Age, Biography and Wiki

Dorothy Jeakins was born on 11 January, 1914 in San Diego, CA, is an American costume designer. Discover Dorothy Jeakins's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of Dorothy Jeakins networth?

Popular As N/A
Occupation costume_designer,costume_department,actress
Age 81 years old
Zodiac Sign Capricorn
Born 11 January 1914
Birthday 11 January
Birthplace San Diego, California, U.S.
Date of death November 21, 1995
Died Place Santa Barbara, California, U.S.
Nationality United States

We recommend you to check the complete list of Famous People born on 11 January. She is a member of famous Costume Designer with the age 81 years old group.

Dorothy Jeakins Height, Weight & Measurements

At 81 years old, Dorothy Jeakins height not available right now. We will update Dorothy Jeakins's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Who Is Dorothy Jeakins's Husband?

Her husband is Ray Dannenbaum (November 20, 1939–?)

Family
Parents Not Available
Husband Ray Dannenbaum (November 20, 1939–?)
Sibling Not Available
Children Not Available

Dorothy Jeakins Net Worth

Her net worth has been growing significantly in 2022-2023. So, how much is Dorothy Jeakins worth at the age of 81 years old? Dorothy Jeakins’s income source is mostly from being a successful Costume Designer. She is from United States. We have estimated Dorothy Jeakins's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income Costume Designer

Dorothy Jeakins Social Network

Instagram
Linkedin
Twitter
Facebook
Wikipedia Dorothy Jeakins Wikipedia
Imdb

Timeline

2016

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.

2011

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 advertising staff - Dorothy Jeakins. Edith Head recommended Dorothy Jeakins to Karinska, who recognized Dorothy's artistic sketching style and as a potential apprentice. After a portfolio interview presentation, Dorothy Jeakins was hired to work as an illustrator, to sketch and illustrate costume ideas that Karinska would herself provide in a simplistic sketch. The illustration costume sketch solved, fulfilling the producers request for "sketches" - gave Karinska her time and value to supervise the wardrobe work-room, maintaining the film's principle photography schedule. As production proceeded, all the costumes illustrated and wardrobe construction under completion, sketch artist Dorothy Jeakins was kept on the production's wardrobe team apprenticing and assisting Karinska. Jenkins became involved with costume shop supervision, fittings, and finishing of wardrobe specifics required in production. Principle photography began, all the costumes designed by both Raoul Pene Du Bois and Karinska were finished or under completion in the wardrobe work-room. Karinska with the producer's approval, moved to MGM's Culver City studios to begin designing costumes for Vincent Minelli's "The Pirate." Dorothy Jeakins was left in charge, to finish the film's shooting schedule, expected to pull together any last minute costume requirements in the studio's stock inventory. Upon completion of principle photography, Jeakins remained on the production's pay-roll returning wardrobe-costumes to Paramount's wardrobe-stock inventory. Edith Head, after Jeakins had finished the film's costume strike, transferred sketch artist Dorothy Jeakins to the Paramount Pictures wardrobe department, adding Dorothy to her stable of costume sketch artists and illustrators. In the best Hollywood tradition, like "Eve Harrington" in "All About Eve," after Karinska had departed for New York City and MGM, Dorothy Jeakins convinced director Victor Fleming and producer Walter Wanger that she had actually designed all of the movie's costumes. Neither Raoul Pene Du Bois nor Karinska were around to contradict her claim! "Joan of Arc" had important nominations and wins for the 1948 21st Motion Picture Academy of Arts and Science Oscar Award contest - but failed to be nominated in the Best Picture category. Films "Joan of Arc" and "The Search" received an Academy Special Award. Jose Ferrer was awarded Best Actor in a Supporting Roll. The Award for Cinematography (in Color) was awarded to Joseph Valentine, William V. Skall and Winton Hoch. Frank Sullivan was awarded an Oscar for Best Film Editing (in Color). In the Academy Award Best Actress category the winner was Jayne Wyman for "Johnny Belinda." Loosing nominees in Best Actress were the following: Ingrid Bergman for "Joan of Arc," Olivia De Havilland for "The Snake Pit," Irene Dunn for "I Remember Mama," Barbara Stanwyck for "Sorry, Wrong Number. The Art Direction Award (in color) was won by "The Red Shoes" - art director Hein Heckroth and set decorator Arthur Lawson, beating out "Joan of Arc" art director Richard Day and set decorators Casey Roberts and Joseph Kisit. In the category Music Score of a Dramatic or Comedy Picture, composer Hugo Friedhofu was nominated for his work on "Joan of Arc." . The producers failed to include Raoul Pene Du Bois' costume design contribution in the film's credit category. Two Costume Design (in Color) films were nominated, "The Emperor Waltz" designed by Edith Head and Gile Steele, with "Joan of Arc" winning Best Costume Design Oscar for Barbara Karinska (age 62) and Dorothy Jeakins (at the young age of 35), (b.Jan 11,1914-d.Nov.21,1995, death age 81). The nomination and Oscar trophy launched Dorohy Jeakins costume design career. At the Academy's theater presentation, Elizabeth Taylor announced and gave the award to nominee Dorothy Jeakins. Karinska was in New York City.

1987

Her last film was John Huston's The Dead (1987), for which she used mud colours to convey the oppressive atmosphere of social life in Dublin in 1904.

1964

Dorothy Jeakins was nominated for a total of 12 Academy Awards, winning her third for The Night of the Iguana (1964).

1957

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."

1953

Among her best showcases are Niagara (1953) (who could ever forget Marilyn Monroes sexy red dress ?), Friendly Persuasion (1956 (1956), Elmer Gantry (1960), The Music Man (1962), The Way We Were (1973) and Young Frankenstein (1974).

1949

Fleming liked her work so much that he promoted her to design the costumes for the picture, effectively replacing the previously designated Barbara Karinska (though both ended up sharing the Academy Award in 1949).

Dorothy won her second Oscar, back-to-back, for Samson and Delilah (1949), along with the legendary Edith Head. Within a very short time, Dorothy established a reputation for sense of style and an eye for colour. She had a notable penchant for period and/or ethnic themes. She was also said to design to the specific requirement of each individual picture and director, rather than asserting her own personal stamp over the project. Throughout her subsequent career, she remained doggedly free-lance, never under long-term contract to any individual studio. Her work also encompassed theatrical costume design, notably for the Shakespearean festival in Stratford, Connecticut, and, for John Houseman on Broadway.

1948

Her big break came when she was hired by Fleming as sketch artist for Joan of Arc (1948).

1936

Distinguished American costume designer, who worked with some of the biggest names in Hollywood, including John Huston, William Wyler, Cecil B. DeMille and Robert Wise. Abandoned by her parents at an early age, Dorothy Jeakins was educated at schools in San Diego and Los Angeles. Early in her childhood, she demonstrated an aptitude for drawing, which won her a State of California Scholarship at the Otis Art Institute. She supplemented her studies by working as a live-in servant with local families. After submitting some very good illustrations to the Los Angeles City Planning Commission, she was taken on by the Southern California Arts Project. In 1936, Dorothy held a job in the colour department at Walt Disney studios, painting animated cells of 'Mickey Mouse' for $16 a week. Her first work in fashion design was doing layouts for Magnin's Department Store, which attracted the attention of 20th Century Fox art director Richard Day. Day then brought her to the attention of film director Victor Fleming. Before long, Dorothy was seconded to the studio wardrobe department as an illustrator under Ernest Dryden.