Toronto native Denise Cronenberg has been the costume designer on ten of her brother David Cronenberg's features: The Fly, Dead Ringers, Naked Lunch, M. Butterfly, eXistenZ, Crash, Spider, A History of Violence, Eastern Promises, A Dangerous Method an most recently Cosmopolis. She also created the costumes for his short film, Camera, and worked as wardrobe trainee on Videodrome and wardrobe mistress on The Dead Zone.
Other films that Denise also designed costumes for include David Anspaugh's Moonlight and Valentino; John N. Smith's A Cool, Dry Place and telefilm Sugartime; Eriq La Salle's telefilm Rebound: The Legend of Earl The Goat Manigault; Agnieszka Holland's The Third Miracle; Kasi Lemmons's The Caveman's Valentine; James Wan's Dead Silence; Zack Snyder's Dawn of the Dead; and Michael Davis's Shoot 'Em Up.
Other films for which Denise has designed the costumes include: Murder at 1600, Dracula 2000, The Incredible Hulk, and Resident Evil Afterlife. While she does not consider herself a quintessential fan of the horror genre, she has designed for many films in that field.
Denise has been nominated six times for Achievement in Costume Design by The Genie Awards (Canadian film awards). For her passion and dedication in her field, Denise has been named the recipient of TheWIFTS Foundation Costume Design Award 2011.
Prior to entering the film industry, Denise was a professional dancer. She trained with The American Ballet Theater and danced with the Royal Winnipeg Ballet. Her dancing career includes performances on The Nat King Cole Show, numerous operas on stage and for television, and a stint with The Sadlers Wells Ballet, dancing with Margot Fonteyn and Michael Somes among others.
Having been raised by artistic parents, a pianist mother and writer father, and grandparents who were all tailors, Denise designed her own clothing from childhood on. With the birth of her daughter, she began making dresses that caught the attention of a French children's boutique. The business that began in her basement soon blossomed into a cottage industry, employing several sewers and producing garments that were sold in Toronto, Montreal, Quebec, and New York City's illustrious Bloomingdales. But routine structure of the garment industry did not suit Denise's one-of-a-kind creative spirit.
Visiting the set of her brother David's film Brood changed Denise's life for ever after. Having been a performer, she knew firsthand how important clothing is to performance. Denise then joined the film union and trained in every aspect of film costume design. The opportunity to express herself fully came with David's invitation to create the costuming for his feature film The Fly. A dream come true.
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