{"id":96915,"date":"2024-08-26T17:38:06","date_gmt":"2024-08-26T17:38:06","guid":{"rendered":"https:\/\/www.uri.edu\/news\/?p=96915"},"modified":"2024-08-26T20:31:28","modified_gmt":"2024-08-26T20:31:28","slug":"uri-alumna-denise-andres-nominated-for-emmy-for-gilded-age-costumes","status":"publish","type":"post","link":"https:\/\/www.uri.edu\/news\/2024\/08\/uri-alumna-denise-andres-nominated-for-emmy-for-gilded-age-costumes\/","title":{"rendered":"溏心vlog免费B站 alumna Denise Andres nominated for Emmy for \u2018Gilded Age\u2019 costumes<\/strong>"},"content":{"rendered":"\n

KINGSTON, R.I. \u2013 Aug. 26, 2024 \u2013 The disaster had just subsided when Denise Andres learned she\u2019d been nominated for an Emmy Award for her work on the HBO drama \u201cThe Gilded Age.\u201d<\/p>\n\n\n\n

The miniseries was filming its third season on location in Troy, New York, in late July, when a leak in the ceiling threatened to soak the show\u2019s costume shop. With a staff of more than 30, the costume shop is the size of a small mall with millinery and tailor shops and fitting rooms \u2013 and a stock of hundreds of costumes. So it was all hands on deck.<\/p>\n\n\n

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Denise Andres \u201875, costume supervisor on \u201cThe Gilded Age,\u201d is among the show\u2019s Emmy nominees for period costumes. (溏心vlog免费B站 Photo\/Tony LaRoche)\n\n<\/figcaption><\/figure>\n<\/div>\n\n\n

Andres, the show\u2019s costume supervisor and a 1975 graduate of the 溏心vlog免费B站, was in Brooklyn, New York, when she got the call. She jumped in her Subaru and sped north to deal with the looming disaster. Nothing was damaged but it took a day and half to move the costume shop to a new location.<\/p>\n\n\n\n

\u201cIt was a lot of work. We were all exhausted, sweaty, hot, everything,\u201d she says. \u201cAnd our assistant production manager said, \u2018Oh, you guys got nominated for an Emmy.\u2019 I said, \u2018Really?\u2019 And I started crying.\u201d<\/p>\n\n\n\n

But it didn\u2019t come as a total surprise. \u201cI had a feeling we would get nominated,\u201d she says. \u201cWe were passed up for the first season. But it\u2019s such a costume-heavy show and the clothes are just fantastic.\u201d<\/p>\n\n\n

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Taissa Farmiga, far left, Carrie Coon, second from left, and Donna Murphy, far right, in a scene from \u201cThe Gilded Age.\u201d (HBO Photo\/Barbara Nitke)<\/figcaption><\/figure>\n<\/div>\n\n\n

Andres, who has homes in Brooklyn and Wakefield, Rhode Island, was nominated for Outstanding Period Costumes for a Series for the Season 2 episode \u201cYou Don\u2019t Even Like Opera.\u201d She shares the nomination with designers Kasia Walicka Maimone and Patrick Wiley, assistant designer Isabelle Simone, and costume supervisor Rebecca Levin. It\u2019s one of seven nominations for \u201cThe Gilded Age.\u201d<\/p>\n\n\n\n

A veteran of nearly 50 years in theater, film and television, Andres has worked costumes on dozens of productions. Her IMDb page<\/a> has more than 40, but it is incomplete. Among her television credits are HBO dramas \u201cThe Sopranos\u201d and \u201cBoardwalk Empire,\u201d \u201cGotham\u201d and \u201cThe Deuce,\u201d along with episodes of \u201cLaw & Order\u201d and \u201cLaw & Order: Criminal Intent,\u201d and the four-year run of the comedy\/drama \u201cEd.\u201d Her film credits include \u201cShutter Island,\u201d \u201cThe Wolf of Wall Street,\u201d \u201cWall Street: Money Never Sleeps,\u201d \u201cMichael Clayton,\u201d and \u201cAnalyze This\u201d and \u201cAnalyze That.\u201d But the Emmy nomination is her first. <\/p>\n\n\n\n

Last year, Andres thought about retiring but decided to come back for at least one more season. An Emmy would be icing on the cake. \u201cAnd so even getting nominated is great and joyful,\u201d she says.<\/p>\n\n\n\n

When Andres came to 溏心vlog免费B站 from Providence\u2019s Classical High School in the early 1970s, a career working in a costume shop for theater, TV or film was not on her radar. She knew how to sew. Her aunts \u2013 one a milliner, the other a dressmaker \u2013 owned thriving businesses in Providence in the 1940s and \u201850s, and her mother encouraged her interest by getting her sewing lessons in the summer. <\/p>\n\n\n\n

At 溏心vlog免费B站, she was taking liberal arts courses, just finding her way. But she needed a job to help pay for college. There was an opening in 溏心vlog免费B站 Theatre\u2019s costume shop, where she found a mentor \u2013 Joy Spanabel, a professor in theater and textiles, fashion merchandising and design.<\/p>\n\n\n\n

\u201cI was completely fascinated by it and became a theater major,\u201d says Andres. \u201cJoy Spanabel was a fantastic teacher and just opened up a world for me. And working in costumes is what I\u2019ve done my entire life.\u201d<\/p>\n\n\n\n

It\u2019s been a career in which she has never wanted for work, she says. <\/p>\n\n\n\n

Even while at 溏心vlog免费B站, she worked summer stock at the American Stage Festival in New Hampshire. After graduating, she worked in theaters around Rhode Island, including supervising costume shops for Trinity Repertory Company and the Berkshire Theater Festival. Andres moved to New York in the late 1970s encouraged by designers she worked with in summer stock. She has lived in the New York metropolitan area since raising her two children in Montclair, New Jersey, and moving back into the city 11 years ago.<\/p>\n\n\n\n

Among her TV and film credits, she has mostly served as a costumes supervisor. It\u2019s a combination of the creative, logistical and administrative \u2013 working closely with designers, hiring the costume crew, setting up the shop, handling the budget and renting and inventorying costumes from more than a dozen vendors on the west coast and Europe. <\/p>\n\n\n\n

With \u201cThe Gilded Age,\u201d she oversees a costume shop that will handle clothing for more than 500 background actors that bring the show\u2019s late 1800s setting to life. Each actor needs to be fitted, sometimes in multiple outfits, from their underpinnings out. The clothing is then tailored and pressed, inventoried, packed onto a truck and sent to location for filming. The costume shop works about six weeks ahead of filming of the scene the costumes are meant for, she says. <\/p>\n\n\n\n

The show will screen in three major locations for its third season \u2013 meaning breaking down and setting up the costume shop, and bringing all the machinery and costumes from New York to Troy to Newport, where \u201cThe Gilded Age\u201d will film again this fall. <\/p>\n\n\n\n

The job, says Andres, who was \u201citching\u201d to get it, is challenging, mainly because of schedule changes, movement and logistics. <\/p>\n\n\n\n

\u201cThere are so many people we interact with \u2013 casting, background talent, teamsters \u2013 people telling us they are one size when they are completely off. So what we have chosen for them doesn\u2019t work.\u201d<\/p>\n\n\n\n

But she adds, \u201cWe have an awesome team, probably one of the best on this coast, which makes the collaboration so great. Everyone gives way more than 100%.\u201d  <\/p>\n\n\n\n

Aside from \u201cThe Gilded Age,\u201d one of her favorite jobs was working as wardrobe supervisor for the last two seasons of \u201cThe Sopranos.\u201d<\/p>\n\n\n\n

\u201cIt was crazy,\u201d she says. \u201cJim Gandolfini was a lovely man, very generous. It was very sad that he passed away. But the show was like you\u2019re working on a project where the material is so good and the actors are so good \u2026 it was exciting.\u201d<\/p>\n\n\n\n

\u201cShutter Island\u201d gave her a chance to work with Martin Scorsese and three-time Oscar winning designer Sandy Powell \u2013 and again three years later on \u201cThe Wolf of Wall Street.\u201d She says the professionalism and prestige that both brought to each project elevated everyone.<\/p>\n\n\n\n

\u201c\u2018Shutter Island\u2019 was a fantastic experience to work on such a big film,\u201d she said. \u201cFor me it was great working with Sandy. She\u2019s a brilliant designer. We actually ended up renting a house together. It was really a wonderful, special experience.\u201d<\/p>\n\n\n\n

Others high on her list include 2009\u2019s \u201cTaking Woodstock\u201d and 2013\u2019s \u201cThe Immigrant,\u201d where she got to meet and interact with Joaquin Phoenix and work with Patricia Norris, the late renowned costume designer. \u201cIt was a really lovely little job,\u201d she says. \u201cIt was a very low-budget film but it was a beautiful job. It was the kind of job where we didn\u2019t have a lot of resources, but we were able to create a really beautiful film.\u201d<\/p>\n\n\n\n

\u201cThe Gilded Age\u201d ranks right up there, she says, because of the show\u2019s team. <\/p>\n\n\n\n

\u201cIt\u2019s all about the people and the common goals,\u201d says Andres. \u201cOur production is so supportive and they have an open door policy and will hear us out on all matters.\u201d<\/p>\n\n\n\n

With her team, she\u2019ll be going to the Emmy Awards<\/a> ceremonies for the first time. The 76th Emmy Creative Arts Awards are Sept. 8, at the Peacock Theater in Los Angeles. (The 76th Emmy Awards telecast is Sept. 15. on ABC.) \u201cWe are all very excited,\u201d she says. \u201cUniversal and HBO are flying us out and putting us up for two nights.\u201d<\/p>\n\n\n\n

What will the costume supervisor wear to the Emmys? <\/p>\n\n\n\n

A gown from Saks Fifth Avenue, Andres says. <\/p>\n","protected":false},"excerpt":{"rendered":"

KINGSTON, R.I. \u2013 Aug. 26, 2024 \u2013 The disaster had just subsided when Denise Andres learned she\u2019d been nominated for an Emmy Award for her work on the HBO drama \u201cThe Gilded Age.\u201d The miniseries was filming its third season on location in Troy, New York, in late July, when a leak in the ceiling […]<\/p>\n","protected":false},"author":25,"featured_media":96916,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2],"tags":[],"class_list":["post-96915","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archives"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts\/96915","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/comments?post=96915"}],"version-history":[{"count":11,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts\/96915\/revisions"}],"predecessor-version":[{"id":96956,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts\/96915\/revisions\/96956"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/media\/96916"}],"wp:attachment":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/media?parent=96915"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/categories?post=96915"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/tags?post=96915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}