Age, Biography and Wiki

Barbara Karinska (Varvara Zhmoudsky) was born on 3 October, 1886 in Kharkiv, Ukraine, is a Costumer. Discover Barbara Karinska'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 Barbara Karinska networth?

Popular As Varvara Zhmoudsky
Occupation costume_designer,costume_department,art_department
Age 97 years old
Zodiac Sign Libra
Born 3 October 1886
Birthday 3 October
Birthplace Kharkiv, Ukraine
Date of death October 18, 1983
Died Place New York, NY
Nationality Ukraine

We recommend you to check the complete list of Famous People born on 3 October. She is a member of famous Costume Designer with the age 97 years old group.

Barbara Karinska Height, Weight & Measurements

At 97 years old, Barbara Karinska height not available right now. We will update Barbara Karinska'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 Barbara Karinska's Husband?

Her husband is N. S. Karinsky (m. 1910–1921), Alexander Moïssenko (m. 1908–1909)

Family
Parents Not Available
Husband N. S. Karinsky (m. 1910–1921), Alexander Moïssenko (m. 1908–1909)
Sibling Not Available
Children Vladimir Anatolevich Jmoudsky, Irène Karinska

Barbara Karinska Net Worth

Her net worth has been growing significantly in 2021-2022. So, how much is Barbara Karinska worth at the age of 97 years old? Barbara Karinska’s income source is mostly from being a successful Costume Designer. She is from Ukraine. We have estimated Barbara Karinska's net worth , money, salary, income, and assets.

Net Worth in 2022 $1 Million - $5 Million
Salary in 2022 Under Review
Net Worth in 2021 Pending
Salary in 2021 Under Review
House Not Available
Cars Not Available
Source of Income Costume Designer

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Timeline

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.

1948

Costumer of the New York City Ballet, first costumer ever to win the Capezio Dance Award, for costumes "of visual beauty for the spectator and complete delight for the dancer." She won the 1948 Oscar for the costumes of Joan of Arc. She divided her time between homes in Great Barrington, Mass., and Domremy, France, the birthplace of Joan of Arc.

1944

Film costume designer Edith Head is credited for Ginger Rogers' modern day dress in the Paramount Pictures feature film-musical "Lady in the Dark." Broadway-film couturier/set designer Raoul Pene Du Bois is credited in the feature film as the costume/set designer in the circus dream-musical dance sequences. Paramount film studio art department supervisor Hans Drier was the Paramount feature film's Production Designer. The film's director Mitchell Leisen, (formerly a set and costume designer), supervised and contributed his creative imaginative set and costume ideas, suggestions, in the creation of the film's scenery and costume applications. Leisen was instrumental in creating the mink-fur skirted gown lined in jewels for Ginger Rogers' musical circus sequence. Raoul Pene Du Bois designed this costume which has usually been attributed to the films lead costumer Edith Head. The first mink gown was created, and during fittings and rehearsals, the costume's fur lined jeweled weight was just too heavy for Ginger Rogers to walk, nor to stand (up) during long filming sequences, nor to dance or perform in a choreographed production number. The first original gown, lined with matched paste-glass rubies and emeralds, cost $35,000 (in 1944 dollars) to manufacture. Brief shots of Rogers in the fur skirted paste-jeweled gown were photographed. The New York costume wizard Barbara Karinska was at the cross town - Culver City MGM studio collaborating with the costume designer Irene on the Ronald Colman and Marlene Dietrich filming of "Kismet." Raoul Pene Du Bois, who had collaborated with Barbara Karinska in New York City's Broadway theatricals, begged, imploring Madam Karinska to remake the fur skirt to enable Ginger Rogers to perform and dance in the musical production number. Karinska made a second version of the mink dress, lined with sequins, which, less bulky - weighed less, was lighter for Ginger Rogers's choreographed dream-circus-dance production number. Studio costume departments maintained a fur vault providing fur pelts for coats and costume trimming. The floor length mink skirt for Ginger Rogers used mink pelts from this vault. The original show-piece mink skirt, too heavy to wear, was rebuilt as a new costume. Karinska built a wire hoop covered with a fine netting, hanging and spacing the mink pelts apart from each other; supported by net, reducing the number of mink pelts on the skirt's total weight, allowing the skirt's flexibility on the actress' body during the dance sequence. Both gowns are shown in the movie. The original fur-skirted gown with the paste-glass jewels was donated to the Smithsonian Institution. The second fur skirted gown was DE-constructed, with the fur pelts returned to the studio's fur vault. Karinska was never credited for building this particular Ginger Rogers - dance-costume.

1931

Karinska followed the original Diaghilev Ballet Russe from Paris to Monte Carlo in order to be hired as their wardrobe mistress and costume designer. Arriving in Monte Carlo at the Opera House, Karinska entered the theatre, marched down the main aisle, introducing herself with the intent of becoming the company's wardrobe mistress. "Yes, I can sew!" In response to Diaghliev's question, she and her assistant had a job and career with the Ballet Russe! After being hired by the ballet company, which later became called "Ballet Russe de Monte Carlo" in 1931, Karinska, as part of the company staff, accompanied the ballet company on all of their engagements in Paris, London, New York, Chicago, San Francisco, in South American tour cities, and to Australia. Karinska remained in New York, establishing Madam Karinska's Costume Shop in the 40s. Karinska's costume work relationship with choreographer George Balanchine, who established the New York City Ballet with Lincoln Kirsten, evolved with Madam Karinska in charge of the ballet company's costume-wardrobe shop.