Dorothy Jeakins (January 11, 1914 – November 21, 1995) was a costume designer.Born in San Diego, California, she went to public school in Los Angeles from first grade through high school. When she was a senior at Fairfax High School, she was offered a scholarship to study at the Otis Art Institute (now known as Otis College of Art and Design)[1].Jeakins got her start working on WPA projects and as a Disney artist in the 1930s. Her fashion career began as a designer at I. Magnin's, where she was spotted by director Victor Fleming. Hired as a sketch artist for Joan of Arc (1948), Jeakins worked on the costumes along with Barbara Karinska and shared an Oscar with her. This was the first Oscar ever awarded for costumes.Jeakins was unusual in that she freelanced, never signing a long-term contract with any one studio. She worked steadily for the next thirty-nine years, winning another two Oscars, for Samson and Delilah (1949, shared with Edith Head and others), and The Night of the Iguana (1964), and another 12 nominations. She was perhaps best known for her period costumes, in such films as The Ten Commandments (1956), The Music Man (1962), The Sound of Music (1965), Little Big Man (1970), The Way We Were (1973), Young Frankenstein (1974) and The Dead (1987). Her modern-dress excursions included Niagara (1953), Three Coins in the Fountain (1954), South Pacific (1958) and On Golden Pond (1981).Jeakins also worked on stage productions, including South Pacific (in which Motley was the principal costume designer), King Lear, Winesburg, Ohio and The World of Suzie Wong (for which she received her third Tony nomination), and such television productions as the 1957 production of Annie Get Your Gun, and Mayerling . For ten years beginning in 1953, she served as designer for the Los Angeles Civic Light Opera Company, and was curator of that city's textile and costume collection at the County Museum of Art. In 1987, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. Jeakins, who retired in 1990, once summed up her designing: "I can put my world down to two words: Make beauty. It's my cue and my private passion."
The "Theatre Development Fund," a not-for-profit organization, was created in the conviction that the live theatrical arts afford a unique expression of the human condition that must be sustained and nurtured. TDF's two-fold mission is to identify and provide support, including financial assistance, to theatrical works of merit and to encourage and enable diverse audiences to attend live theatre and dance in all their venues. The TDF Costume collection provides low-cost costume rentals to organizations nationwide, including theatre, television and film productions, opera companies and educational institutions. In 2014-15, the "Costume Collection" provided costumes for over 1,000 productions in 32 states across the country. The "Costume Collection" currently houses an inventory of more than 80,000 costumes and accessories. The "Costume Collection" is located in the historic Kaufman Astoria Studios in Queens, New York. Further information is available on their Web site at www.tdf.org/costumes. The "tdf/Irene Sharaff Awards (for year) 2016" presented by the Theatre Development Fund with the support of The Tobin Theatre Arts Fund, Celebrating Designers in Education gave the following awards, at a ceremony at 18:30, Friday May 20, 2016, The Edison Ballroom, located at 240 West 47th Street (between Broadway and 8th Avenue, New York City. The "Lifetime Achievement Award," first presented to the legendary Miss Sharaff in 1993, is bestowed upon a costume designer who over the course of his or her career has achieved great distinction and demonstrated a mastery of the costumer's art. The award is presented to a designer whose work embodies those qualities of excellence represented in the life work of Irene Sharaff: a keen sense of color, a feeling for material and texture, an eye for shape and form, and a sure command of the craft. Such a designer's achievement may stem from work for the theatre, opera, dance or film, or, as was true of Irene Sharaff, from all of them together. The "2016 Lifetime Achievement Award" was given to Susan Tsu. The tdf/Irene Sharaff "Young Master Award" is presented to a designer whose work, beyond being promising, has come to fruition. The award, honoring a designer of distinction early in his or her career, is given in recognition of Irene Sharaff's wish to see young designers encouraged on their way to fully acknowledged success and excellence in the costume field. The "2016 Young Master Award" was given to Suttirat Larlarb. The tdf/Irene Sharaff "Artisan Award" recognizes an individual or company that has made an outstanding supportive contribution in the field of costume technology. Among those who this award honors are assistant and associate costume designers, costume shops that take sketches and turn them into glorious and breathtaking realities, teachers who dedicate their lives to turning raw talent into professional accomplished designers, and authors who create the texts and trade publications without which a designer could not function. The "2016 Artisan Award" was given to Liz Covey and Rosemary Ingham. The tdf/ "Memorial Tribute Award" was created to recognize, celebrate and remember those artists who have pioneered the art of costume design, setting the standard for years to come. TDF believes that in reliving and reviewing the body of work of these artists, a new generation of designers is able to learn and grow, standing on the shoulders of the giants who went before them. The "2016 Memorial Tribute" was given to Dorothy Jeakins. The tdf/ "The Robert L. B. Tobin Award for Sustained Excellence in Theatrical Design" not only honors the name of Robert Tobin, but also symbolizes his passion, respect and esteem for the art of theatrical design. The recipient of this award has achieved a career so distinguished in theatrical design that his or her work becomes an example to all designers of the beauty, feeling and empathy that a designer creates through true mastery of this art. The "2016 Robert L. B. Tobin Award for Sustained Excellence in Theatrical Design" was given to Michael Yeargan.
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Swedish actress Ingrid Bergman played both Joan and Mary Grey, the fictional star actress who portrays the role of Joan in the New York City Broadway Maxwell Anderson play "Joan of Lorraine" at the Alvin Theatre, opening 11/18/1946-through-5/10/1947, a total of 199 performances. The 1946 play-within-a-play is about a company of actors who stage a dramatization of the story of Joan of Arc, and the effect that the story has on them. As the play begins, Mary Grey and the fictional director of the play-within-a-play, Jimmy Masters, are in conflict over how Joan is to be played. The conflict is resolved during the course of the play. Ingrid Bergman won a Tony Award for her performance, one of the first such awards ever given. Ingrid Bergman wanted to establish herself as a contender for Hollywood's greatest leading actress. She worked the town like a horse trader trying to get the Maxwell Anderson play "Joan of Lorraine" into a feature film for herself to star as "Joan of Arc." Bergman was unable to get any producer or studio interested. Bergman had worked with producer and director Victor Fleming in his remake of "Dr. Jekyll and Mr. Hyde" in 1941. Ingrid Bergman would not let the property get buried, she wanted to repeat her stage "Tony Award" performance, recorded for posterity. With her persistence, Bergman eventually convinced producer Walter Wanger, director Victor Fleming to join with her, to create an all new independent film company - "Sierra Pictures" - to produce the stage property "Joan of Lorraine" as a feature film in late 1947. (The company never produced another film.) An adaptation of "Joan of Lorraine" was filmed in Technicolor as "Joan of Arc." The film version did not use the play-within-a-play framework. Instead, it made the story a straightforward account of Joan's life, omitting the fictional acting company altogether. Anderson's dialogue for the story of Joan was not only retained, but in collaboration with Andrew Solt, expanded with additional scenes involving historical characters who do not appear in the original play. In New York, Bergman engaged Broadway-Hollywood film and stage costume/couturier designer Raoul Pene Du Bois, at age 33, (b.11/29/1914-d.Jan/1/1985, death at age 69). Raoul Pene Du Bois asked Barbara Karinska, at age 61 (b.10/3/1886-d.10/19/1983, death at age 97), to collaborate with him on the Hollywood extravaganza period costume film epic starring Ingrid Bergman. Both Raoul Pene Du Bois and Karinska had worked independently at Paramount Pictures on feature film projects. Raoul had costumed the Paramount feature "Kitty" in 1945. In 1945-46, Karinska had costumed the Bing Crosby, Fred Astaire musical comedy "Blue Skies" with Waldo Angelo and Edith Head as costume collaborators. The costume design team, Raoul and Karinska, spent four weeks in the New York City Public library researching the costume period. The first costume they designed in New York City was the suit of armor that Ingrid Bergman would wear as "Joan of Arc." Raoul Pene Du Bois and Barbara Karinska worked with the head of the Metropolitan Museum's historical armor collection - where the film's suit of armor for "Joan of Arc" was built and made by Leonard Heinrich, in the Metropolitan's basement-back-room armor restoration department. This was the first costume completed for the feature film. Both Raoul Pene Du Bois and Barbara Karinska negotiated a Paramount studios' costume-wardrobe office and then relocated to Hollywood, setting up their costume shop at Paramount Pictures' wardrobe department. The film was filmed at Howard Hughes Culver City RKO Pictures studio, and then initially released to movie theaters by Howard Hughes' RKO. At Paramount, Raoul Pene Du Bois continued illustrating his costume designs for the feature film "Joan of Arc" collaborating with Karinska, who supervised costume construction in the Paramount Pictures studio wardrobe shop. Raoul Pene Du Bois delivered costume design illustrations for all of the principle film's roles. Karinska assembled an entire shop of tailors, cutters, seamstress augmented with the studio's permanent wardrobe shop staff and was in the midst of building the principle costumes. Raoul Pene Du Bois felt he had completed his costume design task, deciding to depart the production because of the slow process of costume construction, and was offered a new project back in New York City. Raoul Pene Du Bois and the producers agreed that Karinska would design the remaining costumes for secondary performers, extras, etc. After Raoul Pene Du Bois's departure, the film producers insisted on seeing more costume sketches - which Karinska could not accomplish because she lacked the talent to illustrate costumes in the "Hollywood flashy presentation sketch style." Karinska had worked with costume illustrators with Edith Head and on New York stage shows. Edith Head had interviewed a newspaper-advertising fashion illustrator from the I. Magnin's Wilshire department store advertis
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Was twice nominated for Broadway's Tony Award as Best Costume Designer: in 1957 for "Major Barbara" and "Too Late The Phalarope;" and in 1959 for "The World Of Suzie Wong."
Costume Designer
Title
Year
Status
Character
The Yakuza
1974
Young Frankenstein
1974
costumes
The Savage Is Loose
1974
The Iceman Cometh
1973
The Way We Were
1973
costumes designer
Fuzz
1972
Fat City
1972
Little Big Man
1970
The Molly Maguires
1970
costumes designed by
True Grit
1969
costumes
The Fixer
1968
Finian's Rainbow
1968
costumes designed by
Reflections in a Golden Eye
1967
The Flim-Flam Man
1967
costumes designed by
Any Wednesday
1966
Hawaii
1966
The Fool Killer
1965
The Sound of Music
1965
costumes designed by
Ensign Pulver
1964
costumes designed by
The Night of the Iguana
1964
The Music Man
1962
costume design
All Fall Down
1962
The Children's Hour
1961
Let's Make Love
1960
Elmer Gantry
1960
costumes designed by
The Unforgiven
1960
Green Mansions
1959
South Pacific
1958
costumes designed by
Desire Under the Elms
1958
Annie Get Your Gun
1957
TV Movie
Friendly Persuasion
1956
costume design
Three Coins in the Fountain
1954
costumes designed by
Beneath the 12-Mile Reef
1953
City of Bad Men
1953
Inferno
1953
The Kid from Left Field
1953
White Witch Doctor
1953
Titanic
1953
costumes designed by
Treasure of the Golden Condor
1953
Niagara
1953
costumes designed by
My Cousin Rachel
1952
Stars and Stripes Forever
1952
Les Miserables
1952
The Big Sky
1952
Lure of the Wilderness
1952
The Outcasts of Poker Flat
1952
Belles on Their Toes
1952
The Greatest Show on Earth
1952
costumes
Samson and Delilah
1949
Joan of Arc
1948
The Dead
1987
On Golden Pond
1981
costumes by
The Postman Always Rings Twice
1981
North Dallas Forty
1979
Love and Bullets
1979
The Betsy
1978
Audrey Rose
1977
I Will... I Will... For Now
1976
The Hindenburg
1975
Costume Department
Title
Year
Status
Character
The Hindenburg
1975
costumes
The Stalking Moon
1968
costumes: Eva Marie Saint
The Best Man
1964
costume supervisor
The Misfits
1961
costumer: Marilyn Monroe - uncredited
The Ten Commandments
1956
costumes
Cyrano de Bergerac
1950
costumes: Mala Powers
Samson and Delilah
1949
costumes
Actress
Title
Year
Status
Character
Hawaii
1966
Hepzibah Hale
Self
Title
Year
Status
Character
The 68th Annual Academy Awards
1996
TV Special
Herself - Memorial Tribute
The 37th Annual Academy Awards
1965
TV Special
Herself - Winner: Best Costume Design, Black-and-White
$5 Million
