Irene Sharaff - Career

Career

After working as a fashion illustrator in her youth, Sharaff turned to set and costume design. Her debut production was the 1931 Broadway production of Alice in Wonderland, starring Eva Le Gallienne. Her use of silks from Thailand for The King and I (1951) created a trend in fashion and interior decoration.

Sharaff's work was featured in the movies West Side Story (Academy Award, 1961), Cleopatra (Academy Award, 1963), Meet Me in St. Louis, Hello, Dolly!, Mommie Dearest, The Other Side of Midnight, Who's Afraid of Virginia Woolf? (Academy Award, 1966), Guys and Dolls, The Best Years of Our Lives, The King and I (Academy Award, 1956), An American in Paris (Academy Award, 1951), Funny Girl and Porgy and Bess.

She also designed sets and costumes for American Ballet Theatre, the New York City Ballet, and the Ballet Russe de Monte Carlo, and contributed illustrations to fashion magazine's such as Vogue and Harper's Bazaar. Among her Broadway design credits are Idiot's Delight, Lady in the Dark, As Thousands Cheer, A Tree Grows in Brooklyn, Flower Drum Song, and Jerome Robbins' Broadway.

The TDF/Irene Sharaff Lifetime Achievement Award was named for Sharaff. She was its first recipient in 1993. The award is now bestowed annually to a costume designer who, over the course of his or her career, has achieved great distinction and mastery of the art in theatre, film, opera or dance.

Read more about this topic:  Irene Sharaff

Famous quotes containing the word career:

    Each of the professions means a prejudice. The necessity for a career forces every one to take sides. We live in the age of the overworked, and the under-educated; the age in which people are so industrious that they become absolutely stupid.
    Oscar Wilde (1854–1900)

    I’ve been in the twilight of my career longer than most people have had their career.
    Martina Navratilova (b. 1956)

    A black boxer’s career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.
    Ishmael Reed (b. 1938)