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Lila De Nobili


Lila De Nobili (September 3, 1916 – February 19, 2002) was an Italian stage designer, costume designer, and fashion illustrator. She was noted for her collaborations with leading stage and opera directors such as Luchino Visconti and Franco Zeffirelli, as well as her early work on fashion illustration at Vogue magazine.

De Nobili was born in Castagnola (Lugano). Her father was from an old Italian family and her mother was from a Jewish Hungarian family. Her uncle was the celebrated painter and academy-award-winning costume designer Marcel Vertès. Vertes painted Lila as a child.

In the 1930s, she studied with the artist Ferruccio Ferrazzi at the Academy of Fine Arts in Rome. One of her own pupils was the costume designer and director, Christine Edzard of Sands Films in Rotherhithe, London with whom she had a lifelong friendship and collaboration.

She settled in Paris in 1943, and this would be her home for most of her life on the rue de Verneuil and on the Quai Voltaire, where she lived with her mother, up until her death in 2002.

In Paris, De Nobili began doing illustrations of the haute couture collections for various magazines, especially Vogue.

Lila De Nobili created stage and costume designs for many of the most important productions of her time, including Angel Pavement (1947), Le voleur d'enfants (1948), A Streetcar Named Desire (1949), La Petite Lili (1951), Anna Karenine (1951), Gigi (1951), Cyrano de Bergerac (1953), The Country Girl (1954), The Crucible (1954), La Plume de Ma Tante (1958), L'Arlésienne (1958), Carmen (1959) and The Aspern Papers (1961).

She went on to work on numerous collaborations with Luchino Visconti, working with him at the La Scala opera house in Milan, and Franco Zeffirelli, as well as working with Peter Hall. She was introduced to Hall by his then wife, Leslie Caron, who knew her from the ballet in Paris. De Nobili designed seven Shakespeare comedies and late plays for Hall at the Royal Shakespeare Company at Stratford-upon-Avon and the Aldwych Theatre, London, in the late 1950s and 1960s.


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