A Fil-Canadian’s tribute to Oscar-winning designer

LILY Collins as Snow White. Even her skin tone figured in character development.

LOS ANGELES—On a set visit to “Mirror Mirror” in Montreal, Canada, last year, as Oscar-winning costume designer Eiko Ishioka showed us her elaborate costumes for Julia Roberts and Lily Collins, we noticed a Filipina-looking woman.

We approached her, introduced ourselves and—thanks to our penchant for finding a “Filipino Connection” or “FC”— found that the woman was, indeed, a Pinay. Her name was Charlene Vallespin, she said. We discovered that she had been accorded the rare privilege of being mentored by Ishioka, who had previously won a best costume design Oscar for “Bram Stoker’s Dracula” by Francis Ford Coppola. Ishioka was considered a genius who brought her unique stamp to film, theater, album covers, graphic design, the Summer Olympics in Beijing, the Winter Olympics in Salt Lake City, Utah and Cirque du Soleil.

Last month, we read with sadness the news that Ishioka died in Tokyo at age 73. We thought of Charlene.

PH-born

Born in the Philippines, Charlene and her family moved to Canada when she was 7. Her mother, Ester Cabrera, was born in Sampaloc, Manila; her father, Charlie Reyes Vallespin, is from Panganiban, Catanduanes.

Charlene, who became a Filipino-Canadian, worked in video, TV and movie productions in Quebec before she landed the job of assistant to Ishioka during the “Mirror Mirror” shoot in Montreal. One of two films based on the beloved “Snow White” fairy tale to be released this year, “Mirror …” is directed by Tarsem Singh and stars Lily Collins as the heroine and Julia Roberts as the Evil Queen.

Cannes honors

Based on the costumes, masks and hats that we saw during our visit, “Mirror …” is the final triumph in Ishioka’s distinguished career that began in her native Japan. The New York

COLLINS and Armie Hammer as Prince Andrew Alcott (center) in the ball scene that aptly illustrates Ishioka’s genius, with spectacular costumes, hats and masks.

Times has noted that Ishioka “was for decades considered the foremost art director in Japan; she later came to be known as one of the foremost in the world.”

Eventually moving on to other fields, Ishioka, along with composer Philip Glass and cinematographer John Bailey, were honored by the Cannes Film Festival in 1985 with a special prize for their work on Paul Schrader’s “Mishima: A Life in Four Chapters.” On Broadway, she designed the costumes for “Spider-Man: Turn Off the Dark” and “M. Butterfly” (she also did the sets for the latter). She won a Grammy for the cover design of Miles Davis’ “Tutu” album, and directed Bjork’s music video, “Cocoon.”

Below are excerpts of our e-mail interview with Charlene, whose ultimate career goal is to become a successful screenplay writer:

How did you land this wonderful opportunity to be Eiko Ishioka’s Canadian assistant?

Initially, I was up for a position in the film’s production office, but it was already filled. Having worked on previous projects, I believe the production coordinator kept me in mind; I absolutely thank her for that. I was called in weeks later to work with Eiko. A great combination of luck and timing.

How much did you know about Ishioka before that? What were your first few meetings like?

Honestly, I did not know much, apart from the fact that she was the head costume designer and that she had just finished work on “Immortals.” I even confused her with someone else. A friend of mine looked up Eiko’s previous work when I was meeting her for the first time. As she was about to tell me Eiko’s bio, the first word out of her mouth was, “Wow!” I stopped her at that because I didn’t want to be any more nervous than I already was.

JULIA’S “peacock” dress, meant to make the Queen stand out.

On our first meeting, Eiko quickly glanced at my resume and then set it aside. She asked if I had any experience in costumes or if I was interested in being a designer. I told her that I was an aspiring screenplay writer with mediocre sewing skills, that’s about it.

She paused for a moment. I really thought I had botched the interview. I quickly told her that I had worked in several departments and that costume design was going to be a learning curve for me … that I understood the impact and importance of dressing actors so it was a facet of the business I wanted to explore … that I was determined to learn whatever I could from her. She smiled and we started discussing colors, outfits and designs that were on her wall. She was receptive to my thoughts and explained why she did things a certain way. The following meetings were eye-openers, always different, challenging, moving forward.

Please share instances of witnessing her genius as she worked on the costumes for “Mirror Mirror.”

I could never truly witness singular moments because the raw ideas and imagery were in her mind. It was a continuous process of creating, with many stages. There was the verbal stage, when she described things to you … color spectrum, fabrics, costume periods … In the designing stage, she put her ideas on paper. It was your chance to get a glimpse of those ideas. Finally, the

production stage, when the costumes were made. At this point, you can see, feel and touch her imagination coming to life.

So based on the directions she gave and her intensive work with department heads, the end result of her genius was experienced by many at the same time. You’re just going to have to wait when “Mirror Mirror” comes out in theaters to see what I mean. The costumes are incredible!

What struck you the most as she worked on the costumes of Lily Collins and Julia Roberts? Which of these did she enjoy designing and making the most? Which ones challenged her?

What struck me the most was how Eiko enhanced the characters’ personalities through the costumes. Snow White’s were simple, carefree, in pastel colors that were innocent-looking.

THE LEGENDARY Eiko Ishioka (left) with her “Mirror Mirror” costume crew (from right): Sylvie Clément, dresser who assisted Julia Roberts; Nico Soultanakis, coproducer; Thomas Beall, associate designer; Charlene Vallespin; and Gail Fitzgibbons, supervisor

She’s been sheltered and hidden away, so even her skin plays a role. Yet midway through the story, having befriended the dwarves, her costumes harden and darken, suggesting that she has become a fighter. Goodbye, sweet dresses; hello, rugged capes and black outfits! Three words from the Queen’s costumes: wicked, grand, extravagant.

Eiko treated her creations like her babies. Each one was as important as the next, no matter who was wearing it. I believe that those of Julia’s were the most challenging, based on size, weight and intricate detail. Absolutely flamboyant.

What were Lily’s and Julia’s fittings with Ishioka like?

Most of the fittings were done in New York and the final changes and additions were applied in Montreal. From what I saw, Lily enjoyed getting into her costumes. She loved Snow White’s wedding dress. That’s one of my favorites as well.

As for Julia’s fittings, because of the complexity of her costumes, she needed a couple of people to help her into them — just like a real queen in the 1500s, I would imagine. Also, considering the scale of some dresses, compromises had to be made. I was witness to an amusing instance. The “bridal dress,” I believe, weighs close to 70 pounds. Julia’s photo double, having a small body frame, had not expected that. Trying it on, she nearly toppled over!

Ishioka’s hats and masks for the ball scene are works of art.

Yes, the costumes in the ball scene are amazing! Everyone was clothed in distinctive, animal-like attire that matched his or her character. Eiko told me that one of the reasons that she chose to base the Queen’s red dress on a peacock was for the character to stand out in the crowd and scare away competition—like pointing out “the fairest of them all.”

Eiko was fond of this woman who was dressed like a “snobbish” lobster because it suited her so well. I loved the man dressed like a moose. Great thing was that, considering their scale, these costumes weren’t so heavy. Another beautifully set moment was when the extras wore “boats” on their heads, but you have to see the movie to know why.

What did you learn from Ishioka, the artist and the woman?

Ishioka, the artist, knew no bounds. She did things beyond the norm, which she backed up with research and experience. She taught and showed me that detail, no matter how small or how large, is key to conveying a message, an emotion, and that it should never be overlooked. The purpose of costumes, no matter how grandiose, theatrical or uncomfortable to wear, is to delight the eyes with lush and succulent treats of colors in all shapes and sizes.

Eiko, the woman, was beyond driven. She was disciplined and dedicated to her art. Her age, while working back-to-back on “Immortals” and “Mirror Mirror,” never stopped her. It was hard work but she enjoyed herself to the fullest. The accomplishments of the artist and the woman combined are unmatched and serve as pillars for those who wish to follow in her footsteps.

If she were to give advice, she was not the type to utter the generic “Follow your dream.” It wasn’t her style. She’d say something like, “If something is burning inside you, don’t be afraid to burn others with it.” Being in the entertainment business, I hope to do just that.

What will you remember the most about your time with Ishioka?

JULIA Roberts, as the Evil Queen in “Mirror Mirror,” wears elaborate and heavy costumes, including one that weighs around 70 pounds and almost toppled a photo double.

Apart from the many great people I met just being around Eiko and the costumes she brought to life, it would be those quiet times when we were on the set, waiting for the next scene to be shot. I was like a sponge, taking in anything and everything that went on. I’ll remember our long talks in the car, or while having tea and just getting to know each other. I had so many questions and she always found time to answer.

For such a small lady, she made her presence felt whenever we walked into a room. Even among much taller people, she had that effect. She gave me a new sense of appreciation for film wardrobe.

When did you last see her? What were her last words to you?

That would be in September, close to the wrap of “Mirror Mirror.” She was heading back to New York and invited me to see “Spider-Man: Turn Off the Dark” on Broadway, one of her many successful projects. She expressed her fondness for Montreal and said she was looking forward to working here again, and with me. As she thanked me for the time I had dedicated to her, I cut her off. I had to tell her that it was I who benefited the most from our time together.

With Ishioka’s passing, the need to preserve her legacy matters more than ever. Do you know of any plans to keep/collect Ishioka’s costumes, hats and masks for posterity?

Some costumes remain in personal care [with her family] and some belong to the studios. Her management in New York will see to the proper care of her collections. Those interested in previewing some of her work can acquire her design books. Before she passed away, she had another book in the works. It would include her more recent projects such as “Mirror Mirror” and “Immortals.” It is certainly worth the time of every aspiring costume designer and those who love to be dazzled.

What’s next for you?

When I’m not working on a film or a TV project, I’m writing. I’m always trying to perfect my craft, creating and building new ideas to “burn” people’s minds with. I’m currently looking into having an agent and someday, hopefully, it’ll be my screenplay playing on the silver screen.

(E-mail the columnist at [email protected]. Follow him at https://twitter.com/nepalesruben.)