Costume Design Nadoolman Landis, Deborah||
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Deborah Nadoolman Landis (born May 26, 1952) is an American costume designer, author, and professor. She has worked on notable films such as Animal House, The Blues Brothers, Raiders of the Lost Ark and Three Amigos, all of which credited her as Deborah Nadoolman. Landis served two terms as president of the Costume Designers Guild of which she has been a member for more than thirty years. She is married to director John Landis; their son is screenwriter Max Landis.
Born to a Jewish family, Landis graduated from UCLA with an M.F.A. in costume design in 1975. She earned her Ph.D. in history of design from the Royal College of Art in London. She has created iconic costumes throughout her career, such as the fedora and jacket of Indiana Jones (Harrison Ford), the "college" sweatshirt worn by John "Bluto" Blutarsky (John Belushi), and Michael Jackson's red jacket in Thriller. In addition to many Drama-Logue Awards for her theater designs, she was nominated for an Academy Award in 1988 for Coming to America.
Landis has lectured widely on costume design and has taught at the University of Southern California, the AFI Conservatory, and is a professor at the University of the Arts London. She was inducted as a Distinguished Alumna at the UCLA Department of Theater, Film and Television in 2005, and honored as a William Randolph Hearst Fellow at the University of Texas, Austin in 2006. In 2007, she served on the Cinefondation Jury at the 60th Cannes Film Festival. In 2009, Landis became the David C. Copley Chair and the Director of the David C. Copley Center of Costume Design at UCLA, School of Theater, Film & Television.
Landis has written several works on the art of costume and production design, including the first doctoral dissertation in the field of costume design, Scene and Not Heard: The Role of Costume in the Cinematic Storytelling Process. She received her doctorate from the Royal College of Art after attending UCLA. A pioneer in her field, Landis was awarded the first grant for costume design from the National Endowment for the Arts to investigate period costume trends in contemporary fashion. She has taught at the American Film Institute and the USC School of Cinematic Arts; her inventive class, Introduction to Film Costume, is a favorite among producing and directing students.
Deborah Nadoolman Landis, an Oscar-nominated costume designer, is best known for her work creating costumers for Raiders in the Lost Ark, Coming to America, and more. She is currently the Director of the David C. Copley Center for Costume Design at the UCLA School of Theater, Film & Television and author of six different books.
"Continuing Cunard's 'Stars Aboard' legacy, we are thrilled to welcome iconic film director John Landis, and esteemed costume designer, Deborah Nadoolman Landis onboard," said Josh Leibowitz, SVP Cunard North America.
Landis graduated from UCLA with a M.F.A. in Costume Design and was awarded the first grant for Costume Design from the National Endowment for the Arts to investigate period costume trends in contemporary fashion. She earned her Ph.D. in the history of design from the Royal College of Art. In addition to Dressed, she is the author of Screencraft: Costume Design, and she co-curated and edited the Academy of Motion Picture Arts & Sciences exhibition and catalogue 50 Costumes/50 Designers: Concept to Character.
But that is starting to change. A panel discussion organized by Fashion Group International of Los Angeles on June 3 with several well-known costume designers highlighted the various opportunities that are popping up when consumers fall in love with the costumes featured in popular TV shows or movies.
This crossover trend from film to fashion is good news for costume designers who do not receive movie residuals. Salvador Perez, president of the Costume Designers Guild, Local 892, in Los Angeles, said the guild has been pushing for years to get costume designers residuals, but the union has not been successful.
The costume designer for Return of the King said recently on the DVD that hours and hours were spent designing dresses for actress Miranda Otto and many of them are only in one scene and appear for mere seconds on screen. One dress appears only in medium shots, so all we see are the shoulders. What is the greatest frustration outside the sewing and fitting room as a costume designer when working on a film?
Deborah Nadoolman-Landis, the Academy Award-nominated costume designer of Raiders of the Lost Ark, Animal House, Blues Brothers, Michael Jackson's Thriller and Coming to America, will be the guest of the Fashion and Design & Merchandising Department as a Rankin Scholar-in-Residence. She will give a talk, open to all, on January 15th at 6 PM in Ruth Auditorium (Nesbitt Hall, 33rd & Market Sts.) followed by a reception and book signing.
Actress Emmy Rossum will host the 2015 Costume Designers Guild Awards, it was announced Wednesday. The guild, which revealed its nominations last week, also announced a number of recipients of honorary awards, including Boyhood writer-director Richard Linklater, costume designer Aggie Guerard Rodgers and designer and scholar Dr. Deborah Nadoolman Landis.
Linklater will receive the distinguished collaborator award in recognition of his support of costume design and creative partnerships with costume designers. Linklater collaborated with costume designer Kari Perkins on Boyhood, which is nominated for a CDG award for excellence in contemporary film.
Dr. Deborah Nadoolman Landis is an Oscar-nominated costume designer, historian and professor known for creating the iconic costumes for Indiana Jones in Raiders of the Lost Ark, the kingdom of Zumunda for Coming to America and Michael Jackson's legendary red leather jacket for Thriller. Professor Landis is the Director of the David C. Copley Center for Costume Design at the UCLA School of Theater, Film & Television. She has written six books including Hollywood Costume, the catalogue of her 2012 blockbuster exhibition that she curated at the Victoria & Albert Museum in London.
The Sketch to Screen panelists provided an in-depth look into the work and detail involved in costume design, while also providing creative insight into the artistic challenges that arise on a daily basis.
Join us for a riveting conversation with esteemed costume designers Lou Eyrich (The Prom, Ratched), Susan Lyall (The Trial of the Chicago 7, Rachel Getting Married), and Trish Summerville (Mank, The Hunger Games: Catching Fire) on the art and craft of creating unique worlds through costumes, moderated by costume designer and professor Deborah Nadoolman Landis.
Lou Eyrich is a 14-time Emmy nominated costume designer behind the hit television series Nip/Tuck, Glee, American Horror Story, Scream Queens, Feud, American Crime Story:The Assassination of Gianni Versace, Pose, Hollywood, Ratched, The Politician, and Netflix Films The Prom and The Boys in The Band. She has been nominated for a Costume Designers Guild Award 14 times, winning nine times. She has collaborated with Ryan Murphy for over 20 years and is now a producer overseeing all the costume departments on Ryan Murphy projects. Lou started her career, touring with bands, The Manhattan Transfer, Bette Midler and Prince.
When Susan Lyall arrived in New York to pursue a career in fashion design, it was her fascination with music, performance, and art which led into her current profession of developing characters and telling stories through costume.
John Landis directed the original film, and his wife Deborah Nadoolman Landis designed the costumes for the 1988 comedy, earning an Oscar nomination for her work on the clothes for the fictional African country of Zamunda.
Hall and fellow designers Angela Dean, and TJ Walker started the organization to promote and support the work of black fashion designers and costumers, as well as to raise money for students at the Fashion Institute of Design and Merchandising (FIDM) in downtown L.A. They handed out a $10,000 scholarship at the event.
From a young age, Landis knew she wanted to be a costume designer and was always thrilled by the black and white images from African Arts magazine. She relied on those images and others from her research to bring Zamunda to vibrant life on the screen through its inhabitants and their clothing.
Conferences play an important role in nurturing scholarship, contributing to the formations of professional practice, and defining future research directions, as well as in creating dynamic communities of scholarship around central discursive notions. Whilst the subject matter of performance costume studies is fairly clear--the costumed body in all its forms of production, representation and reception--the diversity of cultural and social contexts in which the costumed body is encountered is undeniably complex. Within popular culture, costume is now widely considered an integral part of the visual aspects of historic and contemporary theatre, film and events, as well as being increasingly a central focus in many other forms of cultural mediation, such as the online environment, museums, craft practices, performance art and political activism. The Critical Costume 2015 (CC15) conference and exhibition responded to this complexity with the aim of developing scholarship and design practices around the conception of costume as a means of 'critically interrogating the body in/as performance' (Pantouvaki 2015). (1) The specific aim of the 2015 conference was to investigate methodologies for researching costume in live performance, film and other media. The conference also aimed to explore the implications that various mediated forms such as film, digital contexts and wearable technologies have for contemporary costume practices, both in theoretical and practical applications. 2b1af7f3a8