Costume Designers Guild

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009

Excellence in Costume Design for Film – Period
WINNER
The Duchess: Michael O’Connor
NOMINEES
Changeling: Deborah Hopper
Milk: Danny Glicker
Revolutionary Road: Albert Wolsky
The Curious Case of Benjamin Button: Jacqueline West

Excellence in Commercial Costume Design
WINNER
Casey Storm
For “Milk, White Gold”.

Excellence in Costume Design for Film – Contemporary
WINNER
Slumdog Millionaire: Suttirat Anne Larlarb
NOMINEES
Iron Man: Laura Jean Shannon, Rebecca Bentjen
Mamma Mia!: Ann Roth
Sex and the City: Patricia Field
The Wrestler: Amy Westcott

Excellence in Costume Design for Film – Fantasy
WINNER
The Dark Knight: Lindy Hemming
NOMINEES
The Chronicles of Narnia: Prince Caspian: Isis Mussenden
The Mummy: Tomb of the Dragon Emperor: Sanja Milkovic Hays

Outstanding Costume Design for Television Movie/Mini-Series
WINNER
John Adams: Donna Zakowska
NOMINEES
Return to Cranford: Jenny Beavan
Sense & Sensibility: Michele Clapton
Bernard and Doris: Joseph G. Aulisi
Coco Chanel: Pierre-Yves Gayraud, Stefano De Nardis

Outstanding Costume Design for Television Series – Period/Fantasy
WINNER
Mad Men: Katherine Jane Bryant
NOMINEES
Pushing Daisies: Robert Blackman
The Tudors: Joan Bergin

Outstanding Costume Design for Television Series – Contemporary
WINNER
Ugly Betty: Eduardo Castro, Patricia Field
NOMINEES
30 Rock: Tom Broecker
Dancing with the Stars: Randall Christensen
Entourage: Amy Westcott
Gossip Girl: Eric Daman

Comments are closed.

Quote Unquotesee all »

“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray