It is with profound sadness that we note the sudden passing of our friend and colleague, Michael “Dixie” Dennison. Dixie was at the height of his long career having received the Costume Designers’ Guild Award for the 2009 television film Georgia O’Keefe and the recent release of Eat, Pray, Love which he designed.
His untimely death gives us pause to reflect on the fragility and transience of life. Dixie’s  life touched so many and he lives on as part of the fabric of the lives of those who worked with him and were blessed with his friendship.

Thank you Dixie for the rich gifts you have shared with all those around you.

Cheryl, Tommy and the MWS family

The honorees may be nominated by any member with the winner being chosen by a select panel of NYWIFT members. This isn’t a mere “pat on the back” for the most active members of the organization. Indeed, Susan admits to having only minor association with the group. “I’ve just been to a couple of meetings,” she admits, “that’s why I was so surprised when I was notified that I won.” She said that she was in Canada on a film when a Fed Ex package, forwarded by her husband arrived. “I can get three or four Fed Ex’s a day so I often just throw them on my desk until I get a chance to open them. I’m pretty sure I flushed pink when I saw I had won.”

Susan Lyall came to New York from Southern Ontario in Canada to pursue a career in fashion design. As she immersed herself in the industry she soon found the business to be more tedious than challenging. One night at a friend’s party she met a casting director who suggested that Susan consider theatrical costume design. Intrigued, she became an intern at the iconic Circle Repertory Company. After only two film design assistant jobs, under the guidance of Cynthia Flynt, whom she considers a mentor, she struck out on her own, first designing the Uganda portion of Mississippi Masala. She and Cynthia Flynt remain close friends; not surprising since her career is marked by personal rapport and friendship since that first conversation at her friend’s party.

Indeed, her association with Rachel Getting Married was born from her meeting producer Neda Armian at a dinner party more than a year before the film began. According to an excellent interview she did with the web blog Frocktalk, the two kept in touch and eventually Neda asked to contact Susan’s agent. Once again her charm and talent won Jonathan Demme over when they first met. He later said that he didn’t consider it an interview, but there first design meeting, so prepared was she, having seen all his films and appearing with “look-book” in hand. Among the photos in the book were ones of Elizabeth Hurley wearing saris, a look that would become the design plan for the wedding scene.

It is part of the tradition at the “Designing Women” Awards for the honoree to suggest their presenter. Susan’s choice was Jodie Foster with whom she has done four films – including the three the star has directed. Of all the presenters and winners, there was an ease between the two. It was a clear rapport marked by good natured chiding, both in Ms Foster’s introduction and Susan’s acceptance that showed a definite fondness. “Few know,” Ms Foster said, “that Susan likes to try on all the clothes before the actor gets them.”

Susan is quick to point out that she is alluding to the film Nell, their second together, the first with the star as the director. Ms Foster was on the other Coast and since Susan and she are the same size she became her “fit model”, posing for photos in wardrobe to be e-mailed to the star. Ms Foster has teased her about that ever since. Not to worry, Susan got her digs in as well.

The two have just completed Ms Foster’s latest project, The Beaver, which is currently in post-production. “We started as colleagues and have grown into being friends,” says Susan. We would hope they are friends as only a pal should declare, “Susan Lyall is a sick, sick woman,” as Jodie Foster said in her introduction at the ceremony.

Another of Susan’s favorite directors is the legendary David Mamet. While famous for his obscenity laced dialogue, she knows him as a soft spoken pro with a penchant for, “jokes so bad, they’re funny,” and a keen sense of fashion and the technical side of the craft. While filming State and Main the two would have long conversations about “plackets and fabric holes,” says Susan.

After all these years in the business, Susan has lost patience with, what she refers to as, “cattle calls” for designers. “You go into this room with all these designers and and get called in to  meet the director,” she says, “then you have minutes to sell yourself and build a relationship with the director. Unfortunately, even with the solid body of work she has built she finds herself in that “corral” too often.

Susan says that receiving the award gave her pause to reflect on her career and that is one of the things she most appreciates about it. “Two volunteers from NYWIFT came over and we went through all these sketches and it just made me think about all the work I’ve done.”

Even with 33 films to her credit, Susan doesn’t have a difficult time selecting her favorites. “Hands down Rachel Getting Married is the contemporary costume film I am most proud of.” However, on another level her most recent project gets top billing. “The experience of working on The Beaver was incredibly satisfying given my relationship with Jodie,” she says.  “I truly felt like a filmmaker.”

For now Susan is happy concentrating on fund raisers for her twelve year old son’s school in her artistic Manhattan neighborhood and being a Mom and wife. There will, no doubt be more films in her future and she may well want to  amend her list of favorites because the best may be yet to come.

Cheryl & Tommy (with roger kimpton)

Albert was born in Paris, November 24 1930. These were perilous times in Europe with the spread of Nazism culminating in the occupation of France. For over two years Albert and his family traveled to the port city of Marseilles where eventually they were able to secure transit to the United States when he was 10 1/2. “It was constantly about escaping,” the designer says, “We were frightened a great deal of the time.”

Even considering wartime challenges, life in the United States proved successful for the Wolsky family. They settled in Manhattan’s Inwood section and Albert’s father created a successful travel business. After a stint in the Army and receiving his degree in English from City College of New York, Albert found himself  at loose ends so he joined the family business. “My father truly loved his business,” he says, “I felt badly, but I just didn’t share his passion.”

He was always drawn to all things fashion and had an abiding love of theater. He realized it was in combining these

Olivia Newton-John vamps it up in "Grease"

interests he could find his passion. He decided he wanted to study theatrical costuming. Through friends he found himself at the doorstep of the costume shop of the legendary Helene Ponz. Though he had no experience, she hired him on the spot. “She hired me because she was smart,” he laughs, ” I was supervising twenty people at the travel agency, so she got a manager for $100.00 a week.” So, literally, on Friday he was in the travel business and Monday he began his journey in the world of costuming .

While studying the craft was his intention, his shop responsibilities resulted in his being able to manage only one formal course, the rest of his training was in the trenches.

After a year and a half with Ms Ponz the shop went through a very slow period. Albert knew Helene wanted to lay him off, but couldn’t bring herself to do it. He realized that he had gotten all he could at the shop so he went to her and simply said, “it’s time”. The two remained friends for the remainder of her life.

Albert was thirty when he made the move into costume design and was apprehensive his age would be a handicap. He quickly found the opposite was true, his age and experience were an asset and made him a sought after assistant as he went on to assist on some seventy-five plays with many designers.

While he was working with the renowned designer Alvin Colt, Theoni Aldridge called inquiring about his availability, he demurred as he was already committed, she called again and yet again, but the third contact came when previews were about to begin on his show. “They are trying to get the assistant out the door by then,”  Albert says.  When he told Ms Aldridge he could begin assisting her, she said, “No dear, I want you to design it, I’m unable to do it.” Thus, Albert’s design career began with “Hamlet” in the Park. It wouldn’t be long before Albert would give up the “Boards” for the sound stage.

Leonardo DiCaprio in Revolutionary Road

Impressed with the show’s look, Ms Aldridge recommended Albert once again. This time the project was the film adaptation of Carson McCuller’s The Heart is a Lonely Hunter. After having assisted Ann Roth on only one feature film, Albert began his film designing career with this 1968 classic and 72 films later it continues. Over the years he has earned 5 Oscar Nominations with 2 statues on his shelf as well as numerous other accolades.

It is his design process that has helped his success. Of course, it all begins with a thorough reading of the script. He believes that the director is the most important figure. In developing the look of the film his first question is “why did the Director decide to do this film.”

In a recent interview he confided that he didn’t believe directors to be particularly visual people. It is within the synergy

Kate Winslet in Revolutionary Road

among the costume designer, the cinematographer and the production designer that the director is able to articulate his images onscreen.

Through the collaboration among this triumvirate along with the director the basic color scheme is established. In the Road to Perdition, for example, he describes the look as very muted while at the same time, “very rich in browns.”

That, however, is in the ideal world. Sometimes the director’s “eyes” don’t see the same image as the Designer. What then? “Quite, simply, I adjust to the director’s image, sometimes they see something I don’t.” Several Supervisors, who have worked with him when this “adjustment” has been necessary say that while he, of course, defers to the director, there is some serious seething in the wardrobe truck.

When dealing with actors, here again there will be compromise. This time it is in reaching a balance between “the truth of the character and the reality that they are movie stars,” he says. You begin by proposing the truth of the character then adjust as necessary.   Even Tom Hanks has reminded him, “You know Albert, I am a movie star.” The two worked together twice before Mr. Hanks, in his directorial debut, asked him to design Larry Crowne, no faint praise from a “movie star”

A conversation he recalls having more times than he would like is “when an actor says, ‘I wouldn’t wear that,’ and I answer, ‘neither would I, that’s why I call it a costume’.”

The muted tones of "Road to Perdition"

The one part of the process Albert admits a dislike for is prep. When this effort at candor on his part is shared with Assistants and Supervisors who know him the response is universal – they laugh and say he hates it – thinks it is torture. It is when shooting starts that everything comes together for him.

It is often said in the film business that a test of a pro is how often he works with the same “boss”. By that measure, Albert is a super-star.

Fosse directed only three feature films and Albert was by his side for them all. Their first  was Lenny. Albert describes

All That Jazz Sketch

Bob Fosse as a hard task master because he was so hard on himself. He would think nothing of calling at 2:00 AM if he had an idea. The other side of that coin is, Albert says, he could could actually feel himself “going from one plateau to the next.” He felt himself rise to the next level in his craft through his collaboration with this entertainment icon.

His relationship with Paul Mazursky was more extensive and more peaceful. “He was lucky about his times,” Albert says, “they made ‘personal movies’ at that time.”

Of the eleven films they worked on together, Albert feels that Enemies: a Love Story is his best.

For Albert, however, the jewel in his crown is his collaboration with Sam Mendes on  Revolutionary Road. His evaluation of this visual masterpiece is illustrative of his standards. “It is so close to 100% it’s one of my favorites,” he says, “Nobody ever said, ‘we won’t see that on film, forget it’”. That phrase is the bane of every designers existence. They know they and their colleagues will see it.

Annette Benning's gown from "Bugsy" on display at TDF Awards

Albert says he feels somewhat guilty about the TDF award as he has only done films for so long, “I guess the  film thing counts.” When he is told of the display set out on the Hudson Theater’s stage, which included the  beaded gown worn by Annette Benning in Bugsy , Albert goes into a detailed description of its’ construction, the number of beads and its’ final weight (nine pounds).

This passionate recounting of a single garment  is illustrative of his over-riding philosophy for success – ” You have to have that fire in your belly.”

On January 22, 2010 Albert lost his longtime partner, actor and teacher, James Mitchell. How this will affect Albert’s professional future is unknown. In a recent interview, however,  he did say, “I love to work. You know, when you love what you do, you are energized”

Albert found the passion his father had for his travel business so when he says “I’m winding down” it begs incredulity, until he qualifies, “They’ll ‘cherry pick’ me,” he says, “why should I call them.” And just as Tom Hanks did, they will go on “cherry picking” the man with the “fire in his belly”.

Cheryl & Tommy (with roger kimpton)

These fashionistas brought together their collections and have added to them presenting a closet of styles from the 1940′s to the ’90′s containing everything from Adolfo to Valentino. In a recent e-mail, Mary Beth proudly announced the acquisition of, “several amazing Pucci vintage dresses.”

Located in NY’s stylish Meatpacking District their designs are available for rental for three days, a week or longer to accommodate feature film designers. They, also, stock a full line of accessories. Currently, viewings are by appointment.

We welcome these ladies as a valuable resource.

Cheryl & Tommy (with roger kimpton)

We would love you to drop by, have a look and say, “Hi”

Cheryl & Tommy

Seibu Department Stores, Sapporo Japan

Among the most frequent topics our customers ask about is how to paint leather shoes. Some want to take their “kicks” from dull to “daaaaymn!” or, maybe, they are faced with turning a hundred pairs of neutral character shoes into custom creations.

The design is limited only by your imagination, but I can help you with the nuts and bolts. Anthony Hoffman, a professional shoe painter, is who I turned to as our guide. His painted creations have appeared on numerous Broadway shows including the Tony award winning productions Shrek, Hairspray and Wicked. He has also been tapped to create special displays heralding the opening of a major Japanese Department Store’s new shoe department.

WHAT YOU WILL NEED:

WICKED Designed by Susan Hilferty

• 99% Alcohol
• Angelus Professional Leather Paint
• Paint Brushes
• Meltonian Shoe Cream
• Terry cloth rag or old washcloth
• Heavy Duty Protective gloves
• Protective Mask
• Air tight jars
• Masking Tape
• Hair Dryer
• Optional-Angelus Finishes
• Polishing rag or old pantyhose

The first term everyone learns in a professional kitchen is “mis-en-place” which translates “have all your stuff together”. Well, that principle is essential in this process as well. You must have all your ingredients in place in a well ventilated, properly lit area. If possible take your work outside. Your work table should be well covered as well.

Step One: Prep

HAIRSPRAY Designed by William Ivey Long

• Remember the quality of your prep has everything to do with the quality of your paint job.
• Most instructions start by removing the waxy finish, dirt and oils with deglazer or preparer or if your are seriously changing color, using acetone to strip the color away. The only problem with this method is that these products are flammable and quite volatile with toxic fumes.  This intense “stripping”  also changes the basic character of the leather, raising the “tooth” on a  smooth leather making it feel almost  like suede.”It destroys the integrity of the leather,” Anthony believes, so he likes to take a much gentler approach. He uses 99% Isopropyl Alcohol to strip the shoes before painting. He only “breaks” through the top layer of the finish on a new shoe meaning that he does not find it necessary to completely remove all of the color from a shoe that he is painting. He prefers using an old washcloth or a terry cloth rag instead of a smooth rag as its’ slight abrasiveness assists in removing the finish. Remember Alcohol is highly flammable as well, but the fumes are far less toxic. You still must work in a well-ventilated area and stay away from open heat sources. While some professionals don’t wear masks, it is recommended and essential for anyone with a respiratory problem. All the pros, do, however, wear gloves, between the danger of burns from the alcochol and the staining of the paint on your hands it’s just foolish not to.
• After the alcohol evaporates (approx. 5 to 10 minutes) you are now ready to move on.

HAIRSPRAY Designed by William Ivey Long

Step Two: Paint

Painting can be a time consuming process. Your choices are patience or frustration from cracked and flaking shoes.

• Use masking tape to mask off any areas that you do not want to paint,
• Anthony uses Angelus Leather Paint, but instead of using it as it comes out of the bottle he thins it down with water until, he says, “it is the consistency of ‘Bisquick’ [or pancake batter].”
• Anthony likes to paint 3 thin coats. Several thin coats wear better than a couple of thick ones and offer more control over flaking and cracking,
• Apply paint with short even strokes being careful to smooth out the edges to avoid  getting ridges. Anthony uses angled brushes to facilitate that.
• After he finishes  painting his first coat Anthony uses a hair dryer to assist in the drying process. A dryer does two things. First it “shrink wraps” the paint to the shoe and second, it smooths out any unwanted brush strokes by melting the paint right into the prepared leather.
• When applying the next coat Anthony suggests that to achieve better coverage you should brush on the paint in the opposite direction from the first coat, i.e. if you paint the first coat heel to toe, you should apply the second coat perpendicularly across the uppers of the shoe.
• Dry this coat with a hair dryer as you did the first.
• Apply the final coat, once again alternating direction from the second. After you dry this coating with the hairdryer you are ready for the next step.

Step Three: Protect

Seibu Department Store Sapporo Japan

Finishes serve two purposes. They add protection that preserves your paint job, and they can also give your shoes a matte or glossy surface. Although Angelus makes several finishes from which to choose, Anthony prefers to finish his shoes with Meltonian shoe cream. After application Anthony’s preference is to buff the shoes with pantyhose, but you can use a soft cloth or old tee-shirt – the more you buff, the higher the gloss. If you want to ramp up the color or shine of the finished product, let’s get creative.

Getting  Creative:

• 

  Seibu Department Store Sappora Japan

  If you like the color that you have painted you can use a neutral Meltonian polish as a finisher. If you want to”kick it up a notch” and enhance your color you can use the same color or slightly different color Meltonian shoe cream (they have a broad and complementary color palate) to finish your shoe. This is where the fun and challenge begins. It takes trial and error to get the look you want and probably some knowledge of color theory. Please, don’t come this far only to ruin your product – be judicious as you customize the finish. You can always go back and repeat the process with a touch more color.

• If you want your shoes to have a really high sheen you can mix your base color into metallic paint such as silver or gold. You need to judge the proportions by eye until you achieve the desired shade, once again be prudent with your metallic additions.

OTHER TIPS

Seibu Department Store Sapporo Japan

• If you are painting delicate, soft or worn shoes, stuff the toes with newspaper or plastic bags to create a smooth surface.
• If you were painting a light color over a dark wall at home you would have to prime the wall first, it is the same with shoes. If you are lightening up a black or other dark shoe “prime” it with a first coat of white or, at least, neutral.  This is particularly important if you are painting with a metallic or neon paint.
• If you are painting with metallic colors, use a “base coat” in a similar, yet non-metallic shade. This will provide a more even surface for the metallic coat.
• If painting shoes in multiple colors, start with the lightest color first, then progress to the darker color. If you make a mistake, it’s easier to hide it by painting dark over light rather than vice versa.
• Use good quality brushes not wool daubers for painting. Daubers are meant for applying dye or polish, not paint and the angled brushes minimize stroke marks. The brushes do not have to be natural, synthetic is fine.
• When creating custom colors, mix them up before painting, store in airtight containers and be sure to write the formula down.
• Anthony has a final suggestion which harkens back to the famous journalist Don Hewitt and an acronym he drilled into his correspondents, “KISS” = Keep It Simple, Stupid! With no offense meant, that should be the watch phrase for this project.

As with many crafts there are many different approaches. This is a great opportunity for us to create a dialogue. Please, post your comments, suggestions and your personal tricks.

Cheryl (with roger kimpton)

PROsoft K

In this second installment of our What the Heck is: series we’re addressing another issue encountered in the dyeing process. Stiffening of the fabric’s hand is a constant challenge for dyers and this semi-permanent fabric softener may be just the answer. Used on cottons, silks and synthetic fabrics PROsoft K will not discolor when exposed to heat treatments and ageing.

Master dyer David Paulin points out that the product is manufactured for use on yardage rather than garments which have usually been treated with sizing or other additives complicating the process. “It takes experience to tweak it for use on garments,” he says, and trial and error is sometimes the only way of successfully returning a soft hand to the piece. David successfully uses the product on clothing. While the required “precision may be daunting, it is possible” our expert says.

Interestingly, David believes that the home user tends to be more cavalier about following directions than experienced professionals. Meant for commercial use, a heavy duty dye like Dylon should be used to insure color fastness. Rit, for example, will not stand up to the process. “People must understand that this isn’t Downy [Fabric Softener], this is industrial strength,” David says.

It is important that the temperature be maintained within the manufacturers recommended range, 105º – 120ºF (41º – 49ºC). Some “Energy Efficient” machines may not get hot enough so you’ll have to heat water on the stove and use a thermometer to check the temperature. It is essential to maintain the heat level for a successful result.

This is a chemical containing formaldehyde and must be used with caution, warns David. The manufacturer recommends that rubber gloves, an apron or old clothes as well as eye wear be worn, illustrative of the product’s strength. David suggests thirty minutes of rinsing as opposed to the recommended twenty. If the product isn’t thoroughly rinsed, it can actually burn the skin touching the cloth.

All these caveats aside, this product used properly is a highly effective finish to your dyeing process. It is like baking compared with cooking – precision, not innovation is the rule. Check out this link for exact instructions on how to use PROsoft K .

Cheryl (with roger kimpton)

Odds Costumes

First, we want to wish everyone a belated Happy New Year. Reflecting on the past year, one date – July 1 – stands out above all to the theatrical wardrobe family. It was on this date that our dear friend, Jeanette, locked the door on Odds Costumes. Upon hearing the announcement that this iconic resource was closing after 21 years the lamentations were immediate, universal and heartfelt. Our colleagues in the blogosphere greeted the loss with sadness and, in some cases, a degree of anger. The anger focused on the economic climate and gouging landlords, while some directed their ire at our own designers, stylists and supervisors. On her excellent facebook editorial, Helen Uffner, a purveyor of some of our finest vintage ensembles, laid the blame, with more than a thread of truth, at the feet of us, the wardrobe community. The incessant incantation that we have no money in the budget (all too often when a shopper on the same job is at Brioni picking up a $800.00 polo shirt) wore on Jeanette’s good nature – and operating budget.

Explanations aside, the result is, we lost  something special – a place of memories as well as an invaluable resource.

The reality, however, is that New York is still rich in resources, whether the newly opened Hero Wardrobe with their specialty in work wear or the 30 year veteran, Helen Uffner Vintage Clothing, with flawless costumes covering every period from the 1860′s thru the 1970′s. Regardless of your budget, from laughable to staggering, there are tappable resources in this town.

Helen Uffner Vintage Clothing

Cheryl’s relationship with Helen Uffner began when she supervised “Fried Green Tomatoes”. While the designer scoured the West Coast for costumes from five periods, Cheryl did the same on the East. Her appointment was in Helen’s apartment which, also, housed the business – Helen’s transition from stylist to entrepreneur was just beginning. While they enjoyed a cup of tea, “Helen pulled one beautiful costume after another, complete with accessories, from boxes stacked in her bedroom, nearly consuming the bed,” she recalls, “I remember worrying about them tumbling down on her while she slept.” With a 6,300 square foot loft just over the Bridge in Queens, that issue is long gone; maintaining an impeccable collection of, primarily, rental costumes and accessories continues to be Helen’s exclusive focus.

Hero Wardrobe

Experienced Stylists Melissa Desrosiers and Lani Steinhouse, are among the newest “kids on the block” having opened their Hero Wardrobe on Nov 1, 2009. They actually decided to open their shop after becoming privy to Jeanette’s unfortunate decision. They managed to “hand pick  30 – 40% of Odds’ stock,” Melissa says, “we were sticking to work wear,” Dickies” and the like, when we saw the beautifully distressed leather,” she laughs, “there went our budget.”

Much like us, Melissa and Lani got into the business, “just to make our jobs easier,” Melissa admitted. But they have found more than that, “we [the costume houses] view ourselves more like a community, than competitors.” She, happily, relates tale after tale of recommendations shared, “if they don’t have it, they’ll say, ‘try Hero’; and we do the same.” We’re among those that make recommendations and these girls have a top notch stock of work wear, head to toe – vintage and contemporary as well as those leather pieces from their Odds largess.

The past few years have seen several innovative, exciting new houses. Opened by experienced professionals, they contribute to the vitality of the New York film, television and theater community. Here is our roundup of the resources available to us and the people behind them. We hope you’ll find this a valuable resource – you can cut and paste it or better yet, just refer back to this blog.

Alias Costume Rental

Alias Costume, like Hero Wardrobe, opened late last year and stylist Antonia Xereas and costume designer Kaela Wohl were, also, able to secure a considerable amount of the Odds inventory to add to their own substantial stock. Aside from their substantial vintage selections, Alias can provide uniforms, work wear, theatrical costumes as well as shoes and accessories.

Cloak Wardrobe

Cloak Wardrobe founded by Eric Orlando, offers high-end men’s and women’s shoe and clothing rentals  for fashion, film, celebrities and special events.

L'Armoire du Styliste

L’Armoire du Styliste Editor and fashion stylist, Beagy Zielinkski,  has assembled an impressive collection of ready-to-wear and couture clothing as well as shoes and accessories. This is an atelier created by a stylist for stylists.

rrrentals opened three years ago on the eleventh floor of our building

rrrentals

(245 West 29th Street). Owner, Renate Lindlar has assembled an eclectic inventory of contemporary fashion lifestyle clothing for children, men and women running the entire gamut from cocktail and evening gowns to undergarments, knitwear, shoes and accessories. It’s a great place to rent from and feel free to stop in on the eighth floor to say Hi.

The Stock Room

The Stock Room, is located in Bayonne, New Jersey at 285 Broadway at 12th Street, (347)512 4187. Here we have the television and movie costumer’s dream. Larry Hillwig has created the “mother load” for general stock. If you’re looking for police, security, nurses, bellhops, doormen – prison uniforms to Clerical Garb (priests, nuns, altar boys) you’ll find it here. A nice feature here is that they also provide a full range of outer wear and “warmy” coats to keep the actors comfortable.

Among the long established locations, in addition to Helen Uffner, here are our long running faves:

Early Halloween

At Christmastime in 1968, Joyce Ostrin opened Early Halloween. This Chelsea space has become a cherished mainstay for vintage apparel. “Like Helen I met Joyce while shopping “Fried Green Tomatoes”, says Cheryl, “she had some of the best vintage children’s clothing that I scooped up and were in the movie.”

Albright Fashion Library

Now, if you find yourself on one of those high end jobs, Albright Fashion Library is the industry destination. Meticulously selected, ever so current pieces (they are sought after by Red Carpet stylists), from jewelry to handbags as well as the most current shoe styles are all available. “When I was day playing on “Wall Street II”, says Cheryl, “many of the gowns for the ever so elegant Metropolitan Museum of Art event bore the Albright label. All the pieces were exquiste.”

Creative Costume Co.

Among the “tried and true” Linda Carcaci and Susan Handler’s Creative Costume Company is a fun standout. These ladies have been hand making costumes for seventeen years. As a result their Fashion District warehouse is home to a well organized impressive inventory divided by period and type making shopping a breeze. While there is usually a forty-eight hour rental limit, at Halloween the limit is extended to two weeks. Even though the kids are ignored here, I defy any adult entering this magical place not to feel that child within.

Finally, for Not For Profits and educational institutions there is the invaluable TDF

tdf Costume Collection

Costume Collection . If you have ever wondered what happens to the costumes closing night, here is the answer. TDF has assembled 75,000 costumes and accessories from Broadway and Off-Broadway to opera companies and theatrical tours. This incredible inventory is available for a nominal charge.

Okay, the reality is, New York is not LA, we don’t have the resources the studios and the rental houses out there  can provide. But the expansive inventory among our resources and the collegiality among the professionals helming them has to make you feel good about being in the business in this town, doesn’t it?

Quick List of NYC Costume Rental Houses

Alias Costume Rental

Albright Fashion Library

Cloak

Creative Costume Co.

Early Halloween Vintage Clothing

Helen Uffner Vintage Clothing

Hero Wardrobe

L’Armoire du Styliste

rrrentals

TDF Costume Collection

Tommy & Cheryl (with roger kimpton)