CD Magazine, Summer 2026 (Costume Designers Guild)

FOR

YOUR EMMY® CONSIDERATION

OUTSTANDING CONTEMPORARY COSTUMES “Veni, Vidi, Venezia”

Marylin Fitoussi

“The

fashion from lead costume designer MARYLIN FITOUSSI is BOLD, IMAGINATIVE, and CHIC.”

CDG AWARDS NOMINEE

EXCELLENCE IN CONTEMPORARY TELEVISION

“Veni, Vidi, Venezia” Marylin Fitoussi

UNION

President Executive Director 10 12

FEATURED

CDGA Winners

Felipe Sánchez: Excellence in Costume Illustration

Michael: Marci Rodgers

TDF/Irene Sharaff Award: Paul Tazewell

Art Party 2026: Bob Mackie

Franco Zeffirelli Award: Ann Roth

Donn Hook

Oscar Winner: Kate Hawley

CDGA Gallery

Colleen

COMMUNICATIONS & CREATIVE DIRECTOR

Anna Wyckoff awyckoff@cdgia.com

CREATIVE DIRECTORS

Allana Johnson allana@yokcreative.com

Turner Johnson turner@yokcreative.com

MANAGING EDITOR

Gary Victor Foss garyvictorfoss@gmail.com

ASSOCIATE EDITOR

Bonnie Nipar bnipar@cdgia.com

PRESIDENT

Terry Gordon tgordon@cdgia.com

VICE PRESIDENT

Ivy Thaide Ithaide@cdgia.com

EXECUTIVE DIRECTOR

Brigitta Romanov bromanov@cdgia.com

ASSISTANT EXECUTIVE DIRECTOR

Doug Boney dboney@cdgia.com

MEMBER SERVICES DIRECTOR

Suzanne Huntington shuntington@cdgia.com

SECRETARY

Michelle Liu mliu@cdgia.com

TREASURER

Nanrose Buchman nbuchman@cdgia.com

EXECUTIVE BOARD

Catherine Adair cadair@cdgia.com

Daniel Selon

Salvador Pérez sperez@cdgia.com

Ariyela Wald-Cohain

ACD REPRESENTATIVE

Christine Cover Ferro

COSTUME ILLUSTRATOR REPRESENTATIVE

Barbra Araujo

LABOR REPRESENTATIVE

Dana Woods dwoods@cdgia.com

BOARD ALTERNATES

Johnetta Boone

Jackie Martinez

Samantha Kuester

Lyn Paolo

BOARD OF TRUSTEES

Jacqueline SaintAnne jsaintanne@cdgia.com

Jennifer May Nickel

Barbara Inglehart binglehart@cdgia.com

Mikael Sharafyan msharafyan@cdgia.com

CDGA PRODUCING EXECUTIVE

Kristin Ingram kingram@cdgia.com

BOOKKEEPER Aja Davis accounting@cdgia.com

EXECUTIVE ASSISTANT

Sydney Breithaupt cdg@cdgia.com

PUBLISHER

Near&Dear www.nearanddear.agency

ADVERTISING

Ken Rose 818.312.6880 kenrose@mac.com

Rita Rose ritarose@afmla.com COVER

Costume designer

Deborah L. Scott & James Cameron

Cover photo: Jon Kopaloff/ Getty Images for CDGA

Congratulations to all our CDG members. Telling stories through design, we are a proud community of artisans, visionaries, pioneers, and wizards. We are everywhere. Audiences escape and dream as they watch our costumed characters create worlds. Be it soap operas, children’s programming, film, TV, music videos, commercials, and now verticals, our Guild members have weathered countless changes, upheavals, and reinventions. Through it all, our passion for artistry in storytelling remains.

Iconic costume designers forged our profession in the fires of 1930s production. Our Guild, founded in 1953, has since maintained an illustrious, proud presence in our industry. Our hallmarks are strength, support, and solidarity. This year a global audience recognized and honored our members’ strength and extraordinary contributions to production.

Congratulations to all our nominees and winners for your dedication, talent, and vision. We look forward to more!

An incredible evening of celebration, our 28th CDGA also honored renowned collaborators who embrace and understand the value of costumes to production. James Cameron’s remarks were effusive and heartfelt as he shared anecdotes of his longtime collaboration with costume designer Deborah L. Scott. Kate Hudson bubbled delightfully as she shared stories admiring her wide variety of character-driven costumes and their designers. Honoring Michelle R. Cole with our Career Achievement Award, the evening’s lovefest exploded. The resounding standing ovation showed that her notable work was as legendary as her producers’ testimonials.

Though the industry still struggles, advocacy and support for our community has been humbling this year. I must extend thanks and gratitude to an exceptional few: Bvlgari, Variety’s Jazz Tangcay, Booth Moore, the Entertainment Community Fund’s Keith McNutt and Tina Hookum, Universal Studios Props and Costume’s Beverly Hadley, and Warner Bros. Costume and Prop Department—plus galactic thanks to the indomitable Ms. Anna Wintour.

Committed to celebrating our artistry, Bvlgari’s generosity was humbling. They reminted Colleen Atwood’s Career Achievement Adrian statuette following its destruction in the 2025 fires. Our friends are everywhere, and we are grateful for their continuing support and advocacy.

In solidarity,

Terry Ann Gordon

Terry Ann Gordon tgordon@cdgia.com

This year’s Costume Designers Guild Awards arrived on the heels of an industry that has asked more of its artists than ever before. Since COVID, we have weathered disruption, contraction, and uncertainty, yet our members continue to do what they have always done: create with brilliance, resilience, and heart.

Costume designers do more than dress characters. We build worlds, define identity, and give story its texture and truth. Even in the most challenging moments, that artistry has not dimmed. It has deepened. It has adapted. It has endured. The work honored this year is not only exceptional, but also a testament to the strength and spirit of the artists behind it.

In the months ahead, that same resilience must extend beyond our craft. Production is leaving California at an alarming rate, taking jobs, opportunity, and institutional knowledge with it. The future of our industry depends on policies that keep work here at home—policies that support labor, strengthen infrastructure, and expand incentives that allow our crews to stay employed where they live.

When we show up at the ballot box, engaged, informed, and united, we have the power to shape the future of this industry. To protect it. To grow it. And to ensure that the next generation of artists can build their careers right here in California. Our collective voice matters. When we use it, we shape the future of the industry. Guided by those principles, the California IATSE Council has endorsed Tom Steyer for Governor. He is the only candidate who stands with labor on an uncapped incentive, AI policies, and sustainability initiatives. I know that if you believe in labor, then he is the candidate for you.

In solidarity,

Brigitta Romanov

Brigitta Romanov bromanav@cdgia.com

FOR YOUR EMMY ® CONSIDERATION OUTSTANDING PERIOD COSTUMES “DANCE IN THE COUNTRY”

JOHN GLASER • DOUGIE HAWKES

GEORGE SAYER • ANTHONY BROOKMAN

AMANDA MCLAUGHLAN PASCHA HANAWAY

“THE COSTUMES ARE AS LAVISH AND OPULENT AS EVER.”

“

”

“THE COSTUMES ARE EXQUISITE.”

“Costume design has always been bigger than fashion in my life. It’s storytelling. Before a character ever speaks, what they wear is already telling you who they are—their strength, their vulnerability, their journey.” —Teyana Taylor

Michelle R. Cole CAREER ACHIEVEMENT AWARD HONOREE

James Cameron DISTINGUISHED COLLABORATOR HONOREE

Kate Hudson SPOTLIGHT AWARD HONOREE

Teyana Taylor VANGUARD SPOTLIGHT AWARD HONOREE

Colleen Atwood

ACD: Bryan Roberts Kopp EXCELLENCE IN CONTEMPORARY FILM One Battle After Another

Kate Hawley ACD: Renée Fontana

EXCELLENCE IN PERIOD FILM

Frankenstein

Paul Tazewell EXCELLENCE IN SCI-FI / FANTASY FILM

Wicked: For Good

Kameron Lennox

ACD: Tyler Kinney EXCELLENCE IN CONTEMPORARY TELEVISION

The Studio –CinemaCon

Alix Friedberg, Leigh Bell

ACD: Samantha Schwartz EXCELLENCE IN PERIOD TELEVISION Palm Royale –Maxine Is Ready to Single Mingle

Michael Wilkinson EXCELLENCE IN SCI-FI / FANTASY TELEVISION

Andor –Harvest

Tom Broecker, Christina Natividad & Ashley Dudek EXCELLENCE IN VARIETY, REALITY-COMPETITION, LIVE TELEVISION

Saturday Night Live 50th

Anniversary Special

Rafaella Rabinovich EXCELLENCE IN SHORT FORM DESIGN

Dandyland: Episode 10 Michelle Martini EXCELLENCE IN SHORT FORM DESIGN Uber Eats: A Century of Cravings –Super Bowl

Felipe Sánchez EXCELLENCE IN COSTUME ILLUSTRATION

Sinners CD: Ruth E. Carter

SINNERS

“ I believe music can change the world.“

—Michael Jackson

By Bonnie Nipar

With the tenacity of a historian and the heart of a consummate fan, costume designer Marci Rodgers dug deep, amassing 800 pages of research, to embrace the soul of costumes for Michael. “I pride myself in thorough research,” she notes, “and constantly refer back to it as I design.” Undertaking the musical biopic of global icon Michael Jackson, dubbed the King of Pop and regarded as one of the most culturally significant figures of all time, was a huge responsibility. Rodgers approached it with profound reverence for his legacy, his family, and his fans.

Producer Graham King and director Antoine Fuqua were adamant to keep the film, hailed as a celebration of Michael’s musical genius, as authentic as possible to his journey. There were few early photos of the Jackson family before they started performing. Rodgers collected magazines of that era and put the puzzle pieces together, using her understanding of costume history, the Jacksons’ economic status, and their Midwest—Gary, Indiana —background. When there wasn’t an actual public photo, she adhered to a silhouette. She used color to defuse the menacing presence of Joseph Jackson (Colman Domingo) with more humanity. “I didn’t use his costumes to reveal his harsh persona. I used fabric and even notions and accessories to underscore the performance of the actor.” As the patriarch and stern manager of The Jackson 5, Joseph had a uniform: always well dressed in tailored suits or jogging suits in dark colors. Katherine Jackson (Nia Long) is a quiet force and a safe haven for Michael. There is a gentleness in her costumes; she is dressed mostly in soft colors and small prints. A big exception—when Joseph learned of his dismissal as manager by way of a fax. “That’s actually a very tense scene. After discussing it with Graham and Antoine, I used color theory for this strategic moment.” Her research included Katherine in a white suit. She used this moment in time to assign white to offset Joseph’s dark anger. Rodgers stayed true to the era, and research found in Jet magazine for young Michael (Juliano Valdi) and his older brothers. Patterns for pants were altered with gussets to make sure they were functional for both Michaels to accommodate their dance moves. When needed, she had the exact fabric design manufactured to recreate their performance looks that were made to order down to the smallest nuance. “The devil is in the details!” she quips.

“Shooting in Los Angles felt magical ,“elates Rodgers,

“almost like the spirit of Michael was there and helped me execute my design.” The recreation of Thriller was filmed on Union Pacific Avenue, as was the original. For two nights, from sunset to sunrise, under a full moon, Jaafar Jackson reprised his uncle’s spine-tingling dance with vitality. In pre-prep, Rodgers took a field trip to the Grammy Museum, where the original costume is on display. “Like a student of my craft, I measured everything from top to bottom: the collar, the width of the cuff, the stitching, all through the glass case. I called Deborah Nadoolman Landis [co-costume designer with Kelly Kimball of the original video] who shared that she dyed white jeans red to match the jacket, so I went through that same process.” The distressing on the jacket was important. Rodgers worked with her ager-dyer to make sure that everything was exact. The zombies also had to pass her laser-eye inspection. “Especially the two women on either side of him, one in pink, the other in blue. There is a last-minute photo of me enlarging a hole in one of them to match perfectly.”

The Billie Jean video from Motown 25 became a phenomenon overnight, owing to Michael’s debut of the moonwalk: “the eight seconds that changed dance history.” The black sequined jacket belonged to Michael’s mother, chosen for its soft drape.

“You’re confident. You’re strong. You’re beautiful. You’re the greatest of all time.“

—Michael Jackson

The perfectionist in Rodgers hesitated to construct the jacket until she found sequins in downtown Los Angeles that came close to matching ones made in the ‘80s. Everything was custom-made: the rhinestone bodysuit-shirt, the glove, and socks adorned with a trim introduced during the ‘80s that was a string of rhinestones encased in plastic. “The response from others on set was exhilarating. I asked Motown 25 show producer Suzanne de Passe, who was there for the original filming as well as ours, if she approved, and she said, ‘I feel like I’m reliving this all over again.’ At that moment, I knew that I had made her and the legacy of Michael proud. A quick text from production designer Barbara Lang said, ‘Bravo! The shirt is dancing!’”

A project of this scale required a large costume department. Additional photography added 22 more days to the schedule. Rodgers notes, “I’m very thankful for the help of my team.” Several CDG members worked on the film, including assistant costume designer Sheila Boateng on the principal photography, and costume designer Susan Matheson and assistant costume designer Elaine Perlmann, who contributed to the additional photography. Ingrid Ferrin and Dominie Brazzel served as costumer and background costumer, respectively. Rodgers adds, “It was an enormous project. Our first two days had 1,300 extras. We delivered over 3,000 costumes. Everyone in my department was supportive and stayed true to Michael, his family, and his legacy. I used Michael’s affirmation from the scene where he says, ‘You’re confident, you’re strong, you’re beautiful, you’re the greatest of all time,’ which is something I took away from this project and will carry with me forever.”

FOR YOUR CONSTERNATION

OUTSTANDING CONTEMPORARY COSTUMES

COLLEEN ATWOOD � MARK SUTHERLAND

TOM HORNSBY � ROBIN SOUTAR

CONNOR DALTON � CHARLOTTE CHILD

EPISODE 207: WOE ME THE MONEY

“FOUR-TIME OSCAR® WINNER

COLLEEN ATWOOD, ALONGSIDE

HER EMMY ®-WINNING PARTNER, MARK SUTHERLAND, CONTINUE TO CUT STRIKING GARMENTS FOR THE SPRAWLING CAST.”

COSTUME DESIGNERS GUILD AWARDS NOMINEE EXCELLENCE IN CONTEMPORARY TELEVISION

Paul Tazewell

Paul Tazewell was honored with the TDF/Irene Sharaff award for Sustained Excellence in Costume Design on April 13, 2026. The prestigious award was presented by Donna Langman of the Parsons-Meares, Ltd. costume shop—a frequent collaborator for Tazewell’s Broadway productions. Cheered by friends and colleagues, Tazewell remarked, “I want to speak from a place of deep gratitude. I had the great honor of receiving the Irene Sharaff Young Masters Award in 1997. This acknowledgment is even more meaningful—to be able to stand here in front of you 29 years later to receive this wonderful recognition.”

Honoring Bob Mackie

In January, the Palm Springs Art Museum hosted their lavish Art Party fundraiser. Jon Murray and Harvey Reese of the Murray-Reese Foundation asked their friend, legend Bob Mackie, to create a small exhibition in support. Mackie has often praised the museum and was happy to comply.

Using last summer’s successful show at the SoHo Grand in New York as a blueprint, Mackie and design director Joe McFate curated many items not seen before on the West Coast. Alongside five original gowns and costumes for performers including Carol Burnett, Carol Channing, Cher, Diana Ross, Elton John, Liza Minnelli, Madonna, Mitzi Gaynor, and Tina Turner were sketches, serigraphs, and astonishing original paintings.

A highlight for many was the “Starlett O’Hara” sketch and gown associated with Carol Burnett’s Went With the Wind parody. This exact replica—the original is at the Smithsonian National Museum of American History—has its own provenance, having been worn by both Julie Andrews and Maya Rudolph. The show was a true community effort—the Revivals store loaned mannequins, and many locals attended the dazzling opening.

During an interview, Sandie Newton of Channel 3’s Desert Chat, remarked, “You are more relevant than ever, you’ve got Zendaya, you’ve got Miley Cyrus, you’ve got Taylor Swift clamoring to wear your original designs…which proves good style and great design never go out of fashion.”

Reflections of Glamour: Bob Mackie

January 26–March 30, 2026

. ”

FOR YOUR EMMY CONSIDERATION OUTSTANDING DRAMA SERIES OUTSTANDING

CONTEMPORARY COSTUMES

EP 106 “I GIVE ME PERMISSION” EMMA POTTER, ALEXIS JACKS, MARESSA RICHTMYER, BRITTANY GRIFFIN, ANDY ANDERSON

“UNDENIABLY THE MOST VISUALLY STRIKING TAYLOR SHERIDAN SERIES YET.”

COLLIDER

OUTSTANDING DRAMA SERIES

OUTSTANDING CONTEMPORARY COSTUMES

EP 209 “PLANS, TEARS, AND SIRENS” JANIE BRYANT, SAMANTHA PAVLAT, MICHELLE MATTEO, GUS DELGADO

Legendary costume designer Ann Roth was honored with the inaugural Franco Zeffirelli Award for Costume Design in Florence on February 16, 2026, in recognition of her extraordinary contributions to film and theater.

“Being able to hug Ann again (after years of not seeing each other) filled me with joy. She continues to be not only a professional point of reference for me but also a great affection that I have nurtured for many, many years now. The occasion allowed me to see once again how her way of describing our profession is always a source of inspiration for all of us. The many young people who attended her master class listened in almost sacred silence to the stories of her long and rich career, both in film and theater, rightly recognized with this award named after a great maestro like Franco Zeffirelli.”

—Carlo Poggioli Ann Roth

Donn Hook

By Juan Lopez

One of Hollywood’s best-kept secrets, Donn Hook, head of the Warner Bros. Costume Workroom, retired on May 1 after more than 30 years in the industry.

Hook hails from Illinois, where he learned Midwestern values of deep commitment to hard work, reliability, and perseverance. He earned his undergraduate degree at Drake University and an MFA from CalArts. Hook ‘s costuming talents were honed working summer stock at Timber Lake Playhouse.

“ When I met Donn, I knew nothing about tailoring and the process of pinning costumes. Everything I know now was taught to me by him.”

—Lori Eskowitz-Carter

Hook’s professional career began as the costume designer and workroom supervisor at Long Beach City College. He went on to run the costume shop at Cal State Fullerton. After a decade of academic theater, he became costume shop manager for Costume Collection, followed by working for various TV and film production companies. His many years of experience led to the pinnacle of his career, his position at Warner Bros. Studios beginning in 2007. Hook has worked on just about every sitcom that prepped at Warner Bros. for the past 19 years.

Hook’s reputation was enhanced by his calm demeanor and precise fitting ability. He gave his professional opinion only when requested and with diplomacy, tact, and wit. Hook’s cutting table/ office was always available for work discussions or for listening to the latest version of a Broadway musical. Hook is an accomplished pianist and a walking encyclopedia of American musical theater. He owns every recording of Show Boat since its 1927 Broadway premiere.

Hook acquired an impressive library of books on vintage costumes and patterns. Janet Arnold’s books are old friends. His extensive knowledge of vintage costumes dovetailed into restoring costumes originally worn by legendary Warner Bros. movie stars Bette Davis,

Olivia de Havilland, Natalie Wood, and Shirley Jones, to name a few. He authentically recreated original beading designs and cutting techniques of master tailors and drapers from Warner Bros.’ illustrious past. His work is prominently featured as part of Warner Bros. Archive Exhibits.

Some of his most memorable film projects include How the Grinch Stole Christmas, Hairspray, The Cat in the Hat, Down with Love, La La Land, and Babylon. Notable television projects include Pushing Daisies, Will & Grace, The Big Bang Theory, and Bosch. Hook’s keen eye for detail and costume construction skills resulted in memorable Halloween costumes for The Connors and Abbott Elementary. Some of his best Regency period costumes can be found in The Tillbrooks.

Hook will continue his restoration work on a part-time basis with the Warner Bros. Corpoarate Archives. He is a quiet achiever who always lets his work speak for itself.

Kate Hawley

Kate Hawley won the Oscar for Best Costume Design for her work on Frankenstein at the 98th Academy Awards in March 2026. Her gothic, Victorian-inspired designs for Guillermo del Toro’s film were lauded for their dark romance, texture, and character driven storytelling, marking her first Academy Award win.

“ We have to always, always honor the artist and human creativity ... because you know what? AI don’t sew.” —James Cameron

“Costume design has always felt like soul work.” —Teyana Taylor

Acclaimed costume designer Colleen Atwood tragically lost her home and many awards during 2025’s Palisades Fire. Vice President of Brand Marketing & Communications Brett Fahlgren noted, “When we heard that Colleen’s Bvlgari award for the CDGAs had been damaged and ruined during the wildfires, we had our artisans in Rome create a new statuette.” Fahlgren presented Atwood with a reminted Career Achievement award at an intimate luncheon cohosted by The Hollywood Reporter and attended by the 2026 Oscar costume nominees.

The Conversation Continues: CDG YouTube Channel

More than a channel, CDG YouTube is a curated collection of conversations, stories, and experiences designed to inform, inspire, and connect. Explore Cultural Conversations that challenge perspective, Education and Master Class sessions that deepen the understanding of the art. Legacy stories honor CDG heritage and impact, while Movie

Night features bring members and audiences together with designers. Toolbox episodes cover technical knowledge, practical insights, and creative resources. Thoughtfully produced and intentionally shared, every playlist invites you to watch with curiosity and leave with something meaningful.

FOR YOUR EMMY ® CONSIDERATION

COSTUMES

EPISODE 8: “YUCCA VALLEY” JOY CRETTON, JOSE RAMOS, DANA CASEY, MALIA MIYASHIRO -HARMON, KATIE KAHN, ANDREW KIM

“

HHHH .

A GEM OF A SERIES .

A clever, tender take on male friendship and the film industry. It’s a triumph of storytelling.”

THE GUARDIAN