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Final Hours to Take Action! 📝💥

Tell Congress to oppose the harmful AI proposal in the Budget Reconciliation Bill.

Use the link in bio to contact Senators Alex Padilla or Adam B. Schiff today.

#CostumeDesignersGuild #CDG892
#IATSE #IASolidarity ...

Collaboration played a central role in CDG member Lenka Padysakova’s costume design for “Off the Grid,” an action thriller about a brilliant scientist who vanishes to protect humanity after a corrupt corporation attempts to weaponize his technology. 🥼🧬 During prep, Lenka worked closely with director Johnny Martin, whose clear vision and creative input helped guide every decision. Their ongoing dialogue, from character research to fittings to final distressing, meant that every detail was thoughtfully planned, resulting in a smooth and efficient production process from the costume design side.

Lenka shares, “The film includes two distinct worlds: the untamed outdoors and a sleek, corporate office environment. Our protagonist, played by Josh Duhamel, transitions from costumes designed to help avoid detection in public to increasingly weathered pieces that reflect the challenges and harsh environments he faces. On the other hand, villain, Oscar-nominated Greg Kinnear, moves from sharp, tailored suits to practical, rugged attire when his character ventures into the wild to confront and fight Josh Duhamel’s character.

The juxtaposition of these worlds is emphasized through the costumes. Josh’s and Greg’s costumes needed to be aligned with stunts and doubles, which required meticulous attention to multiples.

Other characters’ costumes also underwent a thorough process of aging and dyeing, specifically for their action sequences, which played a significant role in the film’s overall aesthetic.”

The film is in theaters today, Friday, June 27! 🧪

#CostumeDesignersGuild #CDG892
#LenkaPadysakova #JohnnyMartin
#JoshDuhamel #GregKinnear ...

No one has your back like a bridesmaid! 👰‍♀️💕 Bride Hard stars Rebel Wilson as Sam, a world-class secret agent turned maid of honor whose best friend’s wedding gets hijacked by armed mercenaries.
 
CDG member and costume designer Salvador Pérez reunites with Rebel Wilson for their 14th year of collaboration. Bringing a sharp blend of bridal glam, Salvador struck a balance between elegance and espionage.

With only 2.5 weeks of prep time, Salvador said, “Instant decisions had to be made.” He sourced gowns from Mac Duggal to reflect each character’s personality and made quick design modifications. The gown he originally selected for Rebel Wilson had tiny straps that were too delicate for the action scenes, so Salvador secured extra dresses, and “used the ruffles to make the off the shoulder pieces that were attached to corsets from Trashy Lingerie.”
 
Costume continuity was no small feat and the production used 10–20 versions of each bridesmaid dress and 14 copies of Anna Camp’s wedding gown, originally by Oleg Cassini. “It had a gorgeous train that we chopped off because Anna needed to be able to run around a lot,” Salvador shared. “I loved having a mini–Pitch Perfect Bella reunion.”

The film is now in theaters! 💫
 
Salvador Perez, costume designer
Sylvia Fuhrken, assistant costume designer
Critter Pierce, costume supervisor
Ashley Bennett, key costumer 
Stephanie Power, set costumer
Margarita Bendana, set costumer
Mónica Blackmon, truck costumer
Mignon Charvet, ager/dyer
 
#CostumeDesignersGuild #CDG892
#SalvadorPerez #BrideHard
#RebelWilson #AnnaCamp ...

“Love, Victor” offers a heartfelt, coming-of-age story centered on identity, self-acceptance, and the search for belonging. Set in the same universe as “Love, Simon,” the series follows Victor Salazar as he navigates high school, family expectations, and his own journey of coming out.
 
“Love, Victor”
CD: Molly Grundman (2020-2022) - 27 Episodes
CD: Mojdeh Daftary (2020) – 1 Episode
 
#CostumeDesignersGuild #CDG892
#PrideMonth #LoveVictor
#LGBTQ ...

Netflix’s TV mini-series “Sirens” is the show capturing everyone’s attention, and the costume design plays a major role in its allure. With striking colors and intentional silhouettes, the series creates an atmosphere that is both captivating and mysterious. CDG member Caroline Duncan shares a closer look at the costume design choices behind Michaela (Julianne Moore), Devon (Meghann Fahy), and Simone (Milly Alcock). 💕
 
“Michaela’s silhouettes and palette were designed to evoke an ethereal, sensual and classically Grecian reference. The goal was to create a tension where the viewer questions if she has supernatural Goddess powers or if she is just an eccentric millionaire whose wardrobe is curated to intimidate her inner circle and set her apart from their rulebook of heavily printed apparel.”
 
Caroline approached Devon’s costumes in three acts. “We meet her in an armor of black provocative pieces that are tight and extremely short to emphasize what a fish out of water she is in Port Haven and reinforce her as a brazen, charged character. When she goes undercover to bust Simone out, she puts on a dress I designed from vintage Lilly Pulitzer fabric to maximize the comedic tone of the show. It is extremely loud in color and built in a cage dress silhouette to echo how physically humiliating it is for her to wear. She later wears a plunging ombré gown that has her feeling beautiful and alluring to stay a part of this upper-class world.”
 
Simone’s costumes begin in what Caroline calls “a frenzy of color and youthful short ‘60s-inspired silhouette” and shift throughout the story. “They become more subdued, mature, and closer to Michaela’s own costumes as the story progresses, and she comes nearer to taking Michaela’s place as head of the Kell household.”
 
Costume Illustration by CDG member Gina DeDominco. 💖

#CostumeDesignersGuild #CDG892
#CarolineDuncan #GinaDeDominco
#JulianneMoore #MeghannFahy #MillyAlcock ...

Award-winning costume designer and CDG member Kathleen Felix-Hager has been shaping the world of “Hacks” since Season 1, using costumes as a roadmap for character growth, unraveling, and reinvention. In Season 4, Kathleen balances the glitz of late-night TV with the disorientation of a workaholic’s vacation meltdown. ✨
 
“Deborah’s first late-night show was a pantsuit, a little different silhouette than we’ve seen from her before,” Kathleen shares. “And then at the end… she’s in that black dress with the gold fringe. At that moment, she’s embracing her femininity and her power. So when she makes the decision [to end the show], it’s a little bit more heartbreaking.”
 
From clip-on vintage earrings to caftans, turbans, and a Louis Vuitton tote, the costume design on “Hacks” signals emotional shifts for both Deborah (Jean Smart) and Ava (Hannah Einbinder). Ava’s costumes subtly mature along with her confidence as head writer, while Deborah’s descent into chaos, complete with poolside resort wear and rooftop drunken dancing, reveals a character desperately holding onto control.
 
Read the full article on @meetatcrafty to learn more about Kathleen Felix-Hager’s costume design process and her collaborative history with Jean Smart. Article written by @MarkPeikert.
 
#CostumeDesign #CDGLocal892
#KathleenFelixHager #Hacks
#JeanSmart #HannahEinbinder ...

Happy Friday the 13th! 😱 A day filled with superstition, eerie legends, and horror. We’re highlighting CDG members who brought the fear to life through costume design in the impactful franchise:
 
“Friday the 13th” (2009)
Costume Designer Mari-An Ceo

“Friday the 13th Part 2” (1981)
Costume Designer Ellen Lutter
 
Their work helped create the haunting visuals that continue to haunt audiences today. 👻
 
#CostumeDesignersGuild #CDG892
#Fridaythe13th ...

When costume designer Lyn Paolo read the scripts for “The Pitt,” she couldn’t say no. 🩺
 
The CDG member and acclaimed designer behind “Scandal” and “E.R.” returned to the world of medical drama with “The Pitt.” The HBO Max series takes place within the course of one 15-hour shift at Pittsburgh Trauma Medical Center. Lyn’s challenge was to make her costumes look and feel real.
 
“Every single character has their own distinct shoe,” she says. “We consciously spoke to each actor individually... What can you see yourself wearing for nine months and knowing that you’re going to be on your feet 12 hours a day, every day?”
 
In The Pitt, worn-down fabrics, aged shoes, and lived-in layers reflect the pressure of a 15-hour hospital shift, particularly for Noah Wyle’s Dr. Robbie, whose costume Lyn described as “downtrodden and worn out.” It’s a raw, honest portrayal of those who care for us. Lyn’s experience was critical to rendering the world of “The Pitt” with precision.

Photos: #Repost from @lynpaolo 🥼
 
Read the full interview on @Variety. Written by Jazz Tangcay.

#CostumeDesignersGuild #CDG892 
#ThePitt #LynPaolo ...

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 ...

Final Hours to Take Action! 📝💥

Tell Congress to oppose the harmful AI proposal in the Budget Reconciliation Bill.

Use the link in bio to contact Senators Alex Padilla or Adam B. Schiff today.

#CostumeDesignersGuild #CDG892
#IATSE #IASolidarity ...

Collaboration played a central role in CDG member Lenka Padysakova’s costume design for “Off the Grid,” an action thriller about a brilliant scientist who vanishes to protect humanity after a corrupt corporation attempts to weaponize his technology. 🥼🧬 During prep, Lenka worked closely with director Johnny Martin, whose clear vision and creative input helped guide every decision. Their ongoing dialogue, from character research to fittings to final distressing, meant that every detail was thoughtfully planned, resulting in a smooth and efficient production process from the costume design side.

Lenka shares, “The film includes two distinct worlds: the untamed outdoors and a sleek, corporate office environment. Our protagonist, played by Josh Duhamel, transitions from costumes designed to help avoid detection in public to increasingly weathered pieces that reflect the challenges and harsh environments he faces. On the other hand, villain, Oscar-nominated Greg Kinnear, moves from sharp, tailored suits to practical, rugged attire when his character ventures into the wild to confront and fight Josh Duhamel’s character.

The juxtaposition of these worlds is emphasized through the costumes. Josh’s and Greg’s costumes needed to be aligned with stunts and doubles, which required meticulous attention to multiples.

Other characters’ costumes also underwent a thorough process of aging and dyeing, specifically for their action sequences, which played a significant role in the film’s overall aesthetic.”

The film is in theaters today, Friday, June 27! 🧪

#CostumeDesignersGuild #CDG892
#LenkaPadysakova #JohnnyMartin
#JoshDuhamel #GregKinnear ...

No one has your back like a bridesmaid! 👰‍♀️💕 Bride Hard stars Rebel Wilson as Sam, a world-class secret agent turned maid of honor whose best friend’s wedding gets hijacked by armed mercenaries.
 
CDG member and costume designer Salvador Pérez reunites with Rebel Wilson for their 14th year of collaboration. Bringing a sharp blend of bridal glam, Salvador struck a balance between elegance and espionage.

With only 2.5 weeks of prep time, Salvador said, “Instant decisions had to be made.” He sourced gowns from Mac Duggal to reflect each character’s personality and made quick design modifications. The gown he originally selected for Rebel Wilson had tiny straps that were too delicate for the action scenes, so Salvador secured extra dresses, and “used the ruffles to make the off the shoulder pieces that were attached to corsets from Trashy Lingerie.”
 
Costume continuity was no small feat and the production used 10–20 versions of each bridesmaid dress and 14 copies of Anna Camp’s wedding gown, originally by Oleg Cassini. “It had a gorgeous train that we chopped off because Anna needed to be able to run around a lot,” Salvador shared. “I loved having a mini–Pitch Perfect Bella reunion.”

The film is now in theaters! 💫
 
Salvador Perez, costume designer
Sylvia Fuhrken, assistant costume designer
Critter Pierce, costume supervisor
Ashley Bennett, key costumer 
Stephanie Power, set costumer
Margarita Bendana, set costumer
Mónica Blackmon, truck costumer
Mignon Charvet, ager/dyer
 
#CostumeDesignersGuild #CDG892
#SalvadorPerez #BrideHard
#RebelWilson #AnnaCamp ...

“Love, Victor” offers a heartfelt, coming-of-age story centered on identity, self-acceptance, and the search for belonging. Set in the same universe as “Love, Simon,” the series follows Victor Salazar as he navigates high school, family expectations, and his own journey of coming out.
 
“Love, Victor”
CD: Molly Grundman (2020-2022) - 27 Episodes
CD: Mojdeh Daftary (2020) – 1 Episode
 
#CostumeDesignersGuild #CDG892
#PrideMonth #LoveVictor
#LGBTQ ...

Netflix’s TV mini-series “Sirens” is the show capturing everyone’s attention, and the costume design plays a major role in its allure. With striking colors and intentional silhouettes, the series creates an atmosphere that is both captivating and mysterious. CDG member Caroline Duncan shares a closer look at the costume design choices behind Michaela (Julianne Moore), Devon (Meghann Fahy), and Simone (Milly Alcock). 💕
 
“Michaela’s silhouettes and palette were designed to evoke an ethereal, sensual and classically Grecian reference. The goal was to create a tension where the viewer questions if she has supernatural Goddess powers or if she is just an eccentric millionaire whose wardrobe is curated to intimidate her inner circle and set her apart from their rulebook of heavily printed apparel.”
 
Caroline approached Devon’s costumes in three acts. “We meet her in an armor of black provocative pieces that are tight and extremely short to emphasize what a fish out of water she is in Port Haven and reinforce her as a brazen, charged character. When she goes undercover to bust Simone out, she puts on a dress I designed from vintage Lilly Pulitzer fabric to maximize the comedic tone of the show. It is extremely loud in color and built in a cage dress silhouette to echo how physically humiliating it is for her to wear. She later wears a plunging ombré gown that has her feeling beautiful and alluring to stay a part of this upper-class world.”
 
Simone’s costumes begin in what Caroline calls “a frenzy of color and youthful short ‘60s-inspired silhouette” and shift throughout the story. “They become more subdued, mature, and closer to Michaela’s own costumes as the story progresses, and she comes nearer to taking Michaela’s place as head of the Kell household.”
 
Costume Illustration by CDG member Gina DeDominco. 💖

#CostumeDesignersGuild #CDG892
#CarolineDuncan #GinaDeDominco
#JulianneMoore #MeghannFahy #MillyAlcock ...

Award-winning costume designer and CDG member Kathleen Felix-Hager has been shaping the world of “Hacks” since Season 1, using costumes as a roadmap for character growth, unraveling, and reinvention. In Season 4, Kathleen balances the glitz of late-night TV with the disorientation of a workaholic’s vacation meltdown. ✨
 
“Deborah’s first late-night show was a pantsuit, a little different silhouette than we’ve seen from her before,” Kathleen shares. “And then at the end… she’s in that black dress with the gold fringe. At that moment, she’s embracing her femininity and her power. So when she makes the decision [to end the show], it’s a little bit more heartbreaking.”
 
From clip-on vintage earrings to caftans, turbans, and a Louis Vuitton tote, the costume design on “Hacks” signals emotional shifts for both Deborah (Jean Smart) and Ava (Hannah Einbinder). Ava’s costumes subtly mature along with her confidence as head writer, while Deborah’s descent into chaos, complete with poolside resort wear and rooftop drunken dancing, reveals a character desperately holding onto control.
 
Read the full article on @meetatcrafty to learn more about Kathleen Felix-Hager’s costume design process and her collaborative history with Jean Smart. Article written by @MarkPeikert.
 
#CostumeDesign #CDGLocal892
#KathleenFelixHager #Hacks
#JeanSmart #HannahEinbinder ...

Happy Friday the 13th! 😱 A day filled with superstition, eerie legends, and horror. We’re highlighting CDG members who brought the fear to life through costume design in the impactful franchise:
 
“Friday the 13th” (2009)
Costume Designer Mari-An Ceo

“Friday the 13th Part 2” (1981)
Costume Designer Ellen Lutter
 
Their work helped create the haunting visuals that continue to haunt audiences today. 👻
 
#CostumeDesignersGuild #CDG892
#Fridaythe13th ...

When costume designer Lyn Paolo read the scripts for “The Pitt,” she couldn’t say no. 🩺
 
The CDG member and acclaimed designer behind “Scandal” and “E.R.” returned to the world of medical drama with “The Pitt.” The HBO Max series takes place within the course of one 15-hour shift at Pittsburgh Trauma Medical Center. Lyn’s challenge was to make her costumes look and feel real.
 
“Every single character has their own distinct shoe,” she says. “We consciously spoke to each actor individually... What can you see yourself wearing for nine months and knowing that you’re going to be on your feet 12 hours a day, every day?”
 
In The Pitt, worn-down fabrics, aged shoes, and lived-in layers reflect the pressure of a 15-hour hospital shift, particularly for Noah Wyle’s Dr. Robbie, whose costume Lyn described as “downtrodden and worn out.” It’s a raw, honest portrayal of those who care for us. Lyn’s experience was critical to rendering the world of “The Pitt” with precision.

Photos: #Repost from @lynpaolo 🥼
 
Read the full interview on @Variety. Written by Jazz Tangcay.

#CostumeDesignersGuild #CDG892 
#ThePitt #LynPaolo ...

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.

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#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.
 
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#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
 
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#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 ...