by Katharine Elizabeth Monahan Huntley
“Every garment worn in a theatrical production is a costume. Before an actor speaks, their wardrobe has already spoken for them. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every television and film production. It is an ancient theatrical craft and the process today is identical to when Euripides was writing long ago. Costume design is a vital tool for storytelling.”—The Costume Designers Guild
Eilish floats out of her boudoir, tanned and trim in a skin-tight white leotard and gauzy skirt. “It’s my schlep around thing. All pieces of taffeta, embroidered by hand. It zips into a miniskirt.”
Of course it does. It’s the exact sort of garb Aaron Spelling’s chic costume designer would wear to lounge around the manor. With an Irish lilt, she offers: “Tea, or perhaps a mimosa?” Followed by: “I have miniature lemon muffins baking in the oven.”
Charmed, I’m sure.
Irish Eilish
One of nine children, Eilish McNulty, an Irish Catholic living in Belfast, Ireland, was taught in St. Catherine’s Convent by Dominican Nuns. She excelled in the domestic arts.
Eilish: I would make my own clothes. I designed my first dress when I was nine years old. Turquoise with white dots the size of quarters. Polka dots. A peter pan collar with short sleeves and a full gathered skirt with two big patch pockets. As a teenager I would buy fabric Saturday morning for the dress to wear to the dance that evening. This may surprise you, but to this day, Ireland is ahead of U.S. fashion by at least six months. Great fashion comes out of Europe.
Eilish, nominated for two Emmys for Murder She Wrote, prepares to costume Angela Lansbury for the actor’s latest project—in Ireland. Any notion of Eilish “lounging around” while on hiatus from cult fave Charmed is pure fabrication.
Eilish in Camelot
“Film is the great collaborative art. The design triumvirate—the director of cinematography, the production designer, and the costume designer—struggle to create an invented world to help the director tell their story. A film is one gigantic jigsaw puzzle. A movie is an enormous architectural endeavor of sets and lighting and costumes for one time and one purpose. This minutely crafted kingdom must sit lightly on the shoulders of the narrative.”—CDG
Eilish immigrated to the United States at the age of twenty. After a short stint as a governess in Toluca Lake, and a whirlwind romance with Tony Zebrasky whom she married (very Aaron Spelling), she became a seamstress for Warner Bros. Eilish began sewing in the tailor shop, and soon thereafter was promoted to the finishing end of the costuming department, which led to—
Eilish: My first film was Camelot.
Under John Truscott’s extravagant and artistic direction, Camelot went on to win the 1967 Academy Award for Best Costume Design. Eilish went on to collaborate with glamour gurus Bob Mackie and Nolan Miller. She’s dressed glamour girls from the vintage beauties: Ann Baxter, Elizabeth Taylor, Lana Turner, Miss Bette Davis, to young Hollywood: Shannen Doherty, Holly Marie Combs, Alyssa Milano, Rose McGowan. Perhaps it is Eilish’s Celtic heritage that has fated the costume designer to hone her craft on shows about angels (Charlie’s Angels), vampires (The Kindred), and witches (Charmed).
Eilish: I started working for Aaron Spelling in 79 or 80. Charlie’s Angels, Love Boat, Vega$, Hart to Hart, Hotel . . . . The 80s were big shoulder pads and men’s pantsuits. Street kids with colored hair, cutting off tee shirts and ripping them up. I worked on Dynasty for ten years. Joan Collins, high fashion, and hats. At one point I was overseeing seven shows.
WBTL: I’m an unabashed fan of Spellingvision. I’ll never forget the pilot episode of Dynasty. Fallon (Pamela Sue Martin) biting the wedding cake bride’s head right off. I was instantly hooked.
Eilish: Television is different from real life. Aaron’s shows are exciting, contemporary.
And, whereas Spelling television is camp, Eilish is class. Read: Eilish doesn’t dish. Alas.
Charming Eilish
“When a costume designer receives a script, the process of developing the visual shorthand for each character begins. Costume sketches, fashion research and actual garments are used to help costume designers, directors, and actors develop a common language for the development of each character. Sometimes a glamorous entrance may be inappropriate and destructive to a scene. The costume designer must first serve the story and the director.”—CDG
Eilish affectionately refers to the Halliwell sisters—Phoebe, Piper, and Paige, as “my girls.” Phoebe (Alyssa Milano) is clearly her favorite. I imagine Eilish as a kind of Mary Poppins amongst the mischievous vixens.
Eilish: My girls have a unique look; there is a new wardrobe for every performance. I take into account the shade of their eyes, hair tint, and skin tone. Although the cast is color coordinated, I’m careful the actors are never in the same color at the same time. Nor do they have the same neckline.
“The more specific and articulate a costume is, the more effective it will be with an audience. Minute details loved by actors often enhance their performances in imperceptible ways. Many actors credit their costume as a guide to the discovery of their characters. Actors sometimes need sensitive costume design for imperfect bodies. Flattering figures, camouflaging flaws, and enhancing inadequacies are part of the job description.”—CDG
WBTL: Is there undo emphasis on the body beautiful?
Eilish: Their bodies need to be a slim shape. That’s what they’re paid for.
WBTL: Do you dress the actor or character?
Eilish: A bit of both. For a guest star, I definitely dress the character. For the girls, it’s best to dress them in clothes in which they’re more comfortable. Holly likes solids, Alyssa—carefree and could care less, Rose’s signature color is red. Rose wouldn’t wear in her personal life what she wears on the show. Not for a minute.
Stylish Eilish
“Costumes have always had enormous influence on world fashion. When a star captures the public’s imagination, a film or television role has catapulted him or her there. A style cycle begins as this role is recreated in retail fashion to the delight and demand of fans. The exposure this celebrity brings to a costume generates millions of dollars for the fashion business. When a film engages the public’s psyche, it is a powerful selling tool for a clothing manufacturer. Costume designers receive tremendous pride from seeing their efforts reproduced on a global scale, but little recognition and no remuneration for setting worldwide trends.”—CDG
WBTL: How do you keep fashion in fashion?
Eilish: I buy garments up to six weeks ahead. That’s really the window of time.
WBTL: Where do you shop for Charmed?
Eilish: Fred Segal on Melrose. Bleu has fabulous clothes. Yellow Dog. Traffic. Little boutiques carry eclectic styles. The Saks 6th floor is super trendy. The dilemma with the boutique designers is, once I’ve decided on one outfit—I need to purchase five of the same because of the stunts! Two for Alyssa and three for the stunt girls. My budget is high-end—$20,0000 a week. The outfits are expensive, but you do get what you pay for. The fit has to be great; they have to walk right into their clothes.
WBTL: Action figures!
Eilish: I outfitted Alyssa in black pencil pants with an overskirt, so she could do her kicks. Then we saw everyone putting skirts over pants—jeans with a chiffon skirt.
WBTL: What do you like to wear?
Eilish: A lot of black. White. A little pink, a little red. I organize my closet according to color. No floral prints.
WBTL: Fashion tips?
Eilish: Just because they’re showing hot pinks, oranges, and reds, it doesn’t mean you should wear it. Dress in colors that make you feel good, feel at ease. A smart woman dresses for herself, doesn’t try to be the latest thing. Black never goes out of fashion. The little black dress never ever goes out of fashion. Hiphugger jeans—very few women can get away with them. Of paramount importance are shoes! Shoes make or break the outfit. My friend Nolan Miller insists a full-length mirror is essential, and I concur. Study your body. Say to yourself: How do I look? How do I feel?
Luck of the Eilish
“Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film [and television] production. Costume designers are artists with pen and paper, form, fabric and the human figure.”—CDG
WBTL: Have you ever thought of designing a personal line?
Eilish: I’ve been so fortunate with my career—it’s kept me much too busy to consider my own line. And the money is incredible.
WBTL: Career versus family conundrum?
Eilish: Every Friday night when my son Mark was a little boy, I would leave the Warner Brothers’ lot and stop off at a toy store. One evening I was too late. The store was closed. And I walked into the house and Mark asked: Where’s my present? . . . [sigh] . . . . He would play baseball, and teetering in my high heels I would be sneaking into the bleachers from the back so he couldn’t see I was late . . . . If you juggle being the perfect wife, mother, friend, and career woman—you often end up feeling like a failure. But I’ve been blessed with a husband who fully supports my choices. If I were delayed, he would take over the household when I couldn’t be there—giving Mark dinner, his bath. Even now, I come home from the set Tony has dinner on the table—the wine is poured . . .
I glance around Eilish’s spacious home as we exchange farewells. The elegant white-washed dining room where she and Tony sip their spirits opens out to a glittering view of the San Fernando Valley. She then packs me off, warm muffins in hand. Gracious Eilish. Leads a charmed life.
When Irish Eyes are Smiling
Mark Zebrasky, the adored only child of Eilish and Tony, was known as “Mr. Z” at Saint Robert Bellarmine where he taught 2nd grade. A snappy dresser (and occasional Charmed extra), he was a great favorite among all the children, and in particular, of two Irish laddies, MacGuinness and Killian Monahan Huntley.
Work Cited
“What is Costume Design?” The Costume Designers Guild, 2002. www.costumedesignersguild.com
Postscript: Click the Fred Segal image to read: “Hollywood Ending.”
