior, but the clothing is soft, worn, and familiar, which notes his quiet tenderness. As a tattoo artist, his fully inked neck can project a sense of danger that conceals his true nature. “The tattoos actually made my job a lot easier,” Eunice said. “Because no matter how you dress, to put tattoos in such pronounced places, you are really telling a story about yourself and the decisions you make.”
 
Read the full feature on @HollywoodReporter. Written by Steve Chagollan.
 
#CostumeDesignersGuild #CDG892
#AAPI #AAPIHeritageMonth ...

“Fashion is just ingrained in me. It’s part of my DNA,” says Shirley Kurata, the award-winning costume designer behind the film, “Everything Everywhere All at Once.” Shirley brought her encyclopedic fashion knowledge to the multiverse, constructing a visual language that was as emotionally layered and unpredictable as the film’s narrative.
 
In one of the film’s most striking scenes, Shirley created Jobu Tupaki’s (Stephanie Hsu) ethereal costume for the Bagel Universe, that evoked “a little tie-in to historical royalty, but in a sci-fi way.” She built a crystal-fringed pearl collar plate, topped with a futuristic Elizabethan flourish, blending references from Western fashion history with contemporary edge. She collaborated with Chinese New Zealander designer Claudia Li for the structured pleated skirt, elevating independent and API designers through her costumes for the film.
 
Read the full feature on @hollywoodreporter. Written by Fawnia Soo Hoo.
 
#CostumeDesignersGuild #CDG892
#AAPI #AAPIHeritageMonth ...

Judy Blume’s controversial novel has been reimagined as a contemporary Black teen series now streaming on Netflix, and the early reviews of “Forever…” are glowing. Set in Los Angeles, this first‑love story follows two teenagers as they navigate romance and the journey into adulthood. We spoke with the CDG members behind the costume design to learn more about the elements of the story that resonated with them.
 
Costume Designers
Mynka Draper • Tanja Caldwell
 
ACD
Shari Bisnaught
 
#CostumeDesignersGuild #CDG892
#NetflixForever ...

Executive Director Brigitta Romanov and Assistant Executive Director Doug Boney traveled to Sacramento this past week to advocate for our members and help Keep California Rolling. 🎥 🎞️ 

They joined the Entertainment Union Coalition and fellow unions at the 2025 California Federation of Labor Legislative Conference to champion the expansion of the California Film & Television Jobs Program and protect industry jobs across the state.
 
Governor Newsom announced the May Revise budget for 2025-2026, a revision to the budget he released in January. This revised budget incorporates updated economic forecasts, revenue projections, and policy initiatives, providing a more current snapshot of the state’s financial outlook and spending priorities. 
 
As you may recall, the expansion of the California Film and Television Jobs Program to $750 million per year was included in the January budget.  Governor Newsom has maintained that expansion in the budget.
 
We’re now advancing the proposed funding increase through the legislative budget process, following informational hearings before Senate and Assembly subcommittees with jurisdiction over the California Film & Television Jobs Program. AB 1138 and SB 630 are in Appropriations, the final step before floor votes, and we’re pushing for passage by July 1. To build momentum, we’ll soon re-launch our letter-writing campaign targeting your elected officials. Your support will be critical to protect and save industry jobs across California.
 
CDG members! Check your emails for more updates.
 
#CostumeDesignersGuild #CDG892
#KeepCaliforniaRolling ...

The push for #CDGPayEquity moves forward. Be part of the conversation at “A Breath of Fresh Air,” our town hall on equitable pay for costume designers and assistant costume designers.
 
📆: Saturday, May 17 - 10:30 a.m.–12:30 p.m.
📍: The Costume Designers Guild

Light refreshments and mimosas will be served.
 
CDG members! Please check your inbox for more information. 💌
 
#CostumeDesignersGuild #CDG892
#CDGPayEquity #NakedWithoutUs ...

CDG Executive Director Brigitta Romanov recently spoke at the press conference about the exodus of productions from LA and how it has been devastating to the film/TV middle class workers and the small businesses that support the industry. Let’s bring production back to California!

A special thank you to @adrin.nazarian for bringing forth the motion to streamline the permitting process and lower fees for the entertainment industry in Los Angeles.

Keep an eye out for further updates on how to support city, state, and federal efforts to keep production not only in Los Angeles and California, but nationwide!

#Repost: @brigittaromanov

#CostumeDesignersGuild #CDG892
#KeepCaliforniaRolling ...

Closing Arab American Heritage Month with a spotlight on CDG members whose costume design uplifts a story and elevates every frame.

“Mr. Robot”
• Catherine Marie Thomas, CDG (2016–2019) — Slide 1
• Kim Wilcox (2015) — Slide 2
• Mairi Chisholm, CDG (2015, S1 E1) — Slide 3

“Ramy” (2022, Season 3) — Slide 4
• Nicky Smith, CDG

“Mo” (2025, Season 2) — Slide 5
• Susanna Song, CDG

#CostumeDesignersGuild #CDG892
#ArabAmericanHeritageMonth ...

Costume designer Kameron Lennox brings depth, wit, and precision to The Studio, Apple TV+’s satire of Hollywood’s executive culture. Working with creator and star Seth Rogen, Kameron reimagines the modern mogul, balancing period nostalgia, personal evolution, and power through costume design.

From turmeric-colored dress shirts to embroidered cuffs and lapel pins bearing the fictional studio’s logo, every detail was considered. Suits were sourced across Europe and North America, with custom builds by Warner Bros’ costume department and Lennox’s own cutter, ensuring each ensemble conveyed not only aesthetic but status.

Kameron’s character-driven designs extend across a vibrant ensemble cast, with nods to icons like Faye Dunaway and Cybill Shepherd, and a Golden Globes episode featuring real-life cameos.

Read the full feature on The New York Times. Written by Jacob Gallagher.

#CostumeDesignersGuild #CDG892
#KameronLennox #TheStudio #NYTimes #SethRogen #AppleTVPlus ...

Costume designer Carlo Poggioli brings extraordinary depth and vision to “The Leopard,” Netflix’s sweeping six-episode adaptation of the iconic Sicilian novel. Reimagining 19th-century Italy, Carlo was responsible for over 6,000 period ensembles, including 350 evening gowns and more than 500 military uniforms, all while navigating comparisons to his mentor, legendary designer Piero Tosi, who did the costumes for the movie masterpiece.

Working closely with director Tom Shankland and a team of seamstresses in Rome, Carlo collaborated with renowned costume houses across Europe, including Rome’s Tirelli-Trappetti to bring to life the character-specific visual palette. From subdued convent silhouettes to a striking fuchsia gown that signals Angelica Sedara’s social disruption, every design element contributes to the story’s themes of transformation, power, and identity.

“There was this huge diatribe with some of my colleagues who told me, ‘How can you take it on when the original is such a masterpiece?’ But I know that Piero would have pushed me to do it,” Carlo told Variety. “I knew that I had to be true to the novel and at the same time that I could make a departure from Visconti’s aesthetic, by giving it more lightness and maybe a bit more truth.”

Read the full feature on Variety.com. Written by Nick Vivarelli.

#CostumeDesignersGuild #CDG892
#CarloPoggioli #TheLeopard #Netflix #TomShankland ...

Adapted from Shannon Pufahl’s acclaimed novel, On Swift Horses is a queer period drama, exploring desire, secrecy, and the emotional complexity of the 1950s in America. Directed by Daniel Minahan, the film features the thoughtful work of costume designer Jeriana San Juan, as she brings layered storytelling and historical depth to each character’s journey.

Jeriana shares, "The characters in On Swift Horses navigate a delicate balance between their realities and fantasies. In creating their costumes, I aimed to capture the authenticity of how each character would adhere to or reject the dress codes of the 1950s, using clothing as a form of camouflage while also providing opportunities for self-expression as the characters begin to blossom. Muriel (Daisy Edgar Jones) and Julius (Jacob Elordi) are examples of characters who exist in this duality."

On Swift Horses opens in theaters today, April 25.

Costume illustration by: Eduardo Lucero

#CostumeDesignersGuild #CDG892
#JerianaSanJuan #OnSwiftHorses #JacobElordi #DaisyEdgarJones #Variety ...

CDG member Sarah Edwards brings chilling precision to the world of Severance, creating a costume design defined by the absence of time and individuality

For a show set in a corporate environment where identity is deliberately erased, Edwards drew from 1960s IBM dress codes and religious uniforms as she developed a fictional Lumon handbook. In it, men wear white or light blue shirts with dark suits in navy, black, gray, or taupe, while women wear skirts or dresses with pantyhose and sensible heels.

Each design was custom-made or altered to eliminate any trace of branding, even down to scrubbing logos from shoe insoles.

“We had this idea that it’s cult-like, Lumon,” Sarah shared. “They’re oppressed by their clothing.” The result, which she describes as “extreme minimalism,” is a haunting expression of control through costume design.

Read the full feature on Vogue.com. Written by Elise Taylor.

#CostumeDesignersGuild #CDG892
#Severance #SarahEdwards ...

CDG member and award-winning costume designer Sandy Powell recently took part in Cartier Art Dialogues at the V&A Museum, joining a distinguished panel to explore the theme “Symbolism and Adornment: Decoding Jewellery.” She was joined in conversation by author Tracy Chevalier and Caroline De Guitot, Surveyor of The King’s Works of Art, with moderation by Helen Molesworth, Senior Curator of Jewellery at the V&A.

Sandy also attended the opening of the museum’s dazzling Cartier exhibition, sharing the evening with cultural icons Joan Collins and Daniel Lismore.

Photos Credit #1 and #3: @davebenett

#Repost: @thesandypowell

#CostumeDesignersGuild #CDG892
#SandyPowell ...

Fresh off the Season Three finale of “The White Lotus,” CDG member Alex Bovaird’s work continues to spark conversation with its bold approach to character through design. Set in Thailand, the season showcases custom collaborations, global influences, and sharp commentary. ✨

One standout moment arrives in Episode 4, when Chloe (Charlotte Le Bon) appears in a custom pink Jacquemus ensemble. The collaboration with designer Simon Porte Jacquemus was years in the making. “I have really loved seeing Jacquemus from the beginning, and tried to work with them on Season Two, but it kind of fell through the cracks. Simon [Porte] reached out to me on social media and said he loves Season Two and if I wanted to do anything that he’d be up for it,” Alex told WWD.

From vintage caftans to sleek silhouettes, Alex’s work reveals layers of identity and status, whether it’s the quiet luxury of Parker Posey’s Southern matriarch Victoria, the richly textured resort wear of Chelsea (Aimee Lou Wood), or the aspirational dynamics between the three longtime friends played by Michelle Monaghan, Leslie Bibb, and Carrie Coon.

Visit @WWD to read the full feature on Alex Bovaird’s visionary design for Season Three. Article written by Marissa Muller.

#CostumeDesignersGuild #CDG892
#WhiteLotus #AlexBovaird #WWD #HBO ...

CDG Education was proud to host its second collaboration with The Autry Museum: A Look Into the Costumes of Horizon – A Conversation with Costume Designer Lisa Lovaas and Director/Writer Kevin Costner. The Autry’s senior curator Carolyne Brucken joined the event as the moderator. ✨

The conversation between Kevin and Lisa was captivating, both offered such insightful and inspiring perspectives on the storytelling power of costume design. Guests also had the opportunity to view a stunning display of costumes from Horizon, beautifully arranged on mannequins by Lisa’s team. The costume details made it feel as if the pieces had come straight from the period.

Stay tuned for our upcoming YouTube video recapping the event.

Special thanks to The Autry Museum, the Horizon team, Ben Fitzsimmons (Associate Director, Programs and Research at The Autry), Ivy Thaide (CDG Education Director & VP), and Anna Wyckoff (CDG Communications Director).

Costume Designer: Lisa Lovaas
Costume Supervisor: Leslie Sungail
Assistant Costume Designer: Tiger Curran
Key Costumer: Chrissy Callan
Head Tailor: Michael Sloan
Women’s Made to Order: Dale Wibben
Assistant Women’s Made to Order: James Ryan Coomer
Stitcher: Paige Brown
With gratitude to Juan Carlos Jiminez, Alice Garland, and Clint Bryant.

#CostumeDesignersGuild #CDG892
#TheAutry #Horizon #LisaLovaas #KevinCostner ...

Lady Gaga captivates in a standout design at Coachella by CDG member Athena Lawton, continuing the legacy of unforgettable fashion moments. ✨

Athena shares, “I worked with stylists Nick Royal and Peri Rosenzweig who collaborate together as Hardstyle, and fashion designer Samuel Lewis who also created many of the looks for Abracadabra.  Samuel combined elements of inspiration from Thierry Mugler’s 1985 Comédie-Française production of Macbeth and a 17th century portrait by Juan de Alfaro y Gámez.  Samuel tasked me with interpreting that inspiration into something that would work for the mechanical needs of the dress as a set piece. 

As I dove into the research around curtain construction techniques, I was inspired to bring that theatrical curtain pleating into the entire gown as a design motif.  We pleated nearly every inch of it, and I created a plan for pleating each panel in increasing increments from .5 inches at the center front of the bodice, to 6 inches at the outermost layer of the upper skirt.  

The final curve-ball during rehearsal is that Lady Gaga decided she wanted to continue wearing the bodice after being lowered down the lift, so I had to quickly design a skirt on the spot that would be able transition from covering the opening at the top of the cage to working with the costumes worn by the dancers when she is lowered to the stage floor.”

Credits:
Creative: @slewissaa, @ahardstyle, @nikitakesh, & team
Gown in Intro: @athenalawton

ᴛʜᴇ ʜᴏᴜꜱᴇ ᴏꜰ ᴀᴛʜᴇɴᴀ:
Lead patternmaker: @ramslam
Swag captain: @collincasino
Stitchers: @arielbrickman.artist @anne.szeliski @_cranchie_ @tint_hues @stitchmekeller
Assistants: @lily.leelove and @blaainey custom studs by @im.not.eris

#CostumeDesignersGuild #CDG892 
#AthenaLawton #LadyGaga #Coachella ...

“Anthea Sylbert, My Life in 3 Acts” is a powerful new documentary, directed by Sakis Lalas (@sakislalas) that shines a spotlight on one of the most influential figures in costume design. Known for her precision, creativity, and fearless presence in Hollywood, Anthea Sylbert helped define an era.
 
Anthea was more than a costume designer; she was building worlds. From embroidering a character’s initials into the lining of a costume to slipping coins or keys into a pocket to ground an actor in their role, her designs went far beyond what the audience could see. Her strength, vision, and unwillingness to back down from even the most towering Hollywood legends set her apart.
 
One story from the film captures her boldness perfectly: “In 1971 I was hired to do the costumes on The Cowboys,” Anthea recalls. John Wayne came for his first fitting. After introductions and warm handshakes he was handed his first shirt. He immediately tried to put his arms through the sleeves and was clearly struggling “How do you put this goddamn thing on?” “It goes over your head, Mr. Wayne. That’s the way shirts were then.” With that he threw the shirt on the floor “Tell them to get another actor” and he began walking out. I rushed past him and blocked his path “Is that any way for a man of your stature to behave? Now get back in there and we’ll figure this out where I can make it look accurate and you won’t have to put it over your head.” 
 
“Anthea Sylbert, My Life in 3 Acts” had its world premiere at the San Francisco Greek Film Festival as Official Selection. You can now stream the on www.thedarkcandy.com.
 
#CostumeDesignersGuild #CDG892
#AntheaSylbert ...

In “Freaky Tales,” the gritty, genre-defying love letter to 1980s Oakland, costume designer Neishea Lemle delivers a vivid and layered vision that honors the Bay Area’s subcultures and storytelling legacy. ✨

With the film structured into interconnected chapters, each with its own tone, energy, and cast of underdogs, Neishea approached the project with deep research and a collaborative spirit.
 
“This was my first period project, and I started by diving into archival images, music videos, street photography, and vintage magazines from the early ’80s through 1987,” Neishea shares. “From punk kids to the hip hop scene, every subculture had its own visual rhythm, and I wanted to make sure each character felt grounded in their world.”
 
The film’s distinct Oakland vibe pulses through each costume, shaped by Neishea’s collaboration with directors Anna Boden and Ryan Fleck, as well as production designer Patti Podesta and DP Jac Fitzgerald. With only six weeks to prep and a 33-day shoot across iconic Oakland locations, including Grand Lake Theater, Giant Burger, and Loard’s Ice Cream, Neishea’s attention to detail helped piece together the city’s heart and history.
 
Catch Freaky Tales in theaters on April 4! 💫
 
#CostumeDesignersGuild #CDG892
#FreakyTales #NeisheaLemle
#pedropascal #jayellis ...

CDG Assistant Executive Director Doug Boney is in DC with the IATSE Pride Committee for World Pride. 🏳️‍🌈🏳️‍⚧️ They took the time to meet with Congressman Mark Pocan, the co-chair of the LGBT Equality Caucus and member of the Committee on Education and Labor, to discuss the issues our members are facing.

From left to right:
•Tyler McIntosh - IATSE political and legislative director 
•Carl Mulert - international VP and 829 national business agent, IATSE Pride committee 
•Congressman Mark Pocan
•Doug Boney - AED CDG 892, IATSE Pride committee
•Nate Richmond - chair of IATSE Pride committee

#CostumeDesignersGuild #CDG892
#PrideMonth #IATSEPrideCommittee ...

When Kathy Bates called, Hope Hanafin answered. 📞💫
 
The award-winning costume designer, Hope Hanafin came out of retirement to work with longtime collaborator Kathy Bates to create the costume design for “Matlock,” CBS’s legal procedural with a twist.
 
For Hope, the decision to come back wasn’t just about the project, it was about the people, the purpose, and the place. “Matlock” filmed in Los Angeles, a major factor in her return, especially as IATSE continues to advocate for local productions through its “Keep California Rolling” campaign.
 
“One of our guys got a call that his son wasn’t dressed properly for the end-of-school performance or whatever,” she recalls. “We had school uniforms, so we rushed him to school, and it was all a sham. The reason they called is that his son was getting the award for the kindest child in the district. Now, if you are on location, you don’t get to be there for those moments. And I think the fuller life you can lead makes you better in this business. There’s just no question about that.”
 
From museum-piece jewelry to monochromatic suits as character armor, Hope’s work on “Matlock” is a masterclass in storytelling through design. In a procedural, the costume designer is responsible for every character, from high-powered attorneys to wealthy consultants to bodega owners.
 
 “All those day players come from outside the world of corporate America, most of them. That’s one of the fun things about procedurals, which I’ve never done before: You do get to dip into different worlds each episode.”
 
Hope’s season 1 assistant, Hannah Jacobs, has taken the reins for Season 2. “It really was a collaboration between the two of us. And I had her in all the meetings and was sure that she had a relationship with all the actors and the directors, and Kathy adores her. I’m just so thrilled. Nothing makes me happier than when people who’ve worked with me as assistants have moved up. It’s just the greatest thrill.”
 
Read the full interview on “Meet Me at Crafty.” ✨

#CostumeDesignersGuild #CDG892 
#Matlock #KathyBates #HopeHanafin
#KeepCaliforniaRolling ...

We’re excited to celebrate the upcoming release of “The Costumes of Hollywood,” a stunning new book by Coleen Scott and Larry McQueen. 📖✨ The book details the design, creation, and influence of over 100 ensembles from some of the most iconic designers, films, and roles in Hollywood history, spanning the 1920s through the early 21st century.

Now available for pre-order, and the official publication date is June 6. Visit the link in bio to reserve your copy! 💫

#CostumeDesignersGuild #CDG829 ...

When it came to capturing the heart of the film “Minari” (2020), a tender story of a Korean American family chasing the American dream in rural 1980s Arkansas, costume designer Susanna Song knew exactly how to make it real. “There isn’t another Korean American film about the American dream,” Susanna said. “This is its first kind.”
 
Susanna’s approach was deeply personal. Having immigrated to California with her own family in the late seventies, she brought lived experience to every detail on screen. She carefully avoided the flashier clichés of ’80s fashion, drawing instead from her family’s photo albums and the memories of fellow Korean American collaborators, including actor Steven Yeun and producer Christina Oh.
 
David (Alan Kim), the curious and vibrant young son, wears bold reds and blues, colors Susanna felt mirrored his energy and spirit. Monica’s (Han Ye-ri) costume quietly echoes Susanna’s own mother’s outfits, right down to a polka-dot skirt that young Susanna once tugged on as a child.
 
Far from a nostalgic pastiche, Susanna’s costume design made each character visually distinct while honoring the nuances of generational identity, immigration, and assimilation.
 
To read more about Susanna Song’s process and the story behind “Minari,” visit our website for the full article written by Gary Foss.

#CostumeDesignersGuild #CDG892
#Minari #SusannaSong
#AAPI #AAPIHeritageMonth ...

Hello Brothers and Sisters,

We are in the most critical moment of our fight to expand and modernize our California film and television jobs program.

Simply put, we will need the voices of every single member, small business, family members, friends and colleagues to get this across the finish lines in the coming week. The toughest part of this fight remains in front of us over the next two weeks.

The funding increase proposed by Governor Newsom is absolutely critical to implementing the carefully crafted programmatic changes in these bills that passed out of policy committees in both houses. Failure to pass one element without the other will not strengthen the program or keep production here. In fact, it will have the opposite effect, leading to further job loss and fewer productions in California.

We need your voice! Join our letter writing campaign today.

WRITE A LETTER (Link in Bio): We’re relaunching our campaign to reflect the urgency of the moment. Help us reach Assembly Speaker Robert Rivas, Senate Pro Tempore Mike McGuire, Senate Budget Chair Scott Wiener and Assembly Budget Chair Jesse Gabriel, and your own reps. Submit your letter and share the campaign with friends, family, and colleagues.

Deadline for maximum impact is June 12. Let’s keep production in California.

#CostumeDesignersGuild #CDG892
#IATSE #IASolidarity
#KeepCaliforniaRolling ...

For “Blue Bayou” (2021), costume designer Eunice Jera Lee created a deeply personal and emotionally resonant costume design grounded in realism. Written, directed by, and starring Justin Chon, the film follows Antonio LeBlanc, a Korean American adoptee navigating an unjust immigration system while trying to protect the family he has built in Louisiana.
 
Eunice’s approach to Antonio’s look is layered with contradiction and intention. At home, he is often seen in stained white tank tops that might suggest a hardened exterior, but the clothing is soft, worn, and familiar, which notes his quiet tenderness. As a tattoo artist, his fully inked neck can project a sense of danger that conceals his true nature. “The tattoos actually made my job a lot easier,” Eunice said. “Because no matter how you dress, to put tattoos in such pronounced places, you are really telling a story about yourself and the decisions you make.”
 
Read the full feature on @HollywoodReporter. Written by Steve Chagollan.
 
#CostumeDesignersGuild #CDG892
#AAPI #AAPIHeritageMonth ...

“Fashion is just ingrained in me. It’s part of my DNA,” says Shirley Kurata, the award-winning costume designer behind the film, “Everything Everywhere All at Once.” Shirley brought her encyclopedic fashion knowledge to the multiverse, constructing a visual language that was as emotionally layered and unpredictable as the film’s narrative.
 
In one of the film’s most striking scenes, Shirley created Jobu Tupaki’s (Stephanie Hsu) ethereal costume for the Bagel Universe, that evoked “a little tie-in to historical royalty, but in a sci-fi way.” She built a crystal-fringed pearl collar plate, topped with a futuristic Elizabethan flourish, blending references from Western fashion history with contemporary edge. She collaborated with Chinese New Zealander designer Claudia Li for the structured pleated skirt, elevating independent and API designers through her costumes for the film.
 
Read the full feature on @hollywoodreporter. Written by Fawnia Soo Hoo.
 
#CostumeDesignersGuild #CDG892
#AAPI #AAPIHeritageMonth ...

Judy Blume’s controversial novel has been reimagined as a contemporary Black teen series now streaming on Netflix, and the early reviews of “Forever…” are glowing. Set in Los Angeles, this first‑love story follows two teenagers as they navigate romance and the journey into adulthood. We spoke with the CDG members behind the costume design to learn more about the elements of the story that resonated with them.
 
Costume Designers
Mynka Draper • Tanja Caldwell
 
ACD
Shari Bisnaught
 
#CostumeDesignersGuild #CDG892
#NetflixForever ...

Executive Director Brigitta Romanov and Assistant Executive Director Doug Boney traveled to Sacramento this past week to advocate for our members and help Keep California Rolling. 🎥 🎞️ 

They joined the Entertainment Union Coalition and fellow unions at the 2025 California Federation of Labor Legislative Conference to champion the expansion of the California Film & Television Jobs Program and protect industry jobs across the state.
 
Governor Newsom announced the May Revise budget for 2025-2026, a revision to the budget he released in January. This revised budget incorporates updated economic forecasts, revenue projections, and policy initiatives, providing a more current snapshot of the state’s financial outlook and spending priorities. 
 
As you may recall, the expansion of the California Film and Television Jobs Program to $750 million per year was included in the January budget.  Governor Newsom has maintained that expansion in the budget.
 
We’re now advancing the proposed funding increase through the legislative budget process, following informational hearings before Senate and Assembly subcommittees with jurisdiction over the California Film & Television Jobs Program. AB 1138 and SB 630 are in Appropriations, the final step before floor votes, and we’re pushing for passage by July 1. To build momentum, we’ll soon re-launch our letter-writing campaign targeting your elected officials. Your support will be critical to protect and save industry jobs across California.
 
CDG members! Check your emails for more updates.
 
#CostumeDesignersGuild #CDG892
#KeepCaliforniaRolling ...

The push for #CDGPayEquity moves forward. Be part of the conversation at “A Breath of Fresh Air,” our town hall on equitable pay for costume designers and assistant costume designers.
 
📆: Saturday, May 17 - 10:30 a.m.–12:30 p.m.
📍: The Costume Designers Guild

Light refreshments and mimosas will be served.
 
CDG members! Please check your inbox for more information. 💌
 
#CostumeDesignersGuild #CDG892
#CDGPayEquity #NakedWithoutUs ...

CDG Executive Director Brigitta Romanov recently spoke at the press conference about the exodus of productions from LA and how it has been devastating to the film/TV middle class workers and the small businesses that support the industry. Let’s bring production back to California!

A special thank you to @adrin.nazarian for bringing forth the motion to streamline the permitting process and lower fees for the entertainment industry in Los Angeles.

Keep an eye out for further updates on how to support city, state, and federal efforts to keep production not only in Los Angeles and California, but nationwide!

#Repost: @brigittaromanov

#CostumeDesignersGuild #CDG892
#KeepCaliforniaRolling ...

Closing Arab American Heritage Month with a spotlight on CDG members whose costume design uplifts a story and elevates every frame.

“Mr. Robot”
• Catherine Marie Thomas, CDG (2016–2019) — Slide 1
• Kim Wilcox (2015) — Slide 2
• Mairi Chisholm, CDG (2015, S1 E1) — Slide 3

“Ramy” (2022, Season 3) — Slide 4
• Nicky Smith, CDG

“Mo” (2025, Season 2) — Slide 5
• Susanna Song, CDG

#CostumeDesignersGuild #CDG892
#ArabAmericanHeritageMonth ...

Costume designer Kameron Lennox brings depth, wit, and precision to The Studio, Apple TV+’s satire of Hollywood’s executive culture. Working with creator and star Seth Rogen, Kameron reimagines the modern mogul, balancing period nostalgia, personal evolution, and power through costume design.

From turmeric-colored dress shirts to embroidered cuffs and lapel pins bearing the fictional studio’s logo, every detail was considered. Suits were sourced across Europe and North America, with custom builds by Warner Bros’ costume department and Lennox’s own cutter, ensuring each ensemble conveyed not only aesthetic but status.

Kameron’s character-driven designs extend across a vibrant ensemble cast, with nods to icons like Faye Dunaway and Cybill Shepherd, and a Golden Globes episode featuring real-life cameos.

Read the full feature on The New York Times. Written by Jacob Gallagher.

#CostumeDesignersGuild #CDG892
#KameronLennox #TheStudio #NYTimes #SethRogen #AppleTVPlus ...

Costume designer Carlo Poggioli brings extraordinary depth and vision to “The Leopard,” Netflix’s sweeping six-episode adaptation of the iconic Sicilian novel. Reimagining 19th-century Italy, Carlo was responsible for over 6,000 period ensembles, including 350 evening gowns and more than 500 military uniforms, all while navigating comparisons to his mentor, legendary designer Piero Tosi, who did the costumes for the movie masterpiece.

Working closely with director Tom Shankland and a team of seamstresses in Rome, Carlo collaborated with renowned costume houses across Europe, including Rome’s Tirelli-Trappetti to bring to life the character-specific visual palette. From subdued convent silhouettes to a striking fuchsia gown that signals Angelica Sedara’s social disruption, every design element contributes to the story’s themes of transformation, power, and identity.

“There was this huge diatribe with some of my colleagues who told me, ‘How can you take it on when the original is such a masterpiece?’ But I know that Piero would have pushed me to do it,” Carlo told Variety. “I knew that I had to be true to the novel and at the same time that I could make a departure from Visconti’s aesthetic, by giving it more lightness and maybe a bit more truth.”

Read the full feature on Variety.com. Written by Nick Vivarelli.

#CostumeDesignersGuild #CDG892
#CarloPoggioli #TheLeopard #Netflix #TomShankland ...

Adapted from Shannon Pufahl’s acclaimed novel, On Swift Horses is a queer period drama, exploring desire, secrecy, and the emotional complexity of the 1950s in America. Directed by Daniel Minahan, the film features the thoughtful work of costume designer Jeriana San Juan, as she brings layered storytelling and historical depth to each character’s journey.

Jeriana shares, "The characters in On Swift Horses navigate a delicate balance between their realities and fantasies. In creating their costumes, I aimed to capture the authenticity of how each character would adhere to or reject the dress codes of the 1950s, using clothing as a form of camouflage while also providing opportunities for self-expression as the characters begin to blossom. Muriel (Daisy Edgar Jones) and Julius (Jacob Elordi) are examples of characters who exist in this duality."

On Swift Horses opens in theaters today, April 25.

Costume illustration by: Eduardo Lucero

#CostumeDesignersGuild #CDG892
#JerianaSanJuan #OnSwiftHorses #JacobElordi #DaisyEdgarJones #Variety ...

CDG member Sarah Edwards brings chilling precision to the world of Severance, creating a costume design defined by the absence of time and individuality

For a show set in a corporate environment where identity is deliberately erased, Edwards drew from 1960s IBM dress codes and religious uniforms as she developed a fictional Lumon handbook. In it, men wear white or light blue shirts with dark suits in navy, black, gray, or taupe, while women wear skirts or dresses with pantyhose and sensible heels.

Each design was custom-made or altered to eliminate any trace of branding, even down to scrubbing logos from shoe insoles.

“We had this idea that it’s cult-like, Lumon,” Sarah shared. “They’re oppressed by their clothing.” The result, which she describes as “extreme minimalism,” is a haunting expression of control through costume design.

Read the full feature on Vogue.com. Written by Elise Taylor.

#CostumeDesignersGuild #CDG892
#Severance #SarahEdwards ...

CDG member and award-winning costume designer Sandy Powell recently took part in Cartier Art Dialogues at the V&A Museum, joining a distinguished panel to explore the theme “Symbolism and Adornment: Decoding Jewellery.” She was joined in conversation by author Tracy Chevalier and Caroline De Guitot, Surveyor of The King’s Works of Art, with moderation by Helen Molesworth, Senior Curator of Jewellery at the V&A.

Sandy also attended the opening of the museum’s dazzling Cartier exhibition, sharing the evening with cultural icons Joan Collins and Daniel Lismore.

Photos Credit #1 and #3: @davebenett

#Repost: @thesandypowell

#CostumeDesignersGuild #CDG892
#SandyPowell ...

Fresh off the Season Three finale of “The White Lotus,” CDG member Alex Bovaird’s work continues to spark conversation with its bold approach to character through design. Set in Thailand, the season showcases custom collaborations, global influences, and sharp commentary. ✨

One standout moment arrives in Episode 4, when Chloe (Charlotte Le Bon) appears in a custom pink Jacquemus ensemble. The collaboration with designer Simon Porte Jacquemus was years in the making. “I have really loved seeing Jacquemus from the beginning, and tried to work with them on Season Two, but it kind of fell through the cracks. Simon [Porte] reached out to me on social media and said he loves Season Two and if I wanted to do anything that he’d be up for it,” Alex told WWD.

From vintage caftans to sleek silhouettes, Alex’s work reveals layers of identity and status, whether it’s the quiet luxury of Parker Posey’s Southern matriarch Victoria, the richly textured resort wear of Chelsea (Aimee Lou Wood), or the aspirational dynamics between the three longtime friends played by Michelle Monaghan, Leslie Bibb, and Carrie Coon.

Visit @WWD to read the full feature on Alex Bovaird’s visionary design for Season Three. Article written by Marissa Muller.

#CostumeDesignersGuild #CDG892
#WhiteLotus #AlexBovaird #WWD #HBO ...

CDG Education was proud to host its second collaboration with The Autry Museum: A Look Into the Costumes of Horizon – A Conversation with Costume Designer Lisa Lovaas and Director/Writer Kevin Costner. The Autry’s senior curator Carolyne Brucken joined the event as the moderator. ✨

The conversation between Kevin and Lisa was captivating, both offered such insightful and inspiring perspectives on the storytelling power of costume design. Guests also had the opportunity to view a stunning display of costumes from Horizon, beautifully arranged on mannequins by Lisa’s team. The costume details made it feel as if the pieces had come straight from the period.

Stay tuned for our upcoming YouTube video recapping the event.

Special thanks to The Autry Museum, the Horizon team, Ben Fitzsimmons (Associate Director, Programs and Research at The Autry), Ivy Thaide (CDG Education Director & VP), and Anna Wyckoff (CDG Communications Director).

Costume Designer: Lisa Lovaas
Costume Supervisor: Leslie Sungail
Assistant Costume Designer: Tiger Curran
Key Costumer: Chrissy Callan
Head Tailor: Michael Sloan
Women’s Made to Order: Dale Wibben
Assistant Women’s Made to Order: James Ryan Coomer
Stitcher: Paige Brown
With gratitude to Juan Carlos Jiminez, Alice Garland, and Clint Bryant.

#CostumeDesignersGuild #CDG892
#TheAutry #Horizon #LisaLovaas #KevinCostner ...

Lady Gaga captivates in a standout design at Coachella by CDG member Athena Lawton, continuing the legacy of unforgettable fashion moments. ✨

Athena shares, “I worked with stylists Nick Royal and Peri Rosenzweig who collaborate together as Hardstyle, and fashion designer Samuel Lewis who also created many of the looks for Abracadabra.  Samuel combined elements of inspiration from Thierry Mugler’s 1985 Comédie-Française production of Macbeth and a 17th century portrait by Juan de Alfaro y Gámez.  Samuel tasked me with interpreting that inspiration into something that would work for the mechanical needs of the dress as a set piece. 

As I dove into the research around curtain construction techniques, I was inspired to bring that theatrical curtain pleating into the entire gown as a design motif.  We pleated nearly every inch of it, and I created a plan for pleating each panel in increasing increments from .5 inches at the center front of the bodice, to 6 inches at the outermost layer of the upper skirt.  

The final curve-ball during rehearsal is that Lady Gaga decided she wanted to continue wearing the bodice after being lowered down the lift, so I had to quickly design a skirt on the spot that would be able transition from covering the opening at the top of the cage to working with the costumes worn by the dancers when she is lowered to the stage floor.”

Credits:
Creative: @slewissaa, @ahardstyle, @nikitakesh, & team
Gown in Intro: @athenalawton

ᴛʜᴇ ʜᴏᴜꜱᴇ ᴏꜰ ᴀᴛʜᴇɴᴀ:
Lead patternmaker: @ramslam
Swag captain: @collincasino
Stitchers: @arielbrickman.artist @anne.szeliski @_cranchie_ @tint_hues @stitchmekeller
Assistants: @lily.leelove and @blaainey custom studs by @im.not.eris

#CostumeDesignersGuild #CDG892 
#AthenaLawton #LadyGaga #Coachella ...

“Anthea Sylbert, My Life in 3 Acts” is a powerful new documentary, directed by Sakis Lalas (@sakislalas) that shines a spotlight on one of the most influential figures in costume design. Known for her precision, creativity, and fearless presence in Hollywood, Anthea Sylbert helped define an era.
 
Anthea was more than a costume designer; she was building worlds. From embroidering a character’s initials into the lining of a costume to slipping coins or keys into a pocket to ground an actor in their role, her designs went far beyond what the audience could see. Her strength, vision, and unwillingness to back down from even the most towering Hollywood legends set her apart.
 
One story from the film captures her boldness perfectly: “In 1971 I was hired to do the costumes on The Cowboys,” Anthea recalls. John Wayne came for his first fitting. After introductions and warm handshakes he was handed his first shirt. He immediately tried to put his arms through the sleeves and was clearly struggling “How do you put this goddamn thing on?” “It goes over your head, Mr. Wayne. That’s the way shirts were then.” With that he threw the shirt on the floor “Tell them to get another actor” and he began walking out. I rushed past him and blocked his path “Is that any way for a man of your stature to behave? Now get back in there and we’ll figure this out where I can make it look accurate and you won’t have to put it over your head.” 
 
“Anthea Sylbert, My Life in 3 Acts” had its world premiere at the San Francisco Greek Film Festival as Official Selection. You can now stream the on www.thedarkcandy.com.
 
#CostumeDesignersGuild #CDG892
#AntheaSylbert ...

In “Freaky Tales,” the gritty, genre-defying love letter to 1980s Oakland, costume designer Neishea Lemle delivers a vivid and layered vision that honors the Bay Area’s subcultures and storytelling legacy. ✨

With the film structured into interconnected chapters, each with its own tone, energy, and cast of underdogs, Neishea approached the project with deep research and a collaborative spirit.
 
“This was my first period project, and I started by diving into archival images, music videos, street photography, and vintage magazines from the early ’80s through 1987,” Neishea shares. “From punk kids to the hip hop scene, every subculture had its own visual rhythm, and I wanted to make sure each character felt grounded in their world.”
 
The film’s distinct Oakland vibe pulses through each costume, shaped by Neishea’s collaboration with directors Anna Boden and Ryan Fleck, as well as production designer Patti Podesta and DP Jac Fitzgerald. With only six weeks to prep and a 33-day shoot across iconic Oakland locations, including Grand Lake Theater, Giant Burger, and Loard’s Ice Cream, Neishea’s attention to detail helped piece together the city’s heart and history.
 
Catch Freaky Tales in theaters on April 4! 💫
 
#CostumeDesignersGuild #CDG892
#FreakyTales #NeisheaLemle
#pedropascal #jayellis ...