Varvara Zhmoudsky, better known as Barbara Karinska (1886 - 1983), was costumer of the New York City Ballet, and the first costume designer ever to win the Capezio Dance Award, for costumes "of visual beauty for the spectator and complete delight for the dancer". She won the 1948Oscar for the costumes for Joan of Arc and was nominated in 1952 for Hans Christian Andersen. She divided her time between homes in Great Barrington, Massachusetts, and Domremy, France, the birthplace of Joan of Arc. 1886 (MDCCCLXXXVI) is a common year starting on Friday (click on link to calendar) // Events January 18 - Modern field hockey is born with the formation of The Hockey Association in England. ... 1983 (MCMLXXXIII) was a common year starting on Saturday of the Gregorian calendar. ... Logo of the New York City Ballet The New York City Ballet is a ballet company founded in 1948 by choreographer George Balanchine and Lincoln Kirstein originally known as the American Ballet. ... Costume designer is a cinema term which refers to a person whose responsibilty is to design costumes for a movie or stage production. ... 1948 (MCMXLVIII) was a leap year starting on Thursday (the link is to a full 1948 calendar). ... Academy Awards The Academy Awards, popularly known as the Oscars, are the most prominent film awards in the United States. ... Joan of Arc is a 1948 film. ... 1952 (MCMLII) was a Leap year starting on Tuesday (link will take you to calendar). ... Hans Christian Andersen is a 1952 Hollywood musical film, with words and music by Frank Loesser. ... Great Barrington is a mountain town located in rural Berkshire County, Massachusetts. ... Domremy or Domrémy is part of the name of several communes in France: Domremy-la-Canne, in the Meuse département Domrémy-la-Pucelle, in the Vosges département, formerly Domrémy, which was the birthplace of Joan of Arc Domremy-Landéville, in the Haute-Marne département This is a disambiguation page — a... Joan of Arc, c. ...
At the time Madame BarbaraKarinska was seventy-seven years old, and her subsequent fourteen-year exclusive association with Balanchine’s New York City Ballet marked her final glorious ascent in that mysterious land where ballet costumes are made.
Karinska’s association with Balanchine was her longest and most deeply satisfying, but he was by no means the only dance choreographer whose visions she dressed.
Karinska’s ageless hands can be seen, like those of a benign Madame LaFarge, weaving a delicate but indestructible thread that connects and clothes ballet in our century.
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