SPRING 2010 ISSUE 1

SPOTLIGHT ON

STUDIO
SERVICES

LOCAL SHOPS OPEN

THEIR DOORS TO CAFTCAD
INTERVIEW BY TAMIYO TOMIHIRO Shelley Mansell, Anita Bacic, Wayne Godfrey, Rosemary Della SeRra
May 1, 2010 is the launch date for CAFTCAD’s Studio Services Program. This initiative embodies a standardized shopping/return
system agreed upon between CAFTCAD and the many retail stores involved. The waters are being tested with small to medium
sized boutiques and once it is up and running successfully, the program will expand to include the majors.
BeSpoke interviewed the Co-Chairs of the Studio Services Committee, Anita Bacic and Shelley Mansell, to find out about this unprecedented arrangement.

How will participating CAFTCAD members benefit by joining this program?
AB Stores that we could never patronize before due to a lack of return policy
have now become accessible shopping destinations.
SM There is a greater variety of unique and interesting places to shop for your
characters with a unified pre-arranged pull system
How will the stores benefit by being part of the Studio Services Program?
SM They are automatically receiving free advertising and exposure to a group
of film buyers that may not have shopped there before. And word of mouth is
a powerful marketing tool.
AB Not to mention increased revenue for their business.
SM They also feel more secure knowing that there is a larger organization
behind the individual buyer, somewhere to turn if problems arise.
Is there that much potential revenue from the film industry?
SM According to statistics, the total of film wardrobe purchases in our city
during 2008 was $34 million!
AB And right now the greater percentage is being spent at major chain stores.
Why?
AB Because you can shop “under the radar” and then return what you don’t
need without a hassle.
What has the reaction of the stores been?
SM Extremely favourable. They can’t wait for the program to be
implemented!
What is the biggest misconception about this program?
SM That it is going to run interference with the relationships between
buyers and boutique owners already in place.
We are not here to change that – as a matter of fact, we have been telling
each store to maintain whatever arrangements they may already have with
specific buyers.
AB Our aim is to give participating CAFTCAD members the opportunity
to shop at a large variety of boutiques in a fast and expedient way with a
universal pull system.
What were the biggest obstacles in the process of setting up?
SM From the retailers, none at all.
AB To be perfectly honest, there’s only been a handful of us going from
store to store so it is taking longer than we anticipated. Studio services
works well in L.A. and New York – why wouldn’t we want to follow their
lead? In a bigger picture, it would be in our best interest to be set up the
same way and make it even more appealing for productions to come here.

How many stores are involved and where are they?
AB We started with the Queen West / Ossington / West Queen West areas and
already have 50 stores on board in a very short time frame.
SM Lileo in the distillery district has also signed up, but we have yet to hit other
areas of the city due to a shortage of manpower. Eventually we want to have
a list of stores in every shopping area including Bloor & Yonge, Yorkville, Bloor
West, Eglinton/Bayview, the Danforth, etc.
It actually appears to be a groundbreaking program for our industry.
AB Individual stores, small and large, have had all different policies for film
or none at all. Now there can be a universal system across the board.
SM It feels great to be part of developing a new way of doing business.
Studio Services Committee: Anita Bacic, Shelley Mansell, Rosemary Della
Serra, Debra Berman, Wayne Godfrey, Luis Sequeira.
For more information, please visit www.caftcad.com/studioservices

LETTER
FROM THE
PRESIDENT
As 2010 unfolds, CAFTCAD continues to
grow in its importance to our member-
ship, costume community and industry
at large. We’re proud to premiere ‘Be
Spoke’ our newsletter that will be
circulated to our professional unions
& guilds, industry support establish-
ments and producers.
From our 1st meeting in Feb 2006,
CAFTCAD has grown in leaps and
bounds. With a concise web presence,
edu cational seminars, bi-annual
wardrobe sales, Toronto Film Festival
Parties & members gatherings all
have become a mainstay in our yearly
agenda.
CAFTCAD’s Studio Services Program, a
new Head office and social events will
round out our current plans. We should
all be very proud of our ac complish-
ments. Thanks to the support of the
membership, studios and the devoted
efforts of everyone that has contrib-
uted along the way.
Here’s to continued success and growth
of the Alliance!
Luis M. Sequeira CAFTCAD President
NEW MEMBERS
Monique Prudhomme, Costume Designer
Melissa Stewart, Costume Designer
Michelle Lyte, Stylist
Luda Tseloousseva, Asst. Designer
Anita Bacic, Buyer
Sidney Sproule, Buyer
Aleya Gibson, Buyer
Wayne Godfrey, Set Supervisor
Sandra MacDonald, Truck/Set
William Ng, Truck/Set
Sierra Constantinides, Truck Costumer
Victoria McKay, Cutter/Seamstress
Nancy DaSilva, Cutter/Seamstress
Mia Sturup, Professional
Susan Dicks and Co., Industry
Vanessa Sheriff, Student
CONTRIBUTORS
KRISTEN O’REILLY
LOREEN LIGHTFOOT
JOANNA SYROKOMLA
LUIS SEQUEIRA
TAMIYO TOMIHIRO
JOSEPH EIGER
BARBARA SOMERVILLE
ADAM SMITH
THE JUUL IN OUR CROWN BY LOREEN LIGHTFOOT
“I believe in luck - I believe in serendipitous events.
I was lucky in the beginning.”
Newly arrived in Toronto, Costume Designer Juul
Haalmayer read an ad in the classifieds: shipper/
receiver, no university, no experience required
- the place: Malabar’s Costume House and a ser-
endipitous event, the person interviewing was a
fellow Dutchman. First day of work: 30 minutes
into the day, he offered Juul a costumer appren-
tice position. A great opportunity as Malabar’s
was dressing 90% of the operas produced in North
America with many costume designers coming
through their doors. From them Juul would begin
to learn what it took to put a show together.
Soon, a lucky break: The Sonny and Cher pilot
was being prepped and shot in Toronto at CFTO
Studios, designed by Bob Mackie and Ret Turner.
Juul was hired as fabric buyer and he asked if he
could come by the studios evenings and weekends
to observe and learn.
BREAKOUT
“I can do this.”
He applied for a job as a Costume Designer at
CFTO Studios with a fabricated resume. He was
brought in for an interview and then called out
on his “invented” design credits. Impressed by
QUOTE
his chutzpah, he was hired to sweep floors and
promised a chance when the time came. He
assisted on commercials, series, television specials,
variety shows and eventually was given a show of
his own: Norman Corwin Presents - challenging
even for a seasoned designer. A dramatic series,
B.C. to present day, 2 episodes per week and a
new cast every episode which they saw the night
before camera.
“If I can do this, I can do anything.”
And so began his long and multi-faceted career as Juul ‘s talent has been recognized by his peers with a Emmy
a costume designer. Within a few years (1973) he Award for the children’s series “Noddy” (1998) and an A.C.E.
received an Emmy nomination for “ The Borrowers”
and “ was suddenly legit to everyone in the industry
Award for “The Incredible Time Travels of Henry Osgood” (1985).
He is inspired by the team of Bob Mackie and Ret Arthur and
except himself”. No formal training, Juul was reading
sewing machine manuals and costume history books their ability to combine glamour and comedy. “I have always
behind locked doors. tried to live up to their standard”. Malabar’s has been a constant
throughout his career: his first job in the industry, building
“It grew from there”, with a natural inclination, flair made-to-rent for his budget constricted shows and a supportive
and “using commonsense to just figure it out”. His friendship to this day. Two very lucky breaks for the new guy in
list of credits is vast and covers the gamut – rock stars town.
(Alice Cooper and Jethro Tull), concert performances
(Anne Murray, Dolly Parton), stage productions, Always involved in theatre productions and gifted with a strong
stand-up comics (Phyllis Diller, Martin Short, Andrea singing voice, Juul had hoped to become an opera singer. Born in
Martin, Christopher Guest), variety shows (Jack The Netherlands, his family immigrated to the U.S. when he was
Lemmon, Shari Lewis), M.O.W.’s, television specials, a young child. As a teenager, the U.S. was at war with Vietnam
cable features, feature films, television series, and to avoid the draft, Juul’s father sent him and his brother to
Olympic skaters (Brian Boitano and Katrina DeWitt, relatives in Canada. Upon receiving Landed Immigrant Status,
Brian Orser), but is best known and loved for sketch hopes of a scholarship and studying at Juilliard were now over.
comedy, in particular his work on SCTV. Not only a
part of the creative team, Juul was also a cast member However, show biz tapped him on the shoulder and showed him
and led the legendary “Juul Haalmayer Dancers”, still in through another door. Between design gigs, Juul has sung in
so famous that there is a “Juul Haalmayer Dancers” many stage productions and choral groups. “On my singing and
Facebook fan page from Iceland. He averages 60 acting resume under special skills, it says NONE.” None? We beg
e-mails per day with questions about the SCTV days. to differ, Juul Haalmayer.
“Variety shows and sketch comedy are the best. It Juul owns and operates Homemade Tarts, a full service costume
was a privilege to be there, a joy to come to work. rental house featuring a magnificent vintage collection.
There were 6 binders of sketch possibilities that they
would choose from but we never knew what it was Google Juul Haalmayer on Wikipedia for a more complete list of
going to be. We were left to create these characters credits
from the chosen script.”
 CAFTCAD AT THE GENIES
CAFTCAD MEMBERS NOMINATED FOR 2010 GENIE AWARDS BY Kristen O’Reilly

CD Sarah Armstrong: Nurse. Fighter. Boy. CD Brenda Broer: Cairo Time

What drew you to this project? I found the director, What drew you to this project? The idea of dressing
Charlie very engaging. His passion, energy and personal Patricia Clarkson in a romantic role intrigued me and
connection to the story touched me. I loved the script and when I realized it was set in Cairo, I became very excited.
the characters’ strength.
What is the storyline? It is about a woman, married for
What is the story line? Nurse. Fighter. Boy - the title reflects over 20 years, whose children have left home, and is ques-
the 3 characters. It is about a single mother, Jude, who has tioning her life’s choices. Juliette (played by Patricia) is the
sickle-cell anemia and works as a nightshift nurse. She is wife of a diplomat in the Gaza strip. She goes to visit him in
JOHN Candy as Mr. mambo originally from St. Elizabeth, Jamaica and longs to take Cairo when he is delayed due to unrest in Gaza. He sends a
her son, Ciel, back to show him Zion - paradise. Since his friend, Tariq to meet her and be her guide while she waits
father’s passing, Ciel is the ‘man of the house’ and desper- for her husband. Juliette learns a lot about herself and
ately tries to take care of his mother. Jude meets an aging becomes close to Tariq.
boxer, Silence, who despite his personal demons captures
her heart. Silence is trying to keep a gym afloat after his What research methods did you rely on? I began research-
old coach suddenly dies and leaves the gym without a ing Bedouin and contemporary Muslim culture and dress
leader. Silence and Jude slowly fall in love and the con- from books and websites. However, when I arrived in
nection between all 3 of them becomes unbreakable. Cairo, I realized that my research wasn’t enough. In Muslim
cultural the ‘rules’ for dress vary considerably. Cairo is more
What research methods did you rely on? I looked at pho- conservative than it was decades ago, but young women
tographs from Jamaica - the people, the colours and the do dress in revealing silhouettes. Depending on religious
environment. It was a deeply personal story for Charlie, so beliefs, women in Cairo chose to wear a burka when they
we discussed his ideas at length in order to be true to his get married. And although Hijabs (headscarves) are worn
vision. I also spent a lot of time researching real boxers. by the majority of women, they are certainly not worn by
The world of underground boxing was both foreign and all. Advance research was essential, but the real process
intriguing to me so I immersed myself in it. began after arrival. Comfortable sandals and Egyptian
coffee kept my jet-lagged eyes open to explore locally for
Andrea Martin as EDith Who was on your wardrobe team? My assistant, Jeannette inspiration.
pRICKley as queen elizabetH I Linton, was really my co-designer. We created the looks
together and she was instrumental in helping me find Who was on your wardrobe team? I had 4 set people
these characters. Also, I have to include hair and make-up from large Egyptian films that spoke almost no English,
designer, Roxanne DeNobrega, and also consider the which meant communicating in the style of charades. We
director and the cast as a part of my team. The collabora- needed someone for Patricia who could speak English
tion really helped me define the film’s “world” and who understood western industry standards. To my
relief, they brought Sheila Fitzpatrick over to join us.
Who was your favorite character to dress? This story had
so many great characters, but I feel a special connection to What was your favorite costume? My favorite piece was
Ciel. He is wise beyond his years and believes in magic and Patricia’s sea-foam green chiffon dress. Mid-way through,
the power of the unknown. His sensitivity and wisdom I sent it out for dry-cleaning and it came back several
made him unique. I really got to create a real look with shades lighter, crispy and had shrunk half a foot! I’ll never
Daniel (the actor playing Ciel). forget Sheila and I trying to steam the life back into it. It
had to be re-made.
What was the most difficult part of the design process?
To be honest, being Caucasian and designing Afro- What was the most difficult part of the design process?
Canadian characters was challenging. I wanted them Without a doubt it was dressing the Israeli soldiers. Not
NURSE. FIGHTER. BOY. to be authentic and full of integrity. The design process only were no police or army uniforms available for rent
was a real collaboration between myself, director, cast, in Egypt, I was warned about laws against bringing them
hair/make-up and my assistant. We all worked together in. Not only would they be confiscated by customs, but
to bring the characters to life and any hesitation I had I would be risking punishment. My team explained that
quickly faded. they usually have to make them. I expressed my doubts
about the authenticity of the scene with ‘homemade’
What was one of your fondest memories of the shoot? costumes, but I really had no choice. I have to say, I was
I have to say it was the director. Charlie’s energy on set impressed with the results given the circumstances!
was inspiring. He is one of the most generous, happy,
intelligent and gentle people I have ever worked with. No What was one of your fondest memories of the shoot? We
matter how stressed, he always had time for me. I always shot for a day in the ‘white desert’, eight hours north-west
felt supported and close to the entire crew. of Cairo. After wrap we went to a hotel on a small oasis
for a marvelous evening by a candlelit pool with Bedouin
Any other notes? Often we put our blood, sweat and tears food and sheesha. Unforgettable!
into our work and few people get to see the enormous
effort that goes into making films. This project really was Any other notes? I wish I brought pant hangers and
‘the little engine that could’ and proves that hard work zippers. I couldn’t get them in Cairo and the few zippers I
CAIRO TIME does pay off sometimes. brought became like gold to me.
Notes From The Fitting Room

The Kavanagh Sisters working some breakdown magic on Saw VII.

Laura Montgonmery, Ruth Secord, & Karen Pivnick

Pure Pwnage crew strut their platform shoes on Showcase

Lori Gardner and Peter Webster
The wine & cheese opening night alone was
worth the price of the whole weekend.
Our guest speaker, Monique Prudhomme, was a fantastic
choice to kick it off, and was thoroughly engaging.
The next 2 days provided 8 seminars hosted by industry
professionals.  There was much knowledge to be shared
and information to learn. Finally, it was great meeting
so many people that I had only heard of, and enjoying
the camaraderie that was shared by all. Lori Gardner

Leather and velvet accent various mythical beings on Lost Girl

Janice Skinner, Monique Prudhomme, Anne Dixon, & Kristen O’Reilly

Brenda Broer & William Ng

CAFTCADEMY is an event I look forward to all year. I love
learning about costume design for film in this unique
forum. Silvana Sacco blew us all away with her portfolio
of exquisite drawings and tales of working on the Lord
of the Ring’s trilogy. A world class talent as well!
All the lectures were informative and so much fun. I
never imagined laughing so much at ‘school’ and am
looking forward to next year already! Brenda Broer
 CAFTCAD CALENDAR
UPCOMING EVENTS
APRIL
April 29, Freda’s Boutique Tour
and Wine and Cheese Event for
CAFTCAD Members
MAY
May 1, CAFTCAD’s Movie Wardrobe
Sale at 721 Eastern Ave.
caftcad.com/mws
May 14-16, The Clothing Show,
Exhibition Place, www.theclothing-
show.com
May 15, Special CAFTCAD
Membership Meeting, 11-1 pm
May 28-29, More Than Just a
Yardage Sale, Textile Museum of
Canada, www.textilemuseum.ca
May 29, Christie Antiques
Show, Dundas, Ontario. www.
COMMITTEE UPDATE
antiqueshowscanada.com/ CAFTCADEMY
christie-antiques-show Very Successful 2nd Annual Costume Educational Seminar Series. We were
honoured to have Costume Designer, Monique Prudhomme, speak about

BARBARA SOMERVILLE her experiences on The Imaginarium of Doctor Parnassus

NEWSLETTER
Life is like a giant puzzle and every choice we make, every 1st Issue out- you’re reading it! Will need a part time advertising director,
opportunity presented to us helps us find yet another piece opening available. newsletter@caftcad.com
to complete the picture in the puzzle. It seems that destiny
MOVIE WARDROBE SALE
brought me here and the puzzle, in terms of career, com-
Our 5th Wardrobe Sale will occur on Saturday May 1st at 721 Eastern Ave.
pleted itself!
I began as a young student studying Fashion Design and STUDIO SERVICES
Merchandising. While maintaining a full-time schedule, I was introduced to See cover article
an icon in the Toronto fashion industry, who owned a high-end retail store
FILM FESTIVAL PARTY EVENT
that was a destination for those who looked to the finest in fashion. During
This important celebration of Canadian Costume at the Toronto Film
my part- time tenure, I was offered opportunities to learn the business from
Festival requires more participants in making our 3rd Annual event a
the inside out and this included designing private label pieces as well par-
success. filmfestival@caftcad.com
ticipating in buying trips and, of course, working on the floor.
MEMBERSHIP SERVICES
My thirst for knowledge took me away, during the school year, to University
Now with our new Head Office at 65 Heward, we have a common space
for the next five years, which led me, eventually, to teach English and
for members to work together on CAFTCAD iniatives as well as a growing
Creative Drama at the secondary school level, but during the summers, I
resource library.
kept my hand in the business of fashion retail.
My passion for fashion was a very strong force and ultimately culminated in FOR INFORMATION ON JOINING CAFTCAD, CALL 416.900.0955
me opening my own store with a mandate to highlight Canadian designers,
importing that which could otherwise not be had here, and offering a very
unique boutique! SMALL TALK WITH JODY HOEL
Added to a schedule that saw me flying to New York, Montreal and other What is your all-time favorite movie?
destinations, often, on buying trips, my very best creations, my three sons, I don’t have just one, Saturday Night
were born within four years! Only because I had the best staff one could be Fever, It’s a Wonderful Life,
so lucky to assemble, was any of this possible. Forrest Gump…
Ten years later, I sold the business and landed, quite by chance in this most
exciting and unpredictable industry that has connected all of the dots for What’s the most played song on your ipod?
me. Lady Gaga’s Bad Romance (but not on an ipod)

My first foray into the film industry left me in awe of those who held the What book are you currently reading?
position of Costume Designer. I never imagined that someday I might have The Everything Spanish Grammar Book
that credential after my own name. I never even considered it. It seemed
that these amazing people were able to juggle many balls at once, whilst What meal never lets down your taste buds?
producing “art” for the camera. In fact, I did not jump at the opportunity to Lobster Ravioli
try my hand as a Costume Designer, I had to be persuaded that I was ready
and could do it. This, as it turns out, was the last piece to the puzzle. How do you spend most of your ‘free time’?
I am ever grateful! Hanging out with friends, working out,
watching movies and travelling
 CAFTCADEMY TIPS
Just about everyone’s kit includes a rotary leather
punch, a plier-like tool with six punch tubes on a wheel,
used for putting various-sized holes in leather, vinyl,
fabric, etc.
But the cheap “made in China” punches that we all have
are nearly useless when brand new, and become even
worse with age. The punch tubes get plugged, the thing
is stiff, it won’t make a hole, etc.
Problem One: it won’t make a hole: the punch tubes are
usually very dull right out of the box. Using a fine nail-file
to sharpen the punch tubes will make a world of differ-
ence! So will “twisting” the punch as you try to make a
hole; the punch tube actually “cuts” through leather if it’s
rotating. Don’t try to make your punch go through a steel
corset busk!
ROTARY LEATHERPUNCH TUNE-UP
Problem Two: the plier-grip of the rotary punch is too stiff:
these things aren’t precision instruments, but they do
work better with a little lubrication. Use a little sewing
machine oil or “3 in 1” on the hinge of the punch, and a
couple of drops on the ends of the plier spring inside
the handle. You won’t believe it’s the same tool.
Problem Three: plugged punch tubes: use the point of
a safety pin to fish out a few of the plugs of leather
or material out of the tube, scrape a bit of beeswax in
the tube to lubricate it and punch a few holes in some
nice thick belting leather. A tiny bit of beeswax goes
a long way to keeping those tubes clear, but never
punch holes in anything wet... rust in the tube will jam
it permanently.
BY ADAM SMITH

Robert Rodriguez dinner jacket in grey 100% silk with silver sequins - Just a small taste of the impressive contemporary collection available for rent at Liberty

C E  OF   FILM The Canadian Alliance of Film and Television Costume Arts and Design is a non-profit association bringing together costume
AN    
L LI professionals to promote international recognition of the creative talent we have in Canada. Our vision is to increase awareness
& 

and the value of costume art and design as a powerful element in the collaborative process of filmmaking.
   A

  T
CANADIAN

E LE
VISION 

EST.
GN
CO

ST 2008 I
UM
  DES
E    ARTS   &  

65 Heward Avenue #C220

Toronto, Ontario, M4M 2T5
www.caftcad.com