- Born
- Died
- Tony Award winning theatrical set and costume designer. Career of fifty years, included Garrick Gaieties Two for the Show, Ziegfeld Follies of 1934, 1936, Dubarry was A Lady, Jumbo, Billy Rose's Aquacade, Diamond Horseshoe Revue, Casa Manana, Lend An Ear, Call Me Madam, and Sugar Babies.- IMDb Mini Biography By: mintunmusic@earthlink.net
- Awarded a Tony in 1953 for his scenic designs in "Wonderful Town."
- Nominated for a Tony Award in 1960, for his costumes for "Gypsy".
- Won two Tony Awards: in 1953 as Best Scenic Designer for "Wonderful Town;" and in 1971 as Best Costume Designer for "No, No. Nanette." He was also Tony-nominated four other times: as Best Costume Designer, in 1960 for "Gypsy;" in 1975 for "Doctor Jazz;" and in 1980 for "Sugar Babies;" and as Best Scenic Designer in 1964 for "The Student Gypsy."
- Raoul Pene du Bois was the grandson of Henri Pene du Bois, a music and art critic for the Hearst publications, the son of Rene Pene du Bois, a banker, and nephew of Guy Pene du Bois, the painter. He was survived by two cousins, Yvonne Pene du Bois, a painter of Brookline, Mass., and William Pene du Bois, author and illustrator of children's books, of Nice, France.
- 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.
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