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Raoul Pene Du Bois was born on 29 November, 1914 in New York City, New York, USA, is a Costume Designer, Art Department, Production Designer. Discover Raoul Pene Du Bois's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Raoul Pene Du Bois networth?

Popular As N/A
Occupation costume_designer,art_department,production_designer
Age 71 years old
Zodiac Sign Sagittarius
Born 29 November 1914
Birthday 29 November
Birthplace New York City, New York, USA
Date of death 1 January, 1985
Died Place New York City, New York, USA
Nationality USA

We recommend you to check the complete list of Famous People born on 29 November. He is a member of famous Costume Designer with the age 71 years old group.

Raoul Pene Du Bois Height, Weight & Measurements

At 71 years old, Raoul Pene Du Bois height not available right now. We will update Raoul Pene Du Bois's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Raoul Pene Du Bois Net Worth

His net worth has been growing significantly in 2021-2022. So, how much is Raoul Pene Du Bois worth at the age of 71 years old? Raoul Pene Du Bois’s income source is mostly from being a successful Costume Designer. He is from USA. We have estimated Raoul Pene Du Bois'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

Raoul Pene Du Bois Social Network




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.


Nominated for a Tony Award in 1960, for his costumes for "Gypsy".


Awarded a Tony in 1953 for his scenic designs in "Wonderful Town."


Madam Karinska's Motion Picture Academy Award Costume Design "Oscar," for Howard Hughes produced RKO 1948 feature film "Joan of Arc" is shared with Dorothy Jeakins. The original feature film "Joan of Arc" costume designer was New York City Broadway set and costume/couturier designer, resident Raoul Pene du Bois, who asked Karinska to collaborate with him on the costume film extravaganza starring Ingrid Bergman. The first costume they designed in New York City was the suit of armor that 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 made, in the Metropolitan's back-room armor restoration department. This was the first costume completed for the film. Moving to Hollywood, Raoul Pene du Bois and Madam Karinska continued their film collaboration-partnership, with Raoul Pene du Bois designing costumes and Karinska supervising costume construction in the studio wardrobe shop. Raoul Pene du Bois tired of the slow production process abruptly departed for his return to New York City, leaving Karinska to proceed with the costumes for the costume epic. After Raoul Pene du Bois's departure, the film producers insisted on seeing more costume sketches - which Karinska could not accomplish with her costume construction time schedule nor in her lack of talent in illustrating. Karinska hired a newspaper-advertising fashion illustrator from the Bullock's Wilshire department store advertising staff - Dorothy Jeakins - to illustrate the additional feature film's costume proposals. As production proceeded, Dorothy Jeakins became more involved in the costume sewing and wardrobe construction supervision, fittings, and finishing of wardrobe specifics required in the filming process. After filming began, wardrobe requirements completed, Karinska returned to New York leaving Dorothy Jeakins to finish the film's shooting schedule. In the best Hollywood tradition, Dorothy Jeakins' film studio career was launched after winning the shared Motion Picture Academy Award Costume Design "Oscar" trophy-statuette.


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.


Raoul Pene du Bois was nominated for two Motion Picture Academy Awards for Best Art Direction: Louisiana Purchase (1941) Lady in the Dark (1944).


The theatrical stage and feature film set and costume designer Raoul Pene du Bois (November 29,1914 to January 1, 1985, died at age 71) created visual excitement for dozens of Broadway shows, Hollywood films, twice winning a Tony award, nominated for two Motion Picture Academy Award nominations in the category for Best Art Direction, died following a stroke at Lenox Hill Hospital in New York City. Raoul Pene du Bois, who was born on Staten Island, designed four showgirl costumes for his first Broadway show, an edition of the ''Garrick Gaities,'' when he was 14 years old. He did costumes for many revues and musicals, including ''One for the Money,'' ''Life Begins at 8:40,'' ''Two for the Show,'' the 1934 and 1936 editions of the ''Ziegfeld Follies,'' ''Carmen Jones,'' ''Too Many Girls,' Kurt Weill's ''Firebrand of Florence,'' ''The Music Man'' and ''Gypsy.'' His list of credits spanned more than half a century, from the mid-1920's -thru-the- 1980's, ''Carmen Jones,'' ''Call Me Madam,'' ''The Music Man'' and ''Gypsy.'' His Antoinette Perry Award winners were ''Wonderful Town'' for scenic design in 1953 and ''No, No, Nanette'' for costumes in 1971. Raoul Pene du Bois's last Broadway show, for which he designed sets and costumes, was ''Sugar Babies'' - which opened in 1979. Raoul Pene du Bois, created sets and costumes for ''DuBarry Was a Lady,'' ''Panama Hattie,'' ''Lend an Ear,'' ''Alive and Kicking,'' ''Call Me Madam,'' ''New Faces of 1952,'' ''Wonderful Town,'' ''Plain and Fancy,'' ''Bells Are Ringing,'' ''No, No, Nanette'' and ''Irene.'' Walter Kerr, the drama critic of The New York Times, described the visual impact of ''No, No, Nanette,'' as ''an explosion of Halloween colors, whorls and zigzags forever, putting psychedelic to shame.'' Raoul Pene du Bois's film production designs included sets and costumes for ''Lady in the Dark,'' ''Louisiana Purchase,'' ''Kitty'' and ''Frenchman's Creek.'' He also designed ice shows, ballets, costumes for the Rockettes at Radio City Music Hall, as well as the spectacle ''Jumbo'' at the Hippodrome, the 1939-40 World's Fair Aquacade of Billy Rose and Mr. Rose's nightclubs, the Diamond Horseshoe in New York and the Casa Manana in Fort Worth.